So you're wondering which 500 Series modules, cases and power supplies you should buy, rent or otherwise try out. In this comprehensive buyer's guide, we'll go through everything worth considering before you make any decisions about 500 Series equipment.

If you've found yourself asking, “Which 500 Series gear should I buy?” this extensive resource is for you.

Please feel free to jump around this article and read all the additional resources I have provided links to.

With that, let's get into this comprehensive 500 Series buyer's guide to help you in your next 500 Series purchase!

Related article:
• Top 11 Best Audio Brands For 500 Series Modules/Equipment

Table Of Contents

• What Is Your 500 Series Budget?
• The VPR Alliance
• Choosing A 500 Series Chassis & Power Supply
• Types Of 500 Series Modules
  • 500 Series Preamplifiers
  • 500 Series Dynamic Processors
  • 500 Series Equalizers
  • 500 Series Effects
  • Other 500 Series Modules
• Planning Your 500 Series System
• Know The Additional Costs Of 500 Series Accessories

What Is Your 500 Series Budget?

The first thing to consider when making any purchase is your budget. Money can be a touchy subject for some, so I'll keep this section brief.

I would never advise anyone to overspend on any audio equipment. Know what you can realistically afford, and do your best to stay within those limitations, whatever they may be.

500 Series units, like many audio devices, range significantly in price. The market is rather large, and so there should be a good selection for any budget.

A benefit of the 500 Series' modular nature is that users can slowly build up their signal chain over time. The downside, of course, is that modular 500 Series setups tend never to be “complete”, so additional gear will cost more money.

Note that some retailers offer payment plans, which could be an option.

Consider the cost-to-benefit ratio of the purchase of the 500 Series unit(s). For example, if the 500 Series signal chain is needed for business, perhaps stretching the budget is more appropriate. On the other hand, if you don't plan on making money with the 500 Series gear, perhaps a more conservative budget is appropriate.

Also, consider any additional accessories or upkeep that may be required for your 500 Series system.

Only you can determine your budget. All I'm here to say is that you should consider it.

Back to the Table Of Contents.

The VPR Alliance

The 500 Series modular format was developed by API (Automated Processes Incorporated). The format was initially brought to market in the 1970s and has since become one of the most popular modular formats for audio processors.

Because of the popularity of the format and the interest from third-party manufacturers, API created the VPR Alliance. It is a program of standardization and consistency guidelines for the 500 Series format. Manufacturers on the list are officially approved and follow complete design specifications to physically fit and electronically conform to API's rack specifications.

Not all third-party manufacturers are part of the VPR Alliance, which means their module or rack specs may not conform to the standard.

That's not to say that their products are incompatible, but rather, it's a sign that more attention should be paid to the specs to ensure proper integration within the 500 Series system. This is particularly important when it comes to power and current draw, as we'll touch on in the following section.

API is featured in top brand articles at My New Microphone. Check out these articles here!

Back to the Table Of Contents.

Choosing A 500 Series Chassis & Power Supply

The modular format of 500 Series rigs starts with the chassis (often referred to as a rack), which hosts the modules. These racks have varying numbers of slots, which the 500 Series modules fit into slots (some modules span more than one slot).

A rack/chassis is essentially a metal box with space to host the modules. Each slot has a card‑edge connector inside to connect to the inserted module and provide it with the power it needs to function. Audio inputs and outputs are provided for each slot/module.

Factors to consider when buying a 500 Series chassis/rack include:

• The number of slots
• Form factor & mounting
• Input/output
• Power supply

The Number Of Slots

The number of slots is a pretty straightforward specification. It refers to the number of slots available in the rack. Racks will have two or more slots, and most modules take up one slot, though there are 2-slot and even 3-slot modules on the market.

Choose a chassis with enough slots to host your modules now and, preferably, in the future.

However, beware that having empty slots may tempt you to overextend your budget to fill them!

Form Factor & Mounting

Most racks have vertical slots for their modules, though horizontal options are also available.

The two most common styles of 500 Series racks are desktop and rack-mounted. As the names suggest, desktop racks sit on the desktop and are easy to transport, while rack-mountable chassis can be mounted into standard 19″ racks.

Input/Output

Typical I/O to look for in 500 Series racks are multichannel DB-25 connectors and discrete balanced XLR or TRS jacks. ADAT and MIDI I/O are less popular but common enough.

Certain chassis even act as audio interfaces, connecting directly to computers via USB or other digital means.

Some chassis offer additional routing, including internal patching, stereo linking, and audio summing.

The majority of 500 Series racks send the output from their first slot into their second into their third, and so on, creating a continuous signal chain. Internal routing allows users to patch the signal themselves, allowing for more control over the signal flow without ever having to remove the modules.

As the name suggests, stereo linking is the linking of two stereo channels to a common control. This linking is typically implemented as a single sidechain controlling both channels of a stereo compressor.

Audio summing is similar to mixing: a process that combines two or more signals together into a single output signal.

Power Supply

The 500 Series chassis will generally contain the power source (±16V power rails) for its connected modules.

The type, quality and location of the power supply impact the performance of the rack and its modules.

Be sure the rack is able to power all the modules you plan to use with it. Ideally, the modules should only draw about 80 percent of the current available from the power supply. Note that 130 mA is standard for the current draw of 500 Series modules, but many modules draw much more than this.

Switch-mode power supplies use power transistors to produce a high-frequency voltage that is passed through small transformers and filtered to remove AC and noise. They are more efficient (80%), lighter weight, and handle wider input voltage ranges.

Linear power supplies deliver DC, passing the primary AC voltages through transformers and filtering out the AC component. They are less efficient and weigh more but are cheaper to produce.

Both switch-mode and linear power supplies work well with 500 Series racks and modules. Rather, it's more important to consider the location of the power supply and how well it's shielded.

Internal power supplies make the chassis more compact and do away with extra wiring. However, their proximity to the slots can cause electromagnetic interference and noise in the signal chain.

Modules with vacuum tubes and preamp modules with transistors can be particularly sensitive to this interference. Move these modules to slot further away from the built-in PSU or, alternatively, put a rack with an external power supply and keep a reasonable distance between the modules and rack that way.

• Click the link to check out 500 Series chassis/racks at Sweetwater
• Click the link to check out 500 Series chassis/racks at B&H Photo/Video
• Click the link to check out 500 Series chassis/racks at Amazon

Back to the Table Of Contents.

Types Of 500 Series Modules

Now that we have a chassis, it's time to fill it with the 500 Series modules. The modules are the actual signal processors. With the rise in popularity of the 500 Series format, more and more manufacturers are producing modules with or without VPR Alliance standards.

Let's discuss 500 Series modules by their broad categories.

