The Fredenstein Bento 6S is a high performance module carrier for Fredenstein Series 600 modules or API-500 compatible plug-in cards. Accepting a maximum of 6 modules, the Bento 6 features several important upgrades compared with third party products: Universal power supply with voltage range from 90V AC to 240V AC, 50 to 60 Hz., increased output currents of +/-16V DC 1.6A and +48V DC 0.15A, 533mA per slot (about 3 times more than the standard calls for).
The Bento 6S power supply is also designed for extremely low noise with state of the art switching regulators that operate above 200 kHz. They also follow “green” guidelines that minimize power consumption to only what is needed.
Other features include the capability to drive very large capacitive loads, others might oscillate if presented with large capacitors to charge. The Bento 6S ramps up in a controlled manner (typically 0.2 seconds) and unlike most, both the +16V and -16V are regulated separately, auxiliary audio inputs and outputs and built-in audio routing where modules can be simply daisy-chained, compressor buss linking, and from the back- panel, and a multi-Layer backplane for increased signal integrity and lower noise floor.
Rupert Neve 511 Mic Pre
500 Series Mic Pre with Texture
With a big, bold preamp and the flexibility of variable Silk/Texture, Rupert Neve designed the 511 to combine classic sonics with 500-series value. Incorporating the 517’s powerful preamp, the 5012’s universally useful sweepable high pass filter, and the transformer-saturating power of a variable silk circuit derived from our flagship Portico II Channel, the 511 is a Rupert Neve-designed micpre for the masses.
Designed for 500 Series by Mr. Rupert Neve
Rupert Neve: “While creating functional 500 series modules is relatively simple, designing those modules to equal their non-500 series counterparts with the current, voltage and space restraints is quite challenging. In creating our own 500-Series Modules, we experimented with a number of different transformer and circuit designs to achieve the same presence and sweetness found in the Portico Series of modules. The result of these efforts is that outside of the slightly lowered headroom, our 500 series modules are nearly indistinguishable from standard Portico Series modules, and are perfectly suited for studios of the highest caliber.”
Input signals may be derived from Mic or Line sources (make sure 48V is off for line sources!). The input has a 10K Ω non-reactive input resistance that handles a full 22dBu signal without the need for a pad. The pre-amp is a TLA non-reactive design that precludes the loading of microphones with limited driving capability. A primary gain control provides 66dB of gain in 6dB increments for easy recall, with a +/- 6dB trim for fine adjustment. For condenser microphones and powered DIs, there is +48V phantom power. A transient-optimized HPF continuously covering the range from 20-250Hz is included to tame rumble and proximity effect.
One of the key developments in the 511 is the Red Silk / Texture control from the Portico II Channel. Building on the “Silk” mode found in the Portico Series mic pre-amplifiers, Texture is designed to adjust the actual amount of harmonic music content from the source material, in effect, providing wide range of tonal options for the preamplifier. Like the original Portico Silk, the Silk Red / Texture works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble Mr. Rupert Neve’s vintage designs. With the 511, the Texture control allows these techniques to be pushed further than previous designs, adding about 10 times the desirable THD of the original silk control at its maximum setting.
With that said, we have taken great care to ensure that the musical integrity of source material itself will not be compromised by these harmonic controls (these are not to be confused with controls from other manufactures that may “incinerate”, “demolish” or “destroy” source material), and we believe they can be confidently utilized to fit the personality of any song, instrument or engineer.
Low Noise, Low Distortion Operation
Much care was given in designing the 511 to produce as little noise and non-harmonic distortion as possible. Carefully implemented signal paths and Class A operation are a large part of the 511’s sweet, whisper quiet performance.
- MIC GAIN - A 12-way precision rotary switch controls gain from 0 to 66 dB in 6 dB steps.
- TRIM - Continuously variable +/-6 dB level control.
- +48V - Engages phantom power on the microphone input, as supplied by the 500 series rack.
- POLARITY - Push button inverts the polarity of the signal path, and illuminates when engaged. The symbol “Ø” is often used to denote opposite polarity.
- HIGH PASS FILTER - The high pass filter is continuously variable from 20-250Hz and engaged by the HPF switch, which illuminates when engaged. It is a valuable aid in any signal chain, but particularly so in a microphone preamplifier. Signals below the selected frequency are attenuated at a rate of 12db / octave, getting rid of proximity effect, building rumble, air handling, motor hum, etc.
- SILK / TEXTURE - Pushing the Silk button engages the red Silk circuit, which reduces the negative feedback on the output transformer, adding harmonic content as the texture is increased. Red Silk accentuates the saturation in the mid and high frequencies, similar to that of the red silk mode on the Portico II Channel. By manipulating the Texture control, the amount of Silk can be changed from essentially absent, to roughly 10 times the amount of coloration / distortion found in Silk from the original Portico Series. With Silk / Texture engaged, the distortion characteristic and harmonic content of the unit are very reminiscent of many of Rupert’s class-A vintage designs.
- LEVEL METER - An Eight-segment LED bar-graph meter displays output level (pre-Silk). The color range proceeds from green for lower level signals, yellow for intermediate signals, and red for high levels. When the 511 is clipped, the highest red LED will hold longer depending on how far above the clip threshold the signal was.
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