SPL

The director sets the tone. The central unit of the HiFi system is the preamplifier. With remote source selection and volume control, retro-look-VU-meter, premium DA-converter and the all superior VOLTAiR technology, the Director Mk2 caters for musical blockbusters. Milled from solid is the big 45mm Volume control. Its mass together with the  motorized Alps RK27 “Big Blue” potentiometer enhances the “spoon in the honey” feeling even further. The red marker LED makes the setting visible even in darkened environments. Volume RC The volume can be remote controlled with any infrared remote control, that the Director Mk2 simply learns. Learning made easy This video explains how you can use any infrared remote control to remotely control the volume and the source selection. Source of joy Up to ten (10 !) stereo sources can be connected to the Director Mk2. Six of them are for analog and four for digital input signals. The source selection is shown in the dot matrix LED display: IN 1 through IN 6 for the analog inputs. AES, USB, COAX, OPTI for the digital inputs, where the detected sample rate is displayed after about two seconds. For example U768 = USB input with 768kHz sampling rate. The source selection can also be operated remotely if the rotary switch is set to the “Remote” position. The Director Mk2 offers two pairs of balanced inputs with XLR connectors and four standard inputs with gold-plated RCA connectors. On the digital side there are four additional inputs. PCM audio is received in S/P-DIF format via coaxial Cinch, optical Toslink and balanced XLR (AES). Both PCM audio and DSD audio can be converted via USB. The DAC768 The highly acclaimed AKM AK4490 Velvet Sound™ premium DAC chip is used as the converter chip in the digital-to-analog converter, which thanks to its new architecture reproduces the finest sound details. It converts PCM audio with a resolution of 32 bits and a sampling rate of up to 768kHz, which is equivalent to 16 times CD resolution. Direct Stream Digital is also supported up to a resolution of DSD4 or DSD256. The DLP120 The analog output of the DAC chip must be filtered by a low pass filter. Director Mk2 has two of them: One for PCM audio and one for DSD audio, since different roll-off frequencies are required. And in contrast to all other DACs in the world, the low pass filters here are built using VOLTAiR technology, which provides a plus in dynamics and headroom. Good ol' times Two mechanical VU meters visualize the input levels for the left and right audio channel. With the VU switch you can optimize the display for different signal levels. Tape Monitor A tape monitor circuitry is quite retro. Who still owns a cassette recorder or a tape machine? Who still has an equalizer? To put it another way: Who would like to do it and cannot do it because no manufacturer offers a tape monitor circuit anymore? Well, those who want can again. Today’s audio levels are much higher than in the past and many recorders will be overloaded by them. In that case simply press the switch and the level to the recorder is lowered by 10 dB. To compensate, the level from the recorder is increased by 10 dB. Et voilà. Preamp & Direct Out On the output side, power amplifiers or active loudspeakers can be connected to the preamp output sockets using XLRs. The Direct Out via RCA picks up the output signal before the volume control and thus offers the possibility to connect a headphone amplifier. AMP CTL Practical are the AMP CTL sockets to which power amplifiers with 12 V trigger inputs can be connected in order to remotely switch them on and off together with the Director Mk2. Specifications: Analog Inputs & Outputs: XLR (balanced), RCA Maximum input & output gain: 32.5 dBu Input impedance (RCA): 47 kΩ Input impedance (XLR): 20 kΩ Output impedance: 75 Ω Common mode rejection (XLR): -82 dBu Frequency range (-3 dB): 4 Hz – 300 Crosstalk (1 kHz): -108 dBu THD (0 dBu, 1 kHz): 0.000992 % Noise (A-weighted): -102.5 dBu Dynamic range: 135 dB Digital Inputs, DAC768 AES/EBU (XLR), PCM sample rates: 44.1/48/88.2/96/176.4/192 kHz Coaxial SPDIF (RCA), PCM sample rates: 44.1/48/88.2/96/176.4/192 kHz Optical SPDIF (Toslink F06), PCM sample rates: 44.1/48/88.2/96/with Glass fibre