• Preamplifiers
• Dynamic processors
• Equalizers
• Effects
• Other modules

500 Series Preamplifiers

What is a microphone preamplifier? A mic preamp is a type of amplifier with the purpose of bringing mic level (or instrument level) signals up to line level for use with professional equipment. Microphones and many instruments output low-level signals that require amplification for their use in mixing consoles, recording devices or digital audio workstations.

500 Series preamplifiers come in a variety of styles from tube or solid-state, recreation or original designs. Nowadays, you can pretty much find what you need in a 500 Series preamp.

Most of these preamps offer +48V phantom power for powering active microphones. They typically also have a Hi-Z or high-impedance input for connecting instruments directly.

Preamps are also generally included in channel strip 500 Series modules.

• Click the link to check out 500 Series preamplifier modules at Sweetwater
• Click the link to check out 500 Series preamplifier modules at B&H Photo/Video
• Click the link to check out 500 Series preamplifier modules at Amazon

Related articles:
• What Is A Microphone Preamplifier & Why Does A Mic Need One?
• Complete Guide To Microphone Preamplifier Specifications

500 Series Dynamic Processors

What are dynamics processors? Dynamics audio processors affect the dynamic range of a signal (the difference between the highest and lowest amplitude across time. The processes can reduce or expand the dynamic range, adjust transients, limit the highest maximum output or gate/cut-out signal below a certain level.

The most common dynamic process in audio is compression, and we'll find plenty of 500 Series compressor modules on the market. Like the preamps mentioned above, there are many compressor design recreations in the 500 format, but there are also original designs.

There are a plethora of compressor circuit styles, including optical, VCA, FET, and variable-mu/tube, which can be found in 500 series modules.

Sidechain control, stereo linking, VU metering and other common functions can be found in many 500 series compressors.

At the extreme end of compression, we have limiting, which effectively keeps a signal from surpassing a set threshold. There are 500 Series limiter module options as well.

Expanders and noise gate processors aren't nearly as popular, which shows in a lack of 500 Series module options.

Compression and dynamic control can be featured in 500 Series channel strips.

• Click the link to check out 500 Series dynamics modules at Sweetwater
• Click the link to check out 500 Series dynamics modules at B&H Photo/Video
• Click the link to check out 500 Series dynamics modules at Amazon

Related article:
• The Complete Guide To Audio Compression & Compressors

500 Series Equalizers

What is audio equalization? EQ is the process of adjusting the balance between frequencies within an audio signal. This process increases or decreases the relative amplitudes of some frequency bands compared to other bands with filters, boosts and cuts. EQ is used in mixing, tone shaping, crossovers, feedback control and more.

500 Series equalizers are generally of the parametric or semi-parametric variety, offering a set number of bands with controls over their boost/cut, Q and centre/cutoff frequencies. That said, there are also graphic EQ options out there.

EQs in the 500 Series format can be mono or stereo. They are often designed based on previous console designs, but there are certainly original units out there.

• Click the link to check out 500 Series equalizer modules at Sweetwater
• Click the link to check out 500 Series equalizer modules at B&H Photo/Video
• Click the link to check out 500 Series equalizer modules at Amazon

Related article:
• Complete Guide To Audio Equalization & EQ Hardware/Software

500 Series Effects

What are audio effects? Audio effects make up a broad category of audio processes that manipulate audio signals. They are typically broken down into distortion-based effects (distortion, overdrive, bit-crushing, etc.), modulation-based effects (chorus, flanger, ring modulation, etc.), time-based effects (delay, reverb), or spectral effects (wah, envelope filtering, pitch-shifting, etc.).

Effects go beyond the standard preamp-compressor-EQ signal chain and are popular for studio and live applications.

Popular effects include distortion/saturation, guitar effects, delay, and reverb.

• Click the link to check out 500 Series effects modules at Sweetwater
• Click the link to check out 500 Series effects modules at Amazon

Related article:
• Full List: Audio Effects & Processes For Mixing/Production

Other 500 Series Modules

Other 500 Series module types not listed above include:

• Audio interfaces
• Headphone amps
• Monitor controller
• Re-amping units
• Channel strips
• Synthesizers
• Wireless receivers/transmitters

If any of the above functions sound appealing to you, there are options for your 500 Series system!

Back to the Table Of Contents.

Planning Your 500 Series System

Now that we know about 500 Series modules and chassis, we need to consider our needs and wants for our 500 Series system. It's worth thinking about the present and the future when it comes to planning out your purchase.

Budget aside, what would your ideal signal chain be? How many modules would you need, and, therefore, how many slots would you need in the rack?

Is one preamp enough, or do you want a few options? Do you need a preamp at all? Perhaps your system is geared more toward mixing/mastering than tracking/recording.

There are different styles of compression and EQ. Do you know which style(s) you'd like in your signal chain? Do you even need these processes?

The same goes for effects, which are perhaps less common than preamps, compressors and equalizers.

Finally, what utility/miscellaneous modules do you need? Is re-amping a process you're into? Perhaps you need headphone monitoring directly from the 500 Series rack. Wireless connectivity may be required for certain applications. So on and so forth.

When building a more advanced system, you may need internal patching capabilities to choose which modules become part of the signal chain and in which order.

A typical signal chain order is as follows:

1. Microphone preamplifier
2. EQ and/or dynamics processors
3. Distortion effects
4. Modulation effects
5. Time-based effects

It's also important to consider how portable the system will need to be and purchase your rack accordingly.

Back to the Table Of Contents.

Know The Additional Costs Of 500 Series Accessories

• Cables
• Screws
• Blank panels

Cables

Cables (XLR, 1/4″ TRS, or otherwise) are required to send signals to and from the 500 Series unit and for routing/patching within the units that offer such functionality. Read up on the inputs/outputs of the modules and chassis for a better idea of the type and number of cables you'll need for your setup.

• Click the link to check out XLR cables at Sweetwater
• Click the link to check out XLR cables at B&H Photo/Video
• Click the link to check out XLR cables at Amazon

• Click the link to check out patch cables at Sweetwater
• Click the link to check out patch cables at B&H Photo/Video
• Click the link to check out patch cables at Amazon

Screws

500 Series modules connect electrically via 15‑pin edge connectors but are physically held in place with screws on their front plate. These screws are a necessary part of a 500 Series system.

• Click the link to check out 500 Series screws at Sweetwater
• Click the link to check out 500 Series screws at B&H Photo/Video

Blank Panels

Blank panels screw into empty 500 Series rack slots, thereby keeping dust and other particles from entering the unit.

• Click the link to check out 500 Series blank panels at Sweetwater
• Click the link to check out 500 Series blank panels at B&H Photo/Video

Back to the Table Of Contents.

The post The Ultimate 500 Series Buyer’s Guide first appeared on My New Microphone and is written by Arthur Fox.

Since the mid-1980s, 500 Series audio equipment has become a significant part of the audio hardware market. Cherished for its portability, modularity, low price point and small form factor (relative to rackmount gear), many manufacturers/brands have hopped on the trend of producing 500 Series modules and racks.

