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JESSUP, MARYLAND: The 117th AES Show in San Francisco is the time and place for the long-requested re-issue of the API 550A discrete, three-band equalizer. API's legendary Saul Walker designed the "timeless" 550A in the late
60s. Originally a modular OEM equalizer, the 550A quickly found it's way into many custom console designs by Frank DeMedio and other leading engineers, many of which are still in use today. This often-copied but never duplicated equalizer became API's standard channel module EQ when they started manufacturing consoles
in 1971.
Providing a true replica of the famed API 550A equalizer was no small undertaking for API. Jeffrey Bork, head API engineer, comments: "We've
gone to great lengths to ensure that the new 550As are exactly (and I mean exactly) the same as the original. For starters, API constructed exact
duplicates of the metal work and circuit boards from the original artwork. We made silk screens from the same original artwork for the new front
panels. The 550A uses the same output transformer that API has used
throughout the years. And to keep everything exactly the same, we went to
the original manufacturer for the exact same rotary switches and the same
Schadow switches for the bypass. What you end up with is an exact replica
even down to the gauge of the wiring and the harnessing- even the original
documentation is included. Everything is so exact that people with older
550A EQs will now be able to buy matching units or purchase parts to
refurbish and fix their older units."
"It's basically the next production run of API units from the early
eighties. And its worth mentioning that we never even considered trying to
make the 550A 'better,'" added Bork. "There just wasn't any need to
do that.
The industry holds the 550A in pretty high regard and wanted it "the same
as
it ever was." It's been an honor, and a tremendous amount of fun, leading
up
this project."
The 550A uses bridge-T filters (RC networks), two of API's 2520 discrete
amplifier modules, a 1:3 output transformer, and provides up to +28dBm
output level. All three of the frequency bands overlap and there is up to
+/-12dB of boost or cut in 2dB steps available for each band. There are
choices of shelving and peaking for the Hi and Lo Band and a switchable,
12dB/octave, 50Hz to 15kHz bandpass filter.
A very desirable feature and so important to the classic sound is the
proportional Q design where the bandwidth (or Q) of the equalizer narrows as
boost or cut is increased. The Q is three octaves wide at 2dB of boost/cut
and narrows down to one octave with 12dB of boost/cut.
API remains the leader in analog recording gear, such as the groundbreaking
API Vision Surround Mixing Console, the famed Legacy consoles, the TEC
Award-winning 7600 Input Module, and award-winning 2500 Stereo Bus
Compressor. The ATI Group is the parent company of Audio Toys Incorporated,
API Audio, Uptown Automation and the newly formed ATI Group Distribution
Division, which now distributes the full line of Audient products including
the Aztec console. Audio Toys manufactures the industry leading Paragon II
monitor console, the Paragon II production console and associated rack mount
gear.
The ATI Group is the parent company of Audio Toys Incorporated, API Audio,
Uptown Automation and the newly formed ATI Group Distribution Division, which
now distributes the full line of Audient products including the newly introduced
Aztec console. Audio Toys manufactures the industry leading Paragon II monitor
console, the Paragon II production console and associated rack mount gear. Uptown
Automation manufactures and installs moving fader and mute automation for analog
mixing consoles. API remains the leader in analog recording gear, such as the
famed Legacy console, the TEC award-winning 7600 channel strip, and the acclaimed
2500 stereo bus compressor.
API 550A
MSRP: $1,695.00
COME VISIT US AT AES 2004 SAN FRANCISCO BOOTH #402
www.apiaudio.com
