Below are some of the models and descriptions of the items available from Red Penguin Rentals For pricing info, click here!

 

MIC PRE’s

Neve (AMS) 1073 DPA
Originally Designed by the Robert Neve Company in the early 1970’s. It is known as the “Gold Standard” in preamps. Copied by many never to the same standard. This 1073 is a “recreation” of the Original. This classic design is a consummate mic pre for recording vocals, guitars and acoustic instruments of all descriptions. The sought after Neve Sound is now available in its original form. Levels can be set using the classic gain control in 5dB steps then finely tuned with the Trim controls. XLR/Jack inputs also feature giving additional flexibility for use with stereo analogue synthesizers or Guitars.

API 512c (4) w/ Lunchbox (Drum Tracking package)
The API 512C is a mic/line/instrument preamp designed to provide a low noise, unusually good sounding front end for all types of audio systems. Front panel XLR and 1/4 inch connectors combined with rear panel mic access allows for additional flexibility when installed in an API LunchBox. What makes the API 512C unique is its long evolution from the original 1967 era 512, the first modular mic pre, to the current full featured 512C, while preserving the original sound character that made it so much a part of the early days of recording. Offering high headroom and a wide variety of inputs and input access points, it is ideal for unusual and demanding applications. The Lunch box Holds 6 API standard modules. Has a 48 Volt internal phantom power supply, Self-Powered, 100 to 250 Volts, 47 to 63 Hz which is switch-able. Perfect for remote recording of Vocalist and Instruments.
API512c, 550b (2), 560b, Purple action 500 series Compressor w/ Lunchbox (Guitar Tracking Package)
Includes the API 512c and Lunchbox described above. Also includes the 550b EQ. It includes 4 bands of the Famous API equalization. Each band has 7 API selected frequency centers. Reciprocal and repeatable filtering. 12 db of boost/cut per band. EQ band 1 and 4 offer shelf/peak switching. Proportional Q narrows filter Q at extremes. High Headroom +30db clip level. It is a reissue of the 1967 550 EQ with an extra band.
The 560b is a 10 band graphic EQ from the same era as the 550’s. It offers 10 bands of equalization. One octave centers. 12 dB of boost/cut per band. Proportional Q narrows filter Q at extremes. Additional Resolution within the ±4 region. Center Detent for reliable reset. Silent bypass button. It is the reissue of the 1969 560 EQ.
The Purple Action 500 series compressor features an Input attenuator feeding input transformer. Output Level Control. Input and output tricolor LED metering. Eight LED GR metering. Five ratios including "All buttons in" mode. Attack and Release controls. True Relay Bypass. Stereo Linking. Compression on/off switch. Discrete signal Path. Over Current Resettable Fused (prevents any module problem from affecting your rack).

Millenia Media HV-3c Mic Pre Amp
The Millenia Media HV-3c features unsurpassed ambience retrieval. Transformer-less design with matched hi-speed discrete transistor octet has 23 dB input headroom: no attenuator “pads” needed. Uncolored timbral accuracy at all dynamic levels. Entirely balanced audio path with precision components maintains signal integrity: THD under 5 ppm (.0005%). Effortless, vividly realistic, musical performance. Laser-trimmed FET-based output stage has 32 dB headroom: drives 1000 foot (300 m) cable runs with ease. Standard 36-step gain controls (1.5 dB per step) are stereo matched to .08 dB. Ultra-clean toroid power supply. Gold audio connectors and switches. Mogami Neglex OFC audio wiring. Silver Teflon power wiring.

Manley Dual Mono Mic Pre Amp
The Manley Dual Mono features MANLEY input & output transformers with nickel laminations in mu-metal cases. Flat frequency response from 10Hz-60KHz. Mic input PHASE REVERSE switch. 2400 ohm mic input Z; 48V phantom power built-in. Hi-Z (100Kohm) 1/4" DIRECT INPUT. Noiseless conductive plastic INPUT attenuators. <0.05% THD @ 1Khz S/N ratio: 80dB. EIN: -125dB. Adjustable FEEDBACK / GAIN switch selects 5dB steps between 40 to 60 dB of gain. Hi-current drive <50 ohm LO-Z 1/4" & XLR outputs. AUTO MUTE w/ warm-up delay for power up/down. Max. input (with input pad fully open): 450mV. Max. output: +32dBu. Max. output (into 600 ohm load): (+15dBm).