With so many options to choose from, it can be difficult to find precisely what would work best for your needs and wants. In this article, I'll share my take on the top brands to look out for when deciding on a new 500 Series module or rack.

Though obviously subjective and prone to biases, I’ve done my best to list out these brands based on the following metrics (in no particular order):

• Company reputation
• Variety of 500 Series modules
• Variety of 500 Series racks/chassis
• Performance of the equipment
• Longevity of the equipment
• Currently in operation

With all that being said, let’s list out the brands.

The Top 11 Best Brands To Produce 500 Series Gear Are:

1. API
2. Rupert Neve Designs
3. Lindell Audio
4. Solid State Logic
5. Elysia
6. Fredenstein
7. A Designs
8. BAE
9. dbx
10. Meris
11. Radial Engineering

Let’s get into each of these brands in greater detail and explain why they belong in the top 11 best 500 Series brands. I’ll share their country of origin, a bit of history, an example of a notable module and rack/chassis, and a link to their official website.

Related My New Microphone article:
• The Ultimate 500 Series Buyer’s Guide

Click here to return to My New Microphone’s articles on musical equipment brands/manufacturers.

API

API is, without a doubt, the top company on this list. After all, Automated Processes Incorporated's founder, Saul Walker, invented the 500 Series to make API consoles more modular in the late 1960s.

What started as an idea to make API consoles more modular has become a popular method of mixing and matching portable hardware effects chains in modern recording.

Plenty of companies produce modules and racks to 500 Series specifications, but API has been doing it the longest and offers some of the best units on the market today.

API even put out a set of standardization guidelines for other manufacturers to subscribe to in order to ensure compatibility between 500 Series equipment. This program is called the VPR Alliance.

Today, API boasts an impressive catalogue of high-end audio processors, many of which are available in 500 Series modules.

With a mission to create the highest possible quality professional audio gear, API continues to offer their classic units while developing new classics along the way.

Notable 500 Series module: API 550A 500 Series 3-Band Equalizer

The API 550A is a 3-band semi-parametric EQ in the 500 Series format. Since its introduction in the late 1960s, this EQ has come to be regarded by many as one of the greatest EQ units ever to be built.

With simple functionality and superior sonic performance, it makes perfect sense that this unit is as cherished as it is.

Notable 500 Series rack/chassis: API 500V 10-Slot Lunchbox

API's Lunchbox Series was the first-ever commercially available 500 Series rack/chassis. The 500V 10-Slot Lunchbox offers ten individual slots for modules, mounts into a standard 19″ rack (3U), and is powered by a tri-polar L200PS power supply (included).

Rupert Neve Designs

Rupert Neve Designs was founded by none other than the legendary Rupert Neve, one of the most prominent audio equipment technology and design pioneers.

Included in RND's impressive catalogue of audio processors is a fantastic lineup of 500 Series modules. These 500 Series modules offer classic high-performance Neve technology at a fraction of the size (and price).

If you're in the market for a high-end 500 Series module or rack, Rupert Neve Designs will surely have something to fit your needs.

Notable 500 Series module: Rupert Neve Designs 511 500

The Rupert Neve Designs 511 is an incredible microphone preamplifier, combining the technologies from Neve's powerful Portico 5017 and 5012 preamp designs with the transformer-saturating power of a variable silk circuit derived from the Portico II Channel.

It's truly amazing how RND has crammed this much functionality into such a small preamp.

Notable 500 Series rack/chassis: Rupert Neve Designs R10 10-Slot 500 Series Chassis

The Rupert Neve Designs R10 is a 10-slot 500 Series chassis capable of providing more than 150% of its modules' required current. This prevents the power rails from failing under higher-than-expected loads and ensures the modular signal chain safely performs to its fullest potential.

Lindell Audio

Lindell Audio may not be a household name among all audio professionals. Still, the Swedish company is certainly one of the best on the market when it comes to high-quality 500 Series equipment.

This brand offers an outstanding roster of 500 Series modules and several superb racks. With noteworthy performance-to-price ratios on their products, Lindell Audio's modules will deliver high-end sonic performance without breaking the bank.

Drawing inspiration from classic designs, Lindell's design team combines old wisdom and inventive thinking to produce top-notch audio processors for discerning engineers around the world. Many of these processors just so happen to be built according to the 500 Series format.

Notable 500 Series module: Lindell Audio 77X 500

The Lindell Audio 77X 500 is a stereo compressor designed for mix and drum bus duties.

It's an 1176-style FET compressor with tons of functionality, including variable attack and release knobs, three ratios, a high-pass sidechain filter, wet/dry control for parallel compression, and stereo linking capabilities. This unit packs so much that it requires two rack slots.

Notable 500 Series rack/chassis: Lindell Audio 510 Power MKII 10-Slot 500 Series Chassis

The Lindell Audio 510 Power MKII is a rugged 10-slot chassis that utilizes an external no-noise power supply to run 500 Series modules at their peak performance. This lightweight unit offers 500mA of power per slot and 48V phantom power and can be mounted within a standard 19″ rack (3U).

Solid State Logic

For those in the audio industry, Solid State Logic should need no introduction. This legendary company made a name for itself by manufacturing some of the greatest mixing consoles of all time. Today, SSL offers some of its magic in the form of high-end 500 Series modules.

Sure, you won't find as many options with SSL modules as, say, with Lindell Audio. However, the company deserves a spot on this list due solely to the fact that their few 500 Series modules are instant classics, capturing the highly sought-after sound that made the brand famous to begin with.

Essentially, Solid State Logic has now made it possible for engineers to get their hands on premium SSL processing without having to fork out hundreds of thousands of dollars on a console.

Notable 500 Series module: Solid State Logic G Comp 500

The Solid State Logic G Comp 500 brings the SSL Stereo Bus Compressor's sound to the 500 Series format.

This classic VCA compressor has been gluing award-winning mixes together for decades now. This model comes with additional ratio settings and the renowned auto-release and sounds absolutely incredible on mix buses and individual tracks alike.

Solid State Logic does not currently offer any 500 Series racks/consoles.

Elysia

Elysia is a German brand made up of a small team of expert audio equipment designers. With a keen focus on music gear with a warm sound, creative usability, handcrafted build quality and outstanding design, it's no wonder why Elysia's products are so well received.

This brand offers various high-quality analog 500 Series processor units that sound incredible and perform at an elite level. A notable percentage of Elysia's 500 Series module designs are two slots wide, providing high levels of functionality and stereo processing. Even the single-slot units are uber-powerful in how versatile they are.

With a catalogue that includes analog compressors, transient shapers, analog equalizers, saturators, and fine preamps, Elysia's 500 Series equipment is among the best of the best on the global market.

Elysia is part of the VPR Alliance.

