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Продаётся легендарная студийная аналоговая консоль Amek 9098i console (72 in/48 buss, design by Rupert Neve). На консоли установлена позолоченная табличка с личной подписью Руперта Нива и серийным номером 001)
В цену входит разборка, доставка, установка, запуск и полная наладка консоли у нового хозяина!)
Вот описание похожей модели, на 56 каналов.
Также можно почитать о ней по этой ссылке
The console was originally designed by Rupert Neve in conjunction with Graham Langley for Amek in the mid 1990’s. Many top mixers believe it is the greatest sounding large format console ever designed. One of the cool features about the 9098 is the way a mixer can contour the EQ to get an old fat vintage Neve type sound or a completely modern surgical narrow Q. This along with full automation, recall, film panning, 5.1 and dynamics makes it one of the premier large format consoles EVER designed. This one is a 72 input that has been used sparingly in a private setting. It comes complete with 2 power supply towers, and manuals. Originally Amek produced a split 9098 (non ”I” version) but the 9098i is a more refined and superior console. This original console sold for over $500,000 new.
Features
In-line architecture
5.1 monitoring and mixing capability
Supertrue Automation
Both signal paths automated on P & G faders
Virtual Dynamics on both signal paths
Recall
Extensive machine control
Visual FX- Balanced Inserts on both signal paths
Transformer outputs on insert sends and buss outputs
Automated joystick option
Channel and monitor motorized faders
Frame sizes from 16 to 120 input modules
48 track routing matrix
LCRS buss & 4 additional Stereo busses
16 automated aux sends
8 mono & 4 stereo sends being switchable to 8 mono sends
TFT Screen showing Supertrue automation
16 user definable keys
Quick control keys
Comprehensive talkback
Central assignment panel.
AMEK 9098i Product Profile
The input modules of the 9098i start on top with multitrack routing capable of 48 tracks through 24 assign switches. These can be sourced from either the channel or monitor path or from any one pair of auxiliary sends using switching located in the master section. There are four stereo busses (labeled A, B, C and D) in addition to the main L/R bus, which may be sourced by the channel or monitor paths or aux 1 and 2 (cue A).
Traditional LCRS busing, if selected, is achieved using the multibusses as follows: 1 = L, 2 = R, 3 = C, 4 = S. Further LCRS stems can also be formed in a similar manner using higher groups of numbered busses (5, 6, 7, 8/9, 10, 11, 12 and so on).
Next is the input stage of the channel path with its mic/line input select and levels, bus/direct level control, phase, 48 V and direct switches. The input channel path uses Rupert Neve’s Transformer-Like Amplifier (TLA) design on both the line and microphone inputs. This design provides the benefits of a transformer without its disadvantages. The inputs are referred to by Mr. Neve as a Îvirtual Class A’ design – the circuit operates as a Class A amp (limiting distortion) over the most critical portions of the signal’s dynamic range.
Sixteen auxiliary sends, set up in pairs and normally sourced from the channel path, are available on each module. Half of these are stereo and all have pre/post and monitor switching (sourcing from the monitor path) in pairs, with individual mutes that can be automated. On aux send pairs 9/10 through 15/16, the send level and pan controls can be switched to feed aux send pairs 1/2 through 7/8. When used in tandem with the monitor source switch, this enables the monitor path independent access to auxes 1 through 8, even though the channel path on the same module may already have these same sends engaged on the original (first 8) auxiliaries.
When the stereo surround or 5.1 pan mode is selected in the master status section, aux 1 and 2 control the stereo surround signal and apply it to the chosen stereo surround bus, which can be either aux bus 1/2 or stereo bus A, B, C or D.
Aux pair 1/2 (cue A) and 3/4 (cue B) can also take a signal directly from the channel or monitor pan pot by using a SFP (send follows pan) switch. As an added bonus, the monitor fader can be swapped with aux level control 1/2 making automation and dynamics functions available to this aux.
High/low pass filters and EQ come next, with four bands available for the latter. Filters may be assigned to the dynamics side chain. The high-frequency range is normally a shelving filter with the turnover frequency continuously variable from 2 kHz to 21 kHz with a possible cut/boost of 18 dB. A dedicated switch adjusts the curve from shelving to bell.
The low frequency band operates in the same manner from 30 to 300 Hz. In addition, the high and low bands have switches referred to as sheen (for the high) and glow (for the low). Both these settings alter the curve of the EQ towards a more gentle slope.
The high mid band is continuously variable between 500 Hz and 5 kHz with an X5 button that changes these frequencies to 2.5 kHz and 25 kHz. The Q is continuous from 0.6 to 4 and a notch mode is also available. The low mids have the same features between 20 Hz and 200 Hz, 100 Hz and 1 kHz with the X5 switch depressed.
An automated EQ on/off button is also provided. Unique to this console is the option to move the HMF and the LMF bands and/or the HF and LF bands of the equalizer into the monitor path. With frequencies that overlap generously between the four EQ bands this split option could work well when two signals in the same module both need EQ attention.