AD/DA CONVERTER’s

RME ADI-8ds Hi-Precision 8-Channel ADAT®/TDIF AD/DA Converter
The RME ADI-8ds features eight channel AD-converter, completely symmetrical and DC-coupled audio path, 117 dBA SNR AD. 8 channel DA-converter, balanced output, 112 dBA DA. ADAT optical inputs, 24 bit, based on RME's unsurpassed Bitclock PLL for sample accurate lock. ADAT optical outputs, 24 bit, fully compatible to all ADAT optical inputs. TDIF-1 interface, 24 bit, Low Jitter PLL, Emphasis support, DA-88 compatible. Bit Split/Combine, Yamaha 02R compatible technique to record 24 bit data onto 16 bit machines. Copy Mode adds a unique 24 bit ADAT to/from TDIF converter. Bit Split/Combine, Copy Mode, ADAT and TDIF usable in all combinations. Digital Patchbay operation, allows to copy, duplicate and distribute the digital input signals. Dither available, for full compatibility to 16 bit even at 96 kHz. Sync-Check, unique technology to check clock synchronization. Virtual Sample Buffer, allows to use the internal Low Jitter Clock (quartz crystal) even for DA-conversion. Automatic storage of all settings

COMPRESSOR’s

Manley Vari-Mu Limiter/Compressor
The Manley Vari-Mu Limiter/Compressor MANLEY input & output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHz. BALANCED INPUTS & OUTPUTS (600 ohms). Fully differential ALL-TUBE circuitry using one each 5670, 5751, 7044, & 12AL5 per channel. Independently regulated B+ and Heater supplies. Hard-wire BYPASS switch. Silent conductive plastic dual INPUT attenuator. RECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec. Variable ATTACK: 25msec-70msec. Continuously variable THRESHOLD, LIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1). Large ILLUMINATED Sifam METERS. STEREO LINK SWITCH. Maximum gain: 35dB, Max. output: +30dBu (26Vrms) 26dB Headroom. <0.1% THD @ 1KHz Noise floor: -85dB typical.

Empirical Labs Distressor EL8X
Unlike most analog compressor/limiters the Distressor is a digitally controlled audio device and actually incorporates several products into one by utilizing digital controls to switch totally different circuits in and out. Years of beta testing and redesign went into the Distressor as will be the case with all Empirical Labs products. Besides offering a wide range of control and unique features, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit. This "warmth" or vintage sound has become an important issue in the last 15 years, as the super clear and linear digital technology does very little (or nothing) to soften "harsh" sounds nor emphasize the bass frequencies in music sources. Older analog tape, vinyl records and tube equipment on the other hand, could not be prevented from coloring the sound, often to the frustration of recording engineers. However, many people have now realized that this coloring can be extremely pleasant and "musical".The current digital technology is often referred to as "cold" and "brittle" among other terms, although we prefer the term "unforgiving" to describe the negative side of the "linearity". The Distressor offers several modes that color the signal, even without compression (or gain control). These extended modes were designed to allow emulation of some very old and some very expensive vintage gain control units (compressors & limiters) and deliver a classic "knee" sound all its own.
The EL8x Features a Freq. response is 2 Hz to 160 kHz in clean audio mode (+0, -3 dB). Response is shaped in distortion modes (Dist 2, Dist 3). Dynamic range 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal to noise in distort 3 mode.Distortion ranges between .02% and 20% depending on distortion mode and release times set on front panel. DC coupled output - High quality input caps. nput impedance is 20K Ohms, Output impedance is < 75 ohms. Time constants - Attack range 50uS - 50mS. Release range .05 sec to 3.5 seconds, normal modes and up to 20 seconds in 10:1 opto mode. Time constants are dependant on ratio. Metal Chassis - single height 1.75" high, 10" deep, 19" wide.

Purple Action 500 series Compressor
The Purple Action 500 series compressor features an Input attenuator feeding input transformer. Output Level Control. Input and output tricolor LED metering. Eight LED GR metering. Five ratios including "All buttons in" mode. Attack and Release controls. True Relay Bypass. Stereo Linking. Compression on/off switch. Discrete signal Path. Over Current Resettable Fused (prevents any module problem from affecting your rack).

EQUALIZATION

API 550b EQ
Included in the API 512c and Lunchbox described above. The 550b includes 4 bands of the Famous API equalization. Each band has 7 API selected frequency centers. Reciprocal and repeatable filtering. 12 db of boost/cut per band. EQ band 1 and 4 offer shelf/peak switching. Proportional Q narrows filter Q at extremes. High Headroom +30db clip level. It is a reissue of the 1967 550 EQ with an extra band.

API 560b EQ
The 560b is a 10 band graphic EQ from the same era as the 550’s. It offers 10 bands of equalization. One octave centers. 12 dB of boost/cut per band. Proportional Q narrows filter Q at extremes. Additional Resolution within the ±4 region. Center Detent for reliable reset. Silent bypass button. It is the reissue of the 1969 560 EQ.