Notable module: Elysia NVelope

The Elysia NVelope is a 2-slot analog transient shaper module.

By combining stereo equalization and dynamics processing, this module can make subtle or drastic changes to reshape all sorts of audio signals in such a way that is largely independent of the specific signal level.

Elysia does not currently offer any 500 Series racks/consoles.

Fredenstein

Based in Taiwan, Fredenstein is another relatively small company that produces impressive 500 Series equipment. The brand strives to produce audio processors that combine the strengths of modern and vintage audio technologies and avoid the inherent weaknesses of each.

This company emphasizes zero-negative-feedback designs, which they use to produce their high-end 500 Series modules. In the days of highly functional and even complicated “in-the-box” digital recording, Fredenstein is focused on delivering user-friendly outboard gear for professionals at affordable prices.

Fredenstein has developed an impressive lineup of 500 Series modules that are certainly worth considering when it comes time to pick up your next (or first) module!

Notable module: Fredenstein F609 Tube MicPre

The Fredensteine F609 is a professional tube microphone preamplifier designed with two double-triode vacuum tubes. It features input and output level controls, pad and polarity switches, phantom power, a low-cut/high-pass filter, and a DI input on its front face.

This preamp sounds incredible and has all the makings of a professional unit in the 500 Series module format.

Notable 500 Series rack/chassis: Fredenstein Bento10S 10-Slot 500 Series Chassis

The Fredenstein Bento10S is a 10-slot 500 Series chassis with onboard audio routing, compress bus linking, auxiliary inputs and outputs, a multilayered backplane, and a ground-lift switch. It's powered by a universal power supply and fits nicely into a standard 19″ rackmount (3U).

A Designs

If you're looking for simple yet highly effective 500 Series preamps, then A Designs may be the company for you.

The company has a superb line of 500 Series preamps meticulously designed to impart a unique and sonically pleasing character. In addition to preamps, A Designs also manufactures other excellent audio processor units.

A Designs modules are handcrafted with leading-edge design and quality manufacturing.

By listening closely to customers' comments, the team at A Designs creatively innovates its products based on the needs and wants of the market. Amazingly, their products carry such affordable price tags.

This brand stands by its motto, “quality without compromise,” and continues to deliver top-notch audio processors that include 500 Series modules.

A Designs is part of the VPR Alliance.

Notable 500 Series module: A Designs P-1

The A Designs P-1 is one of the brand's 500 Series preamps. This simple unit is based on the company's Pacifica preamp and gives you exceptional sound quality with the classic vibe of great vintage preamps.

The front face includes a 1/4″ input for direct-inject along with switches for 48V phantom power, 20 dB pad and phase/polarity flip. Of course, there is also a gain control (which offers 72dB of quiet gain).

Notable 500 Series rack/chassis: A Designs 503HR 3-Slot 500 Series Chassis

The A Designs 503HR is a 3-slot 500 Series chassis that fits into a standard 19″ rack (1U). Unlike many other racks, this model is set up horizontally.

This all-metal chassis has XLR inputs and output and feed controls for its modules (to feed 1 into 2 and 2 into 3 without having to patch).

BAE

BAE is a boutique audio equipment manufacturer that focuses on producing high-end audio devices that are faithful to the vintage/classic designs of the 1970s and earlier.

The company produces a superb line of 500 Series modules with vintage flair, recreating classic performance with the highest quality components.

All BAE products, including their 500 modules, are hand-wired/soldered using discreet electronics and not economized on a circuit board. The results of such dedication to tradition can be heard in the superior sonic performance of BAE's 500 Series modules.

Notable 500 Series module: BAE 500C

The BAE 500C is a single-channel FET compressor inspired by those from the 1960s and 1970s.

This module offers continuously variable input and output gain controls and attack and release time controls. The ratio of the 500C can be set to 2:1, 4:1, 8:1, 12:1, 20:1 and the revered “All Buttons Mode.”

Notable 500 Series rack/chassis: BAE 11 Space 500 Series Chassis

As the name would suggest, the BAE 11 Space Rack offers 11 slots for 500 Series modules.

The unit's remote power supply keeps transformer interference away from the modules to improve signal clarity. The rack mounts perfectly into a standard 19″ rack (3U).

dbx

Since the 1970s, dbx has been building its reputation as an innovative audio equipment manufacturer.

Perhaps most notable among the company's inventions is the dbx Blackmer gain cell (a superior voltage-controlled amplifier for professional audio applications) and the 160A VCA compressor.

In keeping with the times, this spirit of innovation has led dbx to produce its amazing 500 Series modules. With expertise in audio and a long history of top-notch designs (including modular designs), dbx has brought a small but awesome lineup of 500 Series modules to the market.

dbx focuses on professional-grade audio hardware and accessories for the pro studio. The brand's series of 500 Series modules fully represent this professionalism and perform to the standard that dbx has long held itself to.

dbx is part of the VPR Alliance.

Notable 500 Series module: dbx 560A 500

The dbx 560A is a 500 Series compressor module largely inspired by dbx's classic 160A VCA compressor. It features program-dependent attack/release times with a switchable soft/hard knee control and the typical threshold, ratio and output/makeup gain controls.

This unit is flexible and functional enough to compress any audio source to our liking.

dbx no longer manufactures 500 Series racks/chassis.

Meris

If you've been considering spicing up your 500 Series rack with some effects, Meris is a company to consider checking out. This boutique manufacturer is relatively new on the scene but has been welcomed with open arms by those who love effects.

Whether it's an effects pedal or a “pro audio” 500 Series module, Meris brings some potent audio effects to its customers.

Meris lives up to its ethos of “uniting art and engineering” by producing high-quality effects units that will surely inspire musicians and producers to create their own inspiring art pieces.

In addition to powerful effects that push the boundaries of sonic possibilities, Meris also offers a few “standard” pieces of equipment. Regardless of the product, high-end design and impressive functionality are par for the course with this company.

Notable 500 Series module: Meris Mercury7 500 Series Reverb

The Meris Mercury7 500 Series Reverb is the world’s first 500 Series algorithmic DSP (digital signal processing) reverb. This powerful unit has a remarkable amount of control.

It can offer everything from a standard plate reverb effect to an ethereal algorithmic reverb to pitch-altering experimental effects.

Meris does not manufacture 500 Series racks/chassis.

Radial Engineering

Radial Engineering may not be the flashiest company on this list. Rather, its reputation is based on its many products' superb utility, reliability, and durability.

From the world's finest direct boxes, splitters and audio interfacing devices to the brand's re-amp units, Radial Engineering products have become standard fare in live environments, professional and home studios, and broadcast centres across the globe.

Since the invention of the first passive direct box (the JDI) in 1996, Radial Engineering has grown to employ industry-leading in-house research and development, engineering and production departments.

Solving problems in simple yet innovative ways is the name of the game for Radial, and this can easily be seen in the company's list of products, including, of course, its 500 Series modules and racks.