The director sets the tone. The central unit of the HiFi system is the preamplifier. With remote source selection and volume control, retro-look-VU-meter, premium DA-converter and the all superior VOLTAiR technology, the Director Mk2 caters for musical blockbusters. Milled from solid is the big 45mm Volume control. Its mass together with the  motorized Alps RK27 “Big Blue” potentiometer enhances the “spoon in the honey” feeling even further. The red marker LED makes the setting visible even in darkened environments. Volume RC The volume can be remote controlled with any infrared remote control, that the Director Mk2 simply learns. Learning made easy This video explains how you can use any infrared remote control to remotely control the volume and the source selection. Source of joy Up to ten (10 !) stereo sources can be connected to the Director Mk2. Six of them are for analog and four for digital input signals. The source selection is shown in the dot matrix LED display: IN 1 through IN 6 for the analog inputs. AES, USB, COAX, OPTI for the digital inputs, where the detected sample rate is displayed after about two seconds. For example U768 = USB input with 768kHz sampling rate. The source selection can also be operated remotely if the rotary switch is set to the “Remote” position. The Director Mk2 offers two pairs of balanced inputs with XLR connectors and four standard inputs with gold-plated RCA connectors. On the digital side there are four additional inputs. PCM audio is received in S/P-DIF format via coaxial Cinch, optical Toslink and balanced XLR (AES). Both PCM audio and DSD audio can be converted via USB. The DAC768 The highly acclaimed AKM AK4490 Velvet Sound™ premium DAC chip is used as the converter chip in the digital-to-analog converter, which thanks to its new architecture reproduces the finest sound details. It converts PCM audio with a resolution of 32 bits and a sampling rate of up to 768kHz, which is equivalent to 16 times CD resolution. Direct Stream Digital is also supported up to a resolution of DSD4 or DSD256. The DLP120 The analog output of the DAC chip must be filtered by a low pass filter. Director Mk2 has two of them: One for PCM audio and one for DSD audio, since different roll-off frequencies are required. And in contrast to all other DACs in the world, the low pass filters here are built using VOLTAiR technology, which provides a plus in dynamics and headroom. Good ol' times Two mechanical VU meters visualize the input levels for the left and right audio channel. With the VU switch you can optimize the display for different signal levels. Tape Monitor A tape monitor circuitry is quite retro. Who still owns a cassette recorder or a tape machine? Who still has an equalizer? To put it another way: Who would like to do it and cannot do it because no manufacturer offers a tape monitor circuit anymore? Well, those who want can again. Today’s audio levels are much higher than in the past and many recorders will be overloaded by them. In that case simply press the switch and the level to the recorder is lowered by 10 dB. To compensate, the level from the recorder is increased by 10 dB. Et voilà. Preamp & Direct Out On the output side, power amplifiers or active loudspeakers can be connected to the preamp output sockets using XLRs. The Direct Out via RCA picks up the output signal before the volume control and thus offers the possibility to connect a headphone amplifier. AMP CTL Practical are the AMP CTL sockets to which power amplifiers with 12 V trigger inputs can be connected in order to remotely switch them on and off together with the Director Mk2. Specifications: Analog Inputs & Outputs: XLR (balanced), RCA Maximum input & output gain: 32.5 dBu Input impedance (RCA): 47 kΩ Input impedance (XLR): 20 kΩ Output impedance: 75 Ω Common mode rejection (XLR): -82 dBu Frequency range (-3 dB): 4 Hz – 300 Crosstalk (1 kHz): -108 dBu THD (0 dBu, 1 kHz): 0.000992 % Noise (A-weighted): -102.5 dBu Dynamic range: 135 dB Digital Inputs, DAC768 AES/EBU (XLR), PCM sample rates: 44.1/48/88.2/96/176.4/192 kHz Coaxial SPDIF (RCA), PCM sample rates: 44.1/48/88.2/96/176.4/192 kHz Optical SPDIF (Toslink F06), PCM sample rates: 44.1/48/88.2/96/with Glass fibre