Right above the monitor section are the insert on/off (with pre/post option) switches. There are insert points available on the 9098i for both the channel and monitor paths and, as on all the most critical outputs, the insert feeds are transformer driven.
The monitor section begins with separate tape and bus switches that toggle the monitor input source between the tape and bus returns. This function can also be controlled globally within the master section. There is a detented pot provided for tape/bus gain and separate input and fader reverse switches that swap these functions independently between the channel and monitor signal paths. The monitor fader is a touch-sensitive 65mm P&G motorized fader, allowing automation with or without a VCA. Dynamics are also available for the monitor section, which includes a five-segment gain reduction meter.
The channel input also has a dynamic section with a five-segment gain reduction meter. The pan normally goes between L&R, but pans across LCR when the LCRS switch is activated. There is also a separate surround pan pot that controls the balance of the signal between the LCR and the surrounds.
A record-ready switch is also available to control a tape machine via a relay contact. The channel fader is a touch sensitive P&G 104mm motorized fader, allowing automation with or without a VCA. An automated mute is also, of course, in place for the channel signal. Both channel and monitor signals have solo switches with many modes of operation that can be set up in the master section of the 9098i. A four-segment PFL meter displays the channel’s pre-fader level on each module.
The 9098i comes equipped with four 9098L stereo modules located to the left of the center screen. Additional stereo modules can be fitted to any position. Each stereo module incorporates both a stereo input channel and a stereo effects (FX) return path. A-B and M-S signal processing are both available on the stereo channel, in addition to more or less the same features available on mono channels. These include: dynamics, aux sends, inserts, limited EQ, high-pass filter and a touch-sensitive P&G stereo 104mm fader. The stereo input path can alternately act as a stereo subgroup master. All 16 aux sends can also be accessed by the FX return signal, though only eight different sends can operate at any given time.
At the center/master section of the 9098i are the usual collection of functions among 12 panels arranged in a straightforward and logical manner. In the central area of the master section is the 9098iH master panel with 56 internally illuminated latching witches controlling a variety of console master statuses.
These include record status and standard multitrack recording setup (where mic/line ignals feed the channel path which is routed to the 48-track routing matrix). The monitor path is fed from tape with its output fed to the stereo/LCRS bus. Mix status; the tape input is fed to the channel path as well as the monitor path and both feed the stereo bus. Broadcast, film and direct (routes directly to tape to avoid the summing amplifiers) modes function in a similar manner, configuring the console switching globally to operate in many different situations.
Продаётся легендарная студийная аналоговая консоль Amek 9098i console (72 in/48 buss, design by Rupert Neve). На консоли установлена позолоченная табличка с личной подписью Руперта Нива и серийным номером 001)
В цену входит разборка, доставка, установка, запуск и полная наладка консоли у нового хозяина!)
Вот описание похожей модели, на 56 каналов.
Также можно почитать о ней по этой ссылке
The console was originally designed by Rupert Neve in conjunction with Graham Langley for Amek in the mid 1990’s. Many top mixers believe it is the greatest sounding large format console ever designed. One of the cool features about the 9098 is the way a mixer can contour the EQ to get an old fat vintage Neve type sound or a completely modern surgical narrow Q. This along with full automation, recall, film panning, 5.1 and dynamics makes it one of the premier large format consoles EVER designed. This one is a 72 input that has been used sparingly in a private setting. It comes complete with 2 power supply towers, and manuals. Originally Amek produced a split 9098 (non ”I” version) but the 9098i is a more refined and superior console. This original console sold for over $500,000 new.
Features
In-line architecture
5.1 monitoring and mixing capability
Supertrue Automation
Both signal paths automated on P & G faders
Virtual Dynamics on both signal paths
Recall
Extensive machine control
Visual FX- Balanced Inserts on both signal paths
Transformer outputs on insert sends and buss outputs
Automated joystick option
Channel and monitor motorized faders
Frame sizes from 16 to 120 input modules
48 track routing matrix
LCRS buss & 4 additional Stereo busses
16 automated aux sends
8 mono & 4 stereo sends being switchable to 8 mono sends
TFT Screen showing Supertrue automation
16 user definable keys
Quick control keys
Comprehensive talkback
Central assignment panel.
AMEK 9098i Product Profile
The input modules of the 9098i start on top with multitrack routing capable of 48 tracks through 24 assign switches. These can be sourced from either the channel or monitor path or from any one pair of auxiliary sends using switching located in the master section. There are four stereo busses (labeled A, B, C and D) in addition to the main L/R bus, which may be sourced by the channel or monitor paths or aux 1 and 2 (cue A).
Traditional LCRS busing, if selected, is achieved using the multibusses as follows: 1 = L, 2 = R, 3 = C, 4 = S. Further LCRS stems can also be formed in a similar manner using higher groups of numbered busses (5, 6, 7, 8/9, 10, 11, 12 and so on).