Notable 500 Series module: Radial X-Amp 500

The Radial X-Amp 500 is a re-amping distribution module in the 500 Series format.

This module allows users to take a pre-recorded track (through a DI, for example) and send it back to amplifiers and effects so that you can tailor the sound to suit your needs. This unit has two Class-A-buffered transformer-isolated outputs to send the signal to two amplifiers at once.

Each output has a ground lift option to help combat hum in the signal, and Output 2 even has a polarity switch.

Notable 500 Series rack/chassis: Radial Workhorse Powerhouse 10-Slot 500 Series Chassis

As the name would suggest, the Radial Workhorse Powerhouse 10-Slot Chassis can house up to 10 slots worth of 500 Series modules. Each of the rear panel slots contains both XLR and TRS I/O.

The feed function allows us to connect one module to the next, making it easy to set up channel strips without having to hard patch modules using cables.

Each slot also has its own phantom power supply and an omniport that will allow for external control of the modules (if applicable to the chosen module).

Building out your 500 Series system can be a challenging task. For this reason, I've created My New Microphone's Comprehensive 500 Series Buyer's Guide. Check it out for help in determining your next 500 Series purchases.

The post Top 11 Best Audio Brands For 500 Series Modules/Equipment first appeared on My New Microphone and is written by Arthur Fox.

When looking into hardware equipment for an audio studio, perusers will likely come across 500 Series equipment. From microphone preamplifiers and DI boxes to equalizers, compressors and other effects, 500 series gear is readily available.

What is 500 Series Audio Gear? The 500 Series is a modular format for audio equipment developed by API in the 1970s. 500 Series modules are 5.25″ (3U) tall, and each slot is 1.5″ wide (modules can take up multiple slots). Modules fit into 500 Series power racks or, in some cases, directly into mixing consoles.

In this article, we'll discuss 500 Series audio equipment in greater detail and consider whether investing in 500 Series gear is worth it for your studio/work environment.

Related article: Top 11 Best Audio Brands For 500 Series Modules/Equipment

Table Of Contents

• What Is 500 Series Equipment?
• The 500 Series Module (With Examples)
  • 500 Series Microphone Preamplifiers
  • 500 Series Compressors
  • 500 Series Equalizers
  • 500 Series Effects Units
  • 500 Series Specialty Modules
• The 500 Series Chassis/Rack (With Examples)
• How To Set Up A 500 Series Rack
• What Is The VPR Alliance?
• Benefits Of The 500 Series Format
• Is Investing In 500 Series Equipment Worth It?
• Related Questions

What Is 500 Series Equipment?

As previously mentioned, the 500 Series is a modular format for audio equipment defined largely by its form factor. The format is comprised of two main types of gear:

• Modules: these are the audio processors/effects and include microphone preamplifiers, compressors, equalizers, effects and other processors.
• Racks: these are units that host/store the modules and provide them with power. They also provide the inputs and outputs for each of the modules they host.

It's also worth noting that some audio mixing consoles, such as API's The Box 2, also have slots for 500 series modules. In the case of The Box 2, there is one slot for each of its eight input channels for a total of 8 500 Series slots.

Compared to rack-mounted gear, the 500 Series is compact, which, along with lower cost, is arguably its main benefit. Let's consider the difference in the following chart:

Many 500 Series modules are simply more compact versions of larger 19-inch rack gear. They often maintain the same operating specs but come at a fraction of the cost, size and weight.

Of course, there are original designs as well. Some 500 Series modules are even based on more vintage designs and ofter additional functionality.

Before we get into discussions on 500 Series modules and racks, let's briefly run through the history of the format.

The 500 Series first began in the late 1960s under Saul Walker and his team at Automated Processes Inc. (API) and has since become one of the most sought-after audio equipment formats.

Founded in 1968 (though design and manufacturing started before), API quickly became a go-to producer of high-quality recording/mixing consoles.

At the time, modularity was a big deal in the audio world. API capitalized on this fact with the API 550A 3-Band Equalizer: the first 500 Series module that would easily integrate into API's consoles via a channel slot.

The API 550A is actually still in production.

By the mid-1970s, portability (in addition to modularity) was in demand on the market.

It was only in 1985 that API produced its very first standalone rack, known as the Lunchbox. Since then, the 500 Series has become more about modular portable racks than console customization.

Today, API offers several Lunchboxes, and many other manufacturers offer their own racks. More on this later.

From the mid-'80s until now, many other manufacturers have jumped on board to produce their own modules according to the 500 Series specification. These “third-party” designers have come together to make the 500 Series the popular format it is today.

For compatibility's sake, API began the VPR Alliance to set standards for the format. More on this in the section titled What Is The VPR Alliance?

Let's recap with a few bullet points:

• 500 Series equipment (modules and racks) is relatively compact, lightweight, portable and affordable.
• API invented the 500 Series in the late 1960s as a way to customize their mixing consoles.
• API produced the first commercially available 500 Series rack, called the “Lunchbox,” in 1985 to accommodate the industry movement toward portability and modularization.
• Today, plenty of manufacturers partake in designing and manufacturing 500 Series equipment.

Now, let's consider the 500 series module and the 500 series rack (chassis).

The 500 Series Module (With Examples)

A 500 Series module is the actual unit that processes audio. These modules are much like the larger rack-mounted hardware gear in their performance, only more compact.

Examples are invaluable when learning about anything, so in this section, we'll consider a few examples of 500 Series gear. More specifically, we'll look at the following:

• 500 Series microphone preamplifiers
• 500 Series compressors
• 500 Series equalizers
• 500 Series effects units
• 500 Series specialty modules

500 Series Microphone Preamplifiers

What is a microphone preamplifier, and why does a mic need one? A mic preamp is a type of amplifier with the purpose of bringing mic level signals up to line level for use with professional equipment. Microphones output mic level signals and need preamps if they are to be used with mixing consoles, recording devices or digital audio workstations.

API 512c

The API 512c is a single mic/line preamp in the 500 Series format. It offers a polarity switch, 48V phantom power, a -20 pad, and an LED VU meter.

Like many 500 Series preamps (and unlike the 500 Series effects, including compression and EQ), the 512c has inputs on its front face. More specifically, it has an XLR mic input and a 1/4″ high-impedance instrument/line input. Note that these inputs can also be accessed via the back panel of the given rack if that rack happens to have both XLR and 1/4″ inputs.

As for gain, the 512c utilizes the traditional API fully discrete circuit design with 2520 Op Amp. It offers 65 dB of gain in the mic preamp and 45 dB of gain in the line/instrument preamp.

Neve 1073LB

The Neve 1073LB is a Class A microphone preamplifier in the 500 Series format.

This preamplifier has a front-panel combo jack to accept both mic (via XLR) and line level (via 1/4″) signals. The front panel also has polarity swap, impedance (high or low) and Front Input selector switches.