Finally an analog crossover again It is difficult to optimally integrate subwoofers. At present, there are almost only digital crossovers for this purpose. But who wants to convert back and forth? You don’t need to anymore. Our Crossover sets the crossovers anew. Crossing over The crossover is divided into two section: The Low section for the subwoofer (mono or stereo) and the Mid-Hi section for the top/main speakers. The crossover frequencies for Low and Mid-Hi can be set individually from 50 Hz to 120 Hz in 6 positions. The Low filter has a slope of 24 dB per octave. The slope of the MID-HI filter can be switched from 12 dB (Butterworth) to 24 dB (Linkwitz/Riley). In Phase Audio signals should come from the speakers and subwoofers in phase. The crossover offers variable phase control for this purpose. Use the toggle switch to activate the phase control (phase 0° or phase -180°) and use the control to establish simultaneousness. If the phase control is not required, it can be switched off and thus disappears completely from the signal path. One or two? If you want to connect two subwoofers (one for L and one for R), this switch should be set to stereo. If you only use one subwoofer, switch to mono. The crossover creates a mono signal of the Low frequencies and outputs it to both Low outputs (L + R). On or off? If you prefer to run the top/main speakers full-range, you can switch off the MID-Hi filter. Get rid off it With the Low Cut filter all frequencies below 20 Hz can be filtered out with a 6dB roll-off. This way, no inaudible low frequencies get into the power amplifier, which relieves it a lot. As long as you're having fun The output volume of the subwoofer can be varied from -10 dB to +10 dB. In addition to the purely corrective adjustment of the speaker system, you can add more bass into recordings that lack low end.  It’s like saying, “Happiness is when the bass kicks in.” Good ol' times Two mechanical VU meters visualize the input levels for the left and right audio channel. With the VU switch you can optimize the display for different signal levels. Sources The Elector offers both balanced inputs with XLR sockets and standard inputs with gold-plated RCA sockets. Low & Mid-Hi On the output side, the power amplifiers or active loudspeakers or subwoofers are connected to the Low & Mid-Hi output sockets by means of balanced XLRs. This means that even long cable runs to e.g. mono power amps placed next to the speaker are possible without the risk of interference. AMP CTL Practical are the AMP CTL sockets, to which up to four power amplifiers with 12 V trigger inputs can be connected to switch them on and off together with the crossover. The crossover itself can also be switched on by a preamplifier like the Director Mk2 or Phonitor x. Specifications: Analog Inputs & Output: XLR (balanced) and RCA Maximum input & output gain: 32.5 dB Input impedance (RCA): 20 kΩ Input impedance (XLR): 20 kΩ Output impedance: 75 Ω Common mode rejection (XLR): -82 dBu Frequency range (-3 dB): 4 Hz – 300 kHz Crosstalk (1 kHz): -70 dBu THD (0 dBu, 1 kHz, MID-Hi filter on): 0.0008 % THD (0 dBu, 30 Hz, LOW filter on): 0.0014 % Noise (A-weighted, MID-HI output): -106 dBu Noise (A-weighted, LOW output): -104,9 dBu Dynamic range (MID-HI output): 138 dB Dynamic range (LOW output): 136.9 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 500 mA Fuse for 115 V: T 1 A Power consumption: max. 50 VA Stand-by power consumption: < 0,3 W Dimensions & Weight W x H x D (width x height incl. feet x depth): 278 x 100 x 330 mm Unit weight: 5,4 kg Shipping weight (incl. packaging): 7,0 kg

Finally an analog crossover again It is difficult to optimally integrate subwoofers. At present, there are almost only digital crossovers for this purpose. But who wants to convert back and forth? You don’t need to anymore. Our Crossover sets the crossovers anew. Crossing over The crossover is divided into two section: The Low section for the subwoofer (mono or stereo) and the Mid-Hi section for the top/main speakers. The crossover frequencies for Low and Mid-Hi can be set individually from 50 Hz to 120 Hz in 6 positions. The Low filter has a slope of 24 dB per octave. The slope of the MID-HI filter can be switched from 12 dB (Butterworth) to 24 dB (Linkwitz/Riley). In Phase Audio signals should come from the speakers and subwoofers in phase. The crossover offers variable phase control for this purpose. Use the toggle switch to activate the phase control (phase 0° or phase -180°) and use the control to establish simultaneousness. If the phase control is not required, it can be switched off and thus disappears completely from the signal path. One or two? If you want to connect two subwoofers (one for L and one for R), this switch should be set to stereo. If you only use one subwoofer, switch to mono. The crossover creates a mono signal of the Low frequencies and outputs it to both Low outputs (L + R). On or off? If you prefer to run the top/main speakers full-range, you can switch off the MID-Hi filter. Get rid off it With the Low Cut filter all frequencies below 20 Hz can be filtered out with a 6dB roll-off. This way, no inaudible low frequencies get into the power amplifier, which relieves it a lot. As long as you're having fun The output volume of the subwoofer can be varied from -10 dB to +10 dB. In addition to the purely corrective adjustment of the speaker system, you can add more bass into recordings that lack low end.  