Next is the input stage of the channel path with its mic/line input select and levels, bus/direct level control, phase, 48 V and direct switches. The input channel path uses Rupert Neve’s Transformer-Like Amplifier (TLA) design on both the line and microphone inputs. This design provides the benefits of a transformer without its disadvantages. The inputs are referred to by Mr. Neve as a Îvirtual Class A’ design – the circuit operates as a Class A amp (limiting distortion) over the most critical portions of the signal’s dynamic range.
Sixteen auxiliary sends, set up in pairs and normally sourced from the channel path, are available on each module. Half of these are stereo and all have pre/post and monitor switching (sourcing from the monitor path) in pairs, with individual mutes that can be automated. On aux send pairs 9/10 through 15/16, the send level and pan controls can be switched to feed aux send pairs 1/2 through 7/8. When used in tandem with the monitor source switch, this enables the monitor path independent access to auxes 1 through 8, even though the channel path on the same module may already have these same sends engaged on the original (first 8) auxiliaries.
When the stereo surround or 5.1 pan mode is selected in the master status section, aux 1 and 2 control the stereo surround signal and apply it to the chosen stereo surround bus, which can be either aux bus 1/2 or stereo bus A, B, C or D.
Aux pair 1/2 (cue A) and 3/4 (cue B) can also take a signal directly from the channel or monitor pan pot by using a SFP (send follows pan) switch. As an added bonus, the monitor fader can be swapped with aux level control 1/2 making automation and dynamics functions available to this aux.
High/low pass filters and EQ come next, with four bands available for the latter. Filters may be assigned to the dynamics side chain. The high-frequency range is normally a shelving filter with the turnover frequency continuously variable from 2 kHz to 21 kHz with a possible cut/boost of 18 dB. A dedicated switch adjusts the curve from shelving to bell.
The low frequency band operates in the same manner from 30 to 300 Hz. In addition, the high and low bands have switches referred to as sheen (for the high) and glow (for the low). Both these settings alter the curve of the EQ towards a more gentle slope.
The high mid band is continuously variable between 500 Hz and 5 kHz with an X5 button that changes these frequencies to 2.5 kHz and 25 kHz. The Q is continuous from 0.6 to 4 and a notch mode is also available. The low mids have the same features between 20 Hz and 200 Hz, 100 Hz and 1 kHz with the X5 switch depressed.
An automated EQ on/off button is also provided. Unique to this console is the option to move the HMF and the LMF bands and/or the HF and LF bands of the equalizer into the monitor path. With frequencies that overlap generously between the four EQ bands this split option could work well when two signals in the same module both need EQ attention.
Right above the monitor section are the insert on/off (with pre/post option) switches. There are insert points available on the 9098i for both the channel and monitor paths and, as on all the most critical outputs, the insert feeds are transformer driven.
The monitor section begins with separate tape and bus switches that toggle the monitor input source between the tape and bus returns. This function can also be controlled globally within the master section. There is a detented pot provided for tape/bus gain and separate input and fader reverse switches that swap these functions independently between the channel and monitor signal paths. The monitor fader is a touch-sensitive 65mm P&G motorized fader, allowing automation with or without a VCA. Dynamics are also available for the monitor section, which includes a five-segment gain reduction meter.
The channel input also has a dynamic section with a five-segment gain reduction meter. The pan normally goes between L&R, but pans across LCR when the LCRS switch is activated. There is also a separate surround pan pot that controls the balance of the signal between the LCR and the surrounds.
A record-ready switch is also available to control a tape machine via a relay contact. The channel fader is a touch sensitive P&G 104mm motorized fader, allowing automation with or without a VCA. An automated mute is also, of course, in place for the channel signal. Both channel and monitor signals have solo switches with many modes of operation that can be set up in the master section of the 9098i. A four-segment PFL meter displays the channel’s pre-fader level on each module.
The 9098i comes equipped with four 9098L stereo modules located to the left of the center screen. Additional stereo modules can be fitted to any position. Each stereo module incorporates both a stereo input channel and a stereo effects (FX) return path. A-B and M-S signal processing are both available on the stereo channel, in addition to more or less the same features available on mono channels. These include: dynamics, aux sends, inserts, limited EQ, high-pass filter and a touch-sensitive P&G stereo 104mm fader. The stereo input path can alternately act as a stereo subgroup master. All 16 aux sends can also be accessed by the FX return signal, though only eight different sends can operate at any given time.
At the center/master section of the 9098i are the usual collection of functions among 12 panels arranged in a straightforward and logical manner. In the central area of the master section is the 9098iH master panel with 56 internally illuminated latching witches controlling a variety of console master statuses.
These include record status and standard multitrack recording setup (where mic/line ignals feed the channel path which is routed to the 48-track routing matrix). The monitor path is fed from tape with its output fed to the stereo/LCRS bus. Mix status; the tape input is fed to the channel path as well as the monitor path and both feed the stereo bus. Broadcast, film and direct (routes directly to tape to avoid the summing amplifiers) modes function in a similar manner, configuring the console switching globally to operate in many different situations.
ID: 791382458
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Опубліковано 16 квітня 2024 р.
Amek 9098i console (design by Rupert Neve) Студийная консоль 320000$
12 800 000 грн.
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