The coarse gain knob gives the mic preamp a gain range between -80 dB to -20 dB in 5 dB steps, and the line preamp a gain range between -20 dB to -10 dB in 5 dB steps. The trim control with an integrated phantom power switch allows for fine-tuning of the gain between -20 and +5 dB.

To learn more about microphone preamplifiers, check out my article, What Is A Microphone Preamplifier & Why Does A Mic Need One?

500 Series Compressors

What is dynamic range compression? Dynamic range compression is the process of reducing the dynamic range of an audio signal (the difference in amplitude between the highest and lowest points). Compression does so by attenuating the signal amplitude above a set threshold point.

Atlas Pro Audio Leviathan 500

The Atlas Pro Audio Leviathan 500 is a 500-series optical compressor inspired by the Universal Audio LA-2A and LA-3A that marries vintage and modern technology together.

APA’s Leviathan 500 is a class-A opto compressor with a fully discrete design. It features a Vintage Mode whereby the attack falls between that of the LA-2A and LA-3A.

Modern features include variable attack (2 to 40 ms) and release (100 ms to 2 s) times along with variable ratio (2:1 to 20:1). There’s also a low-frequency roll-off (high-pass filter) sidechain option called “Punch” for keeping the low-end well-represented.

In addition to these controls, the Leviathan 500 offers gain and peak reduction (threshold) controls and LED metering. These units can easily be bypassed, and two units can be linked together in a stereo pair for bus and master compression applications.

Shadow Hills Dual Vandergraph

The Shadow Hills Dual Vandergraph is a 2-channel (stereo) class-A VCA compressor in the 500-series format.

Whether you choose to use the Dual Vandergraph on a single channel or two, the signal path/paths will be affected by the same superb compressor circuits.

This VCA comp offers four different ratios selectable via a 5-position lever switch (off, 2:1, 2.5:1, 4:1 and 8:1). Each of the four ratio presets has its own predetermined attack and release times as well. These time constants are as follows:

• Ratio: 2:1
  • Attack time: 30 ms
  • Release time: 100 ms
• Ratio: 2.5:1
  • Attack time: 30 ms
  • Release time: 500 ms
• Ratio: 4:1
  • Attack time: 10 ms
  • Release time: 500 ms
• Ratio: 8:1
  • Attack time: 0.5 ms
  • Release time: 250 ms

The “Compression” knob control (scaled from 1 to 24) controls the threshold of the compressor. The other knob, labelled Output Level, controls the makeup gain of the compressor.

Another 5-position lever switch engages filters to act upon the sidechain. These positions of the switch are as follows:

• Off
• High-pass filter @ 90 Hz
• High-pass filter @ 150 Hz
• High-pass filter @ 250 Hz
• Band-pass filter

The amount of gain reduction is shown on the Dual Vandergraph’s VU meter.

500 Series Equalizers

What is audio equalization? EQ is the process of adjusting the balance between frequencies within an audio signal. This process increases or decreases the relative amplitudes of some frequency bands compared to other bands with filters, boosts and cuts. EQ is used in mixing, tone shaping, crossovers, feedback control and more.

IGS iQ505

The IGS iQ505 is a fully parametric analog equalizer designed into a 500-series module. It has five parametric overlapping bands, each with ±12 dB cut/boost.

The IGS iQ505 offers a notably wide EQ range spanning from 10 Hz (infrasound) all the way up to 24 kHz (ultrasound). The lowest and highest bands each have the option of a bell curve filter or a shelving filter. Each band has a Q knob which is responsible for the quality factor of each filter.

TK Audio TK-lizer 500

The TK Audio TK-lizer 500 is a 500-series 3-band Baxandall-style EQ (with an included high-pass filter) with mid-side capabilities.

This powerful yet simple unit can be used in stereo (L/R) or mid-side mode (M-S). The M/S toggle switch will toggle between the two modes.

Each of the bands has ±8 dB of boosting/cutting in 41-step controls. The low and high bands can be switched between peak filter and shelving filter modes. The 12 dB/octave high-pass filter can be set at 25, 30, 35, 40, 45 or 100 Hz.

500 Series Effects Units

What is an audio effect? An audio effect is any process that intentionally alters an audio signal for a desired (or undesired) effect. In other words, an audio effect is a device (analog or digital) or plugin that affects the sound of a signal.

Audio effects include the aforementioned compression (a dynamic effect) and equalization (a spectral effect) but also include time-based (reverb, delay), modulation (chorus, flanger, etc.), and other processes that manipulate the sound in one way or another.

In this section, we'll focus on the non-dynamic and non-spectral effects.

Meris Mercury 7 500

The Meris Mercury7 500 Series Reverb is the world's first 500 Series algorithmic DSP (digital signal processing) reverb.

This powerful module features the following controls (read the manual for more detail):

• Space Decay knob: sets the decay time of the reverb effect
  • Predelay (Alt): sets the amount of predelay before the onset of the reverb effect.
• Mix knob: adjusts the mix of the wet and dry signal.
  • Pitch Vector Mix (Alt): adjusts the mix between intra-tank pitch-shifted signals & normal reflections.
• Pitch Vector knob: sets the intra-tank pitch vector interval to octave down, slight pitch up, slight pitch down, 5th up, or octave up.
  • Attack Time (Alt): sets the attack for the swell envelope.
• Modulate knob: sets the modulation depth of the reverb effect.
  • Mod Speed (Alt): sets the speed of modulation of the reverb effect.
• Lo Freq knob: alters how low frequencies react to the reverb effect (to alter the perceived size of the effect).
  • Density (Alt): sets the amount of initial build-up of echoes before the reverb tank.
• High Freq knob: alters how low frequencies react to the reverb effect (to alter the perceived size of the effect).
  • Vibrato Depth (Alt): adds vibrato to the reverb input.
• Algorithm Select switch: selects between Ultraplate (inspiring & lush plate w/ a fast build) and Cathedra (massive & ethereal algorithm w/ a slow build). Hold the button down to access Alt functions.
• Swell switch: engages/disengages auto swell function.

Meris is featured in the following My New Microphone articles:
• Top 11 Best Boutique Guitar/Bass Pedal Brands To Know & Use
• Top 11 Best Audio Brands For 500 Series Modules/Equipment

TB Audio TBDD Stereo Chorus

The TB Audio TBDD Stereo Chorus is a “modern” version of Roland’s classic Dimension D rackmount chorus from the 1970s.

This chorus unit features two identical signal paths for stereo processing. They’re made from the same new old stock analog bucket-brigade device (BBD) delay chips that were used in the original Roland model.

The input can be set to mono or stereo, and the Blend knob mixes the phase-shifted/delayed signal with the direct signal at the output. Levels can be metered with the ten-segment LED meter.

This unit has four modes/presets and an off button. There’s not a whole lot of tweaking to do with this chorus unit, but it still sounds great.

500 Series Specialty Modules

500 Series specialty modules are the miscellaneous bunch that are worth mentioning. They're generally not “effects” or preamplifiers, as we've discussed. Rather, they are more involved in signal routing, metering, line level amplification, and other processes.

Purple Audio Cans II

The Purple Audio Cans II is a stereo headphone amplifier with a KDJ3 opamp for mono and KDJ5 opamps for output.

In addition to its superb headphone amplifier capabilities, the Cans II also functions as a control room amplifier, offering the control of a console master section in a compact design.

With its push buttons, the Cans II offers the following functionality:

• Swap the phase of the left and right channels.
• Sum the stereo (left and right) channels to mono (useful for checking phase issues).
• Cut the left channel, the right channel or both channels from the output.

For more information on headphone amplifiers, check out my article What Is A Headphone Amplifier & Are Headphone Amps Worth It?

Radial X-Amp 500

The Radial X-Amp 500 is a re-amping distribution module in the 500 Series format. This module allows users to take a pre-recorded guitar track and send it back to amplifiers and effects so that you can tailor the sound to suit.

The X-Amp 500 has two Class-A-buffered transformer-isolated outputs to send the signal to two amplifiers at once. Each output has a ground lift option to help combat hum in the signal, and Output 2 even has a polarity switch.

The 500 Series Chassis/Rack (With Examples)

Though 500 Series modules were originally designed for modular mixing consoles, they've evolved to become modular portable racks.

To properly store, connect and power 500 Series modules, we need a 500 Series rack/chassis (often referred to as the eponym “Lunchbox”).

A 500 Series rack will effectively power all the modules within it, reducing the hassle and cost of needing individual power supplies for each module. The modules will be screwed in by the flanges of their front plates and connected electrically to the rear of the rack for inputs/output routing and powering.

The input/output connections are commonly either multichannel DB-25 connectors, discrete balanced I/O (XLR or TRS jacks), or a combination thereof.

Racks will come in a variety of sizes, defined largely by the number of available slots. They can be portable tabletop units or even fit within an aforementioned standard 19″ rackmount rack.

As we've discussed, most 500 Series modules will fit within one slot, though there are double-wide or even triple-wide modules that take up 2 or 3 slots, respectively.

The routing within a 500 Series rack can be rather simple or complex, depending on the design. Additional signal routing functionality could include:

• Internal patching (between modules beyond the input/output)
• Stereo linking (having the module of one slot control a second of the same module in another slot)
• Audio summing (combining multiple signals together in a single output)

Once again, let's improve our understanding with a few examples. More specifically, we'll look at the following:

• Radial Workhorse Cube (3-Slot)
• Black Lion Audio PBR8 (8-Slot)
• Cranborne Audio 500ADAT (8-Slot)

Radial Workhorse Cube

The Radial Workhorse Cube is a 3-slot portable desktop 500 Series power rack. Its heavy-duty 14-gauge steel construction provides superb durability and even some amount of improved shielding from EMI.

The Cube provides up to 500 mA of shared current between its three slots. The convenient front panel power switch makes it easy to turn the power off when swapping modules.

Each of the rear panel slots contains both XLR and TRS I/O. The feed function allows us to connect one module to the next, making it easy to set up channel strips without having to hard patch modules together using cables.

Phantom power may be turned on and sent through each of the mic inputs.

The omniports in each slot allow for external control of the modules if that external control is possible. Examples include external sidechain signals and control voltages.

Black Lion Audio PBR8

The Black Lion Audio PBR8 is an 8-slot 500 Series power rack with a built-in patchbay built to fit nicely within standard 19″ rack mounts (3U high).

The PBR8 is equipped with a fully-balanced TT/Bantam patchbay. Users can easily patch various routing options within the rack and send/receive signals from other racks or outboard gear for virtually unlimited routing possibilities.

This rack utilizes Heritage Audio's On Slot Technology to ensure clean, isolated power for every module. Its power specification reads 1.8A per rail or 400mA per rail per slot, whatever is reached first.

Each of the eight slots has an XLR input and output on the rear panel. Two separate 25-DB connectors are also present to handle Inputs 1-8 and Outputs 1-8 separately.

Cranborne Audio 500ADAT

The Cranborne Audio 500ADAT is an 8-channel ADAT expander with 8 500 Series slots, a cue mixer, ADAT I/O, high-powered headphone amps, and analog summing. Needless to say, this is a powerful unit!

The 500ADAT is a super option when looking to expand upon the I/O of any ADAT-equipped audio interface and allows for integrating 500 Series hardware and audio interfaces.

This unit offers 250mA per rail and a maximum of 2 amps of current for all 500 Series slots. Each slot has its own XLR input and output and a 1/4″ insert on the rear panel.

How To Set Up A 500 Series Rack

Now that we know about 500 Series modules and racks, let's take a look at setting up a rack. The standardization of the 500 Series makes this as easy as sliding the modules into place and securing them.

First off, we'll need a rack (or racks) with enough slots to fit all the modules we want to use.

On top of that, we should ensure that the rack meets or exceeds the combined power requirements of the modules. To do so, add up the current draw from all modules and make sure the number is lower than the total capacity of the rack/chassis.

Note that solid-state modules generally require less power than their vacuum tube-based counterparts.

Not having enough power will lead to poor performance and distortion in the audio signal.

As is the case with all audio equipment, it's also important to connect the rack to a surge protector to protect the rack and modules within from power surges, brownouts, etc.

When installing 500 Series modules, start by having the rack disconnected from power. Proceed by gently sliding the modules into their respective slots. Line up the pins of the module and rack slot and push the module in firmly until you hear a click. Once electrically connected, secure the module into the rack with screws through the faceplate screw holes.

As an additional note, try to position preamplifiers and other modules intended to boost the signal further away from the rack's main power supply. This can improve the signal-to-noise ratio by reducing electromagnetic interference.

Once all the modules are connected and secured, cover any unused slots with blank plates to keep dust out of the rack cavity. Make sure the rack has sufficient ventilation; plug it in and turn it on.

Once the 500 Series rack is set up, routing between modules becomes the same as other outboard gear. Turn down the volume of monitors and headphones to prevent loud popping and avoid hot patching microphone signals if phantom power is present.

Set up the resulting channel strip's signal flow to your liking via the inputs/output at the back of the rack or the internal patching (if available).

Then, integrate the 500 Series rack into the audio system before the audio interface as a hardware insert in a console, with a patch bay, etc.

What Is The VPR Alliance?

The VPR Alliance is a standardization and consistency guideline developed by API for the 500-series rack format. It provides complete design specifications for manufacturers interested in producing modules that will work specifically with API's 500 racks/chassis.

Specifications include power requirements and specific size measurements of the modules.