It’s like saying, “Happiness is when the bass kicks in.” Good ol' times Two mechanical VU meters visualize the input levels for the left and right audio channel. With the VU switch you can optimize the display for different signal levels. Sources The Elector offers both balanced inputs with XLR sockets and standard inputs with gold-plated RCA sockets. Low & Mid-Hi On the output side, the power amplifiers or active loudspeakers or subwoofers are connected to the Low & Mid-Hi output sockets by means of balanced XLRs. This means that even long cable runs to e.g. mono power amps placed next to the speaker are possible without the risk of interference. AMP CTL Practical are the AMP CTL sockets, to which up to four power amplifiers with 12 V trigger inputs can be connected to switch them on and off together with the crossover. The crossover itself can also be switched on by a preamplifier like the Director Mk2 or Phonitor x. Specifications: Analog Inputs & Output: XLR (balanced) and RCA Maximum input & output gain: 32.5 dB Input impedance (RCA): 20 kΩ Input impedance (XLR): 20 kΩ Output impedance: 75 Ω Common mode rejection (XLR): -82 dBu Frequency range (-3 dB): 4 Hz – 300 kHz Crosstalk (1 kHz): -70 dBu THD (0 dBu, 1 kHz, MID-Hi filter on): 0.0008 % THD (0 dBu, 30 Hz, LOW filter on): 0.0014 % Noise (A-weighted, MID-HI output): -106 dBu Noise (A-weighted, LOW output): -104,9 dBu Dynamic range (MID-HI output): 138 dB Dynamic range (LOW output): 136.9 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 500 mA Fuse for 115 V: T 1 A Power consumption: max. 50 VA Stand-by power consumption: < 0,3 W Dimensions & Weight W x H x D (width x height incl. feet x depth): 278 x 100 x 330 mm Unit weight: 5,4 kg Shipping weight (incl. packaging): 7,0 kg

Finally an analog crossover again It is difficult to optimally integrate subwoofers. At present, there are almost only digital crossovers for this purpose. But who wants to convert back and forth? You don’t need to anymore. Our Crossover sets the crossovers anew. Crossing over The crossover is divided into two section: The Low section for the subwoofer (mono or stereo) and the Mid-Hi section for the top/main speakers. The crossover frequencies for Low and Mid-Hi can be set individually from 50 Hz to 120 Hz in 6 positions. The Low filter has a slope of 24 dB per octave. The slope of the MID-HI filter can be switched from 12 dB (Butterworth) to 24 dB (Linkwitz/Riley). In Phase Audio signals should come from the speakers and subwoofers in phase. The crossover offers variable phase control for this purpose. Use the toggle switch to activate the phase control (phase 0° or phase -180°) and use the control to establish simultaneousness. If the phase control is not required, it can be switched off and thus disappears completely from the signal path. One or two? If you want to connect two subwoofers (one for L and one for R), this switch should be set to stereo. If you only use one subwoofer, switch to mono. The crossover creates a mono signal of the Low frequencies and outputs it to both Low outputs (L + R). On or off? If you prefer to run the top/main speakers full-range, you can switch off the MID-Hi filter. Get rid off it With the Low Cut filter all frequencies below 20 Hz can be filtered out with a 6dB roll-off. This way, no inaudible low frequencies get into the power amplifier, which relieves it a lot. As long as you're having fun The output volume of the subwoofer can be varied from -10 dB to +10 dB. In addition to the purely corrective adjustment of the speaker system, you can add more bass into recordings that lack low end.  