MICROPHONE’s

Korby Kat67 Microphone Capsule System
The KAT System is the first hot-swappable microphone capsule system of its kind to incorporate a matrix connection that will accept both the Neumann style center contact and the AKG style floating diaphragm. Available with 251, C12, U67, U47, and C800 head assemblies. The heads are truly hot-swappable and can be removed without the use of tools while in session.
The KAT67 system has a Pressure Gradient Operating Principle. Frequency is 30Hz to 18MHz. Switchable Polar Patterns from Omni to Figure 8. Omni Sensitivity is 22Mv/Pa weighted. Cardiod Sensitivity in 28mV/Pa weighted. Figure 8 sensitivity is 20mV/Pa weighted. 250 Ohm Impedence. S/N Ratio of 78dB. Max SPL is 118dB. One installed 12ax7 tube.

Neumann U87 Matched Pair (consecutive serial numbers)(Rent single or Pair)
Arguably the best known and most widely used studio microphone in the world (for good reason), the easy-to-recognize U 87 is a classic! A distinctive design and legendary Neumann sound make this mic a must-have for pro studios. The U 87 is known for its unique frequency and transient response characteristics which deliver a smooth natural sound with a variety of source material.
Variable large diaphragm microphone. Pressure-gradient transducer with double membrane capsule. The studio microphone classic. Three directional characteristics: omni, cardioid, figure-8. Switch-able low frequency roll-off. Switch-able 10 dB pre-attenuation. Ideal as main and as support microphone in the most differing recording situations.

Neumann km184 pair
Of the "fet100" series with a transformerless microphone circuit, Capsule with cardiod pick-up pattern.Exceptionally low inherent self-noise (16dB A-weighted).Exceptionally high overload capacity (up to 138dB SPL before overload).Exceptionally clear sound reproduction free of coloration. Very smooth frequency curves parallel to 0 degrees sound incidence.
Pressure gradient transducer. Cardiod pattern, 20Hz to 20kHz frequency range.12mV/Pa (-36.2dBu = +38.4 dBv) sensitivity. 50 ohms rated impedance, Equivalent loudness level due to inherent noise: 16dB (DIN/IEC 651 dB-A), 25dB (CCIR 468-3 weighted). S/N ratio re:1Pa @ 1kHz, (CCIR 468-3 weighted) 69 dB (S/N = 94dB - equiv. noise) A-weighted: 78dB. Max SPL for less than 0.5% THD: 138dB.Total dynamic range of the microphone amplifier (Max SPL-self noise): 122dB.Requires 48V phantom powering ±4 V, Current consumption: 2mA.

Royer R-121 Ribbon Condenser Microphone Matched Pair
High overload characteristics - maximum 130dB SPL. No internal active electronics to overload or produce distortion up to maximum SPL rating, Extremely low residual noise. Ribbon element is not affected by heat or humidity. Absence of high frequency phase distortion. Equal sensitivity from front or back of element. Consistent frequency response regardless of distance.
Acoustic Operating Principle: Electrodynamic pressure gradient . Polar Pattern: Figure-8, Generating Element: 2 micron aluminum ribbon. Frequency Response: 30 -15,000 Hz ± 3dB Sensitivity: -58 dBv Re. 1v/pa ± 1dB, Output Impedance: 200 Ohms @ 1K (nominal). Rated Load Impedance: >1000 Ohm, Maximum SPL: 130dB, Output Connector: Male XLR 3 pin (Pin 2 Hot)Included Accessories: Protective, lined wooden case.

Sennheiser MD441
The MD441 is acknowledged as the most accurate and versatile dynamic mic available. It has a nearly textbook perfect supercardioid pattern, a five-position low frequency contour switch, a two-position high frequency switch, a critically dampened internal shock suspension, and a hum bucking coil. Perfect for vocals and virtually every instrument.
Sennheiser MD421
The MD421 II continues the tradition of the MD 421 which has been one of Sennheiser's most popular dynamic mics for over 35 years. The large diaphragm, dynamic element handles high sound pressure levels, making it a natural for recording guitars and drums. The MD 421's full-bodied cardioid pattern, and five-position bass control make it an excellent choice for most instruments, as well as group vocals, or radio broadcast announcers. One listen and you'll know why it's a classic.

AKG D112
The D 112 has earned a well-deserved reputation worldwide as the best kick drum microphone ever made. Heavy-footed drummers won’t faze it, because the D 112 handles up to 160 dB SPL with no audible distortion. A specially engineered diaphragm with a very low resonance frequency maintains solid and powerful response below 100 Hz, while a narrow band presence rise at 4 kHz punches through dense mixes with little or no added EQ. The result is a kick drum sound that ideally balances precise definition and forceful impact. The D 112 is also an excellent choice for use with bass cabinets, trombones, etc. Built in windscreen, SA 60 stand adapter included.

For pricing info, click here!