Of course, API is not the only manufacturer of 500 Series racks/chassis, and so the VPR Alliance is not a true industry-wide standard. However, the specifications therein are worth checking out if you're interested in designing and distributing your own 500 Series modules and want approval from API.

The truth is that most manufacturers do their due diligence to ensure their 500 Series products (whether it's a rack or a module) will work safely with other 500 Series equipment.

So, the VPR provides a useful framework for 500 Series specification, but it is by no means the be-all-end-all industry standard. Virtually all 500 Series modules that make it to the professional marketplace will work with other 500 Series equipment on the marketplace.

That being said, since API created the 500 Series format, it certainly makes sense for them to produce a program of standardization in the VPR Alliance.

Learn more about API Audio's VPR Alliance at API Audio.

Benefits Of The 500 Series Format

We've touched on the size and weight benefit of the 500 Series when compared to standard rack-mounted gear.

In addition to the compact form factor, 500 modules are designed to be compatible with other 500 modules and fit within a rack that not only hosts the modules but also powers them. This provides the benefit of not requiring separate power supplies for each unit.

Once mounted with a rack, 500 Series modules become rather portable, allowing users to easily carry their favourite signal chains with them to remote recording sessions and live performances if need be.

Due to the popularity of the format and the variety of different manufacturers, 500 Series equipment also offers plenty of choices. This is a huge benefit for budgeting and for developing a wide range of sonic palettes.

As we've discussed, 500 Series modules include mic preamps, compressors, equalizers, effects and other signal processors. With all the options and the inherent modular nature of the format, it's easy to swap modules in and out of a rack and patch the modules in all sorts of ways.

Let's recap. The benefits of the 500 Series format, in point form, are:

• Relatively compact size
• Standard size and power requirements
• Compatibility
• Relatively low weight
• Portability
• Modularity
• Plenty of options
• Relatively affordable

Is Investing In 500 Series Equipment Worth It?

Now that we understand 500 Series audio equipment and its benefits, the question remains: is it worth it? Of course, the answer is “it depends.” However, let's at least discuss the matter in this section.

The two most important factors to consider when deciding whether to purchase 500 Series gear are your budget and the current state of your studio.

Starting with the budget, people have plenty of different beliefs regarding money. That being said, I'm no financial expert, but if the question is paying rent or paying for a new 500 Series module, then you'd be unwise to invest in the module!

If you've got money in the bank and are looking for new toys, then a 500 Series rack could be an option for you. As mentioned, the gear is relatively affordable, and it's fun to mix and match. Just beware of the clever design and know that it's okay to have an empty slot or two… for now!

As a professional, I would ask myself what the return on investment would be. Do I absolutely need this hardware to complete a job I'm working on? If I bought this gear, would it allow me to take on work that I previously wouldn't be able to do? How long would it take for me to pay off the 500 Series equipment with paid work that requires it?

These are all considerations I suggest taking into account.

Related article: 52 Ways To Make Money In The Audio Industry

As for the current state of your studio, investing in any outboard gear should come after the basics are covered (computer, DAW, interface, headphones/monitors, microphones, cables, acoustic treatment, etc.). Once you've got a functional studio setup, I'd say that 500 Series equipment could be considered, but not before then.

Related article: Top 45 Must-Have Tools For Audio Recording/Mixing Studios

Coming from a totally in-the-box setup (where all processing comes in the form of plugins), adding some outboard 500 Series gear can add that extra sonic character. It can even improve the overall enjoyment of the mixing process by adding real knobs and buttons to the workflows (instead of having everything done via mouse click).

That being said, high-quality plugins can definitely achieve professional results and should not be overlooked. Perhaps it's best to start with plugins (bought legally!) to get an idea of what you like before getting into 500 Series gear. Plugins are inexpensive versus hardware gear.

If you're coming from a larger, successful studio that already has tons of outboard gear, a 500 Series rack can add extra character by providing alternative signal chains (over the channels of the mixing console, let's say).

So getting in 500 Series gear can be a fun and rewarding experience and can really help get you to your sonic goals. However, determining whether or not to invest in the gear is something you'll have to figure out for yourself.

Related Questions

What is standard rack mount audio equipment? Rackmount gear is designed to be modular and formatted to fit into a 19″ rack (width). Each rack unit (U) is 1.75″ (height). Rackmount gear has flanges with screw holes which allows for the equipment to be fastened to the frame of the rack. Racks can hold multiple pieces of rackmount gear.

What are all the audio effects and processes? The full list of audio effects and processes for mixing/production is as follows (link to detailed My New Microphone articles):

Dynamic Processes

• Compression
  • Diode Bridge Compression
  • FET Compression
  • Multiband Compression
  • Optical Compression
  • Parallel/Manhattan Compression
  • Pulse Width Modulation Compression
  • Sidechain Compression
  • Upward Compression
  • Variable Mu Compression
  • VCA Compression
• De-Esser
• Distortion
  • Bitcrushing
  • Clipping
  • Distortion
  • Fuzz
  • Overdrive
  • Sample Rate Reduction
  • Tape Saturation
  • Valve Saturation
• Exciter
• Expander
• Level
• Limiting
• Noise Gating
• Noise Reduction
• Transient Shaper

Modulation Effects

• Chorus
• Flanger
• Phaser
• Ring Modulation
• Rotary Effect
• Tremolo
• Vibrato

Sound Manipulation Processes

• Reverse
• Time Compression
• Time Expansion

Spectral Processes

• Equalization
  • Dynamic EQ
  • Graphic EQ
  • Linear Phase EQ
  • Mid-Side EQ
  • Parametric EQ
  • Passive EQ
  • Semi-Parametric EQ
  • Shelving EQ
  • Stereo EQ
• Filters
  • Band-pass Filter
  • Band-stop Filter
  • Bell Curve Filter
  • Envelope Filter
  • High-pass Filter
  • High Shelf Filter
  • Low-pass Filter
  • Low Shelf Filter
  • Wah
• Imaging
• Panning
• Pitch Correction
• Pitch Shifting

Time-Based Effects

• Delay
  • Analog (BBD) Delay
  • Digital Delay
  • Doubling Echo
  • Haas Effect
  • Ping Pong Delay
  • Reverse Delay
  • Shimmer Delay
  • Slapback Delay
  • Tape Delay
• Looping
• Reverb
  • Acoustic Emulation Reverb
  • Bloom Reverb
  • Convolution Reverb
  • Gated Reverb
  • Plate Reverb
  • Reverse Reverb
  • Shimmer Reverb
  • Spring Reverb

Building out your 500 Series system can be a challenging task. For this reason, I've created My New Microphone's Comprehensive 500 Series Buyer's Guide. Check it out for help in determining your next 500 Series purchases.

The post What Is 500 Series Audio Equipment & Is It Worth It? first appeared on My New Microphone and is written by Arthur Fox.