It’s like saying, “Happiness is when the bass kicks in.” Good ol' times Two mechanical VU meters visualize the input levels for the left and right audio channel. With the VU switch you can optimize the display for different signal levels. Sources The Elector offers both balanced inputs with XLR sockets and standard inputs with gold-plated RCA sockets. Low & Mid-Hi On the output side, the power amplifiers or active loudspeakers or subwoofers are connected to the Low & Mid-Hi output sockets by means of balanced XLRs. This means that even long cable runs to e.g. mono power amps placed next to the speaker are possible without the risk of interference. AMP CTL Practical are the AMP CTL sockets, to which up to four power amplifiers with 12 V trigger inputs can be connected to switch them on and off together with the crossover. The crossover itself can also be switched on by a preamplifier like the Director Mk2 or Phonitor x. Specifications: Analog Inputs & Output: XLR (balanced) and RCA Maximum input & output gain: 32.5 dB Input impedance (RCA): 20 kΩ Input impedance (XLR): 20 kΩ Output impedance: 75 Ω Common mode rejection (XLR): -82 dBu Frequency range (-3 dB): 4 Hz – 300 kHz Crosstalk (1 kHz): -70 dBu THD (0 dBu, 1 kHz, MID-Hi filter on): 0.0008 % THD (0 dBu, 30 Hz, LOW filter on): 0.0014 % Noise (A-weighted, MID-HI output): -106 dBu Noise (A-weighted, LOW output): -104,9 dBu Dynamic range (MID-HI output): 138 dB Dynamic range (LOW output): 136.9 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 500 mA Fuse for 115 V: T 1 A Power consumption: max. 50 VA Stand-by power consumption: < 0,3 W Dimensions & Weight W x H x D (width x height incl. feet x depth): 278 x 100 x 330 mm Unit weight: 5,4 kg Shipping weight (incl. packaging): 7,0 kg

Mastering Equalizer This is a unique equalizer – for several reasons. It has two times five fully parametric filter bands, each of which can be switched between constant Q and proportional Q! And there’s sheer unlimited headroom and a very special kind of EQ sound – thanks to 120V technology. Stepped Potentiometers Recall of all settings is easy thanks to the potentiometers with 41 steps. Cut/Boost & 1/4 Gain Each filter band can be boosted or cut up to 20 dB. If only minimal changes are required, the 1/4 Gain switch can be used to reduce the boost or cut range from +/-20 dB to +/-5 dB. Frequencies We have designed the frequency distribution to overlap widely between the bands, so that problematic frequencies can also be addressed with two bands. Bandwidth Q The bandwidth Q determines the steepness of bell characteristic. A small Q is a wide bandwidth and a high Q a narrow bandwidth. The labeling of the scale is divided into two parts. The values with white background refer to the proportional Q mode and the values without background refer to the constant Q mode. On/Off The orange button is used to switch the individual filter band on and off.  Constant & Proportional Q The blue button is used to toggle the Q mode. In constant Q mode, the amplitude is constant regardless of the selected bandwidth. This is ideal for eliminating interfering frequencies. In proportional Q mode, the amplitude is proportional to the bandwidth. It decreases with increasing bandwidth and vice versa. At the smallest bandwidth setting, the maximum amplitude value is +/- 20 dB, while the maximum amplitude decreases to +/- 2.8 dB at the largest bandwidth setting. This control behavior simplifies sensitive, creative processing and is musically very useful, since high amplitudes become increasingly unusable with increasing bandwidth. Auto Bypass For an objective evaluation of the edited music program, it makes sense not to switch between the original signal and the edited signal yourself, but to leave this to an automatic system. It is also an advantage that, for an optimal evaluation of the processing, one does not have to move from the stereo center and can concentrate fully on the program. With the help of the Interval control the switching time window can be determined. Turning it clockwise extends the time interval. Link The PQ is designed as a completely separate dual-mono, two-channel equalizer and can individually process two mono music programs simultaneously. It is of course also possible to edit a stereo program (left/right). If the Link function is activated, the functions LF, LMF, MF, MHF, HF On/Off and Con. Q/Prop.Q on both sides are switched together by the buttons on one side. This makes it possible to activate or deactivate a filter band or the Q characteristic on both sides of the equalizer with a single button operation. In Link mode, the right side controls the left side as factory preset. However, this can be adapted to individual working habits. If the channel switch of a channel is pressed until it flashes, this channel controls the other side from that moment on. Channel On/Off The orange button switches the entire channel on and off. Specifications: Analog inputs & output: XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -82 dBu Frequency range (-3 dB): 10 Hz – 100 kHz THD & N (+30 dBu, 1 kHz): 0.0005 % Noise (A-weighted): -94.3 dBu Dynamic range: 135 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 3.15 mA Fuse for 115 V: T 6.3 A Power consumption: max. 100 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 177 x 300 mm Unit weight: 15.2 kg Shipping weight (incl. packaging): 18.7 kg

Passive Mastering Equalizer In the PASSEQ we have revived the concept of the passive equalizer that was used in the 50’s and 60’s. The charming sound of this vintage technology combined with the modern 120V technology results in a very special equalizer. Only one filter​ All control functions are part of only one passive filter. There are three frequency ranges: Low Freq / Mid Freq / High Freq Each with a cut control on the left and a boost control on the right. In the middle is the output control. Design A passive filter has no amplification stages. It can therefore only be lowered. If one frequency is to be boosted, all the others must be lowered. Behind the filter there is a stage that makes up for the lowered overall level. Since low noise is particularly important here, since up to 20 dB can be made up for, the 120V technology comes into its own. The entire passive filter (variable resistor, capacitor and coil) provides a very nice sound characteristic. Besides the choice of components, the charging behaviour of the capacitors and the saturation behaviour of the coils play a major role in this. The resulting relative inertia compared to potentially very fast active filters is the reason for a pleasant, musically advantageous sound characteristic. We would choose smoothness and transparency as well as strikingly silky highs and pithy basses as a description that suits our perception. During fine-tuning, through component selection, in countless listening sessions, the emphasis was on achieving the most musical sounding curves possible, which, for example, need fear no comparison with a Pultec EQ from the 1950/60s. Only without all the disadvantages of a 60 year old original, such as the very high background noise, but above all the very limited frequency selection. Another highlight of the PASSEQ is the HF+ band, which has been extended by the frequencies 25 kHz and 35 kHz and sounds so incredibly good that you don’t want to switch it off. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -60 dBu Frequency range (-3 dB): 10 Hz – 200 kHz Crosstalk (1 kHz): -108 dBu THD + N (+30 dBu, 1 kHz): 0.0012 % Noise (A-bewertet): -95.2 dBu Dynamic range: 134.5 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 500 mA Fuse for 115 V: T 1 A Power consumption: max. 15 VA Dimensions & Weight W x H x T (W x H x D (width x height x depth) x Höhe x Tiefe): 482 x 132 x 300 mm Unit weight: 10.2 kg Shipping weight (incl. packaging): 14 kg

Mastering D/A Converter Mercury is the first mastering DA-converter in 120V technology. It offers seven digital stereo input sources, all of which can be synchronized with each other or with a word clock. The additional variable output qualifies Mercury as a monitor controller. Seven Digital Sources Mercury provides connections for a total of seven digital stereo input sources.  For each digital source there is a dedicated and illuminated tactile switch for quick selection and quick comparison. The detected sample rate is shown in the display. One USB input and two coaxial, two optical and two AES/EBU inputs are available. AES input 2 also supports Dual-Wire (DW) mode. Sync The display shows the synchronization status and the detected sampling rate. Any source except USB can be synchronized to another source or to an external Word Clock. If the sync “Source” is selected in the display, each source uses its own sync code embedded in the signal. O dBfs Holding the Sync button for more than two seconds Mercury will change to the 0dBfs display. Mercury offers all reference levels in dBu corresponding to a 0 dBfs (full scale) digital signal: +14, +15, +16, +17, +18, +20, +22 and +24 dBu  Fix & Var The FIX OUT is an analog balanced stereo output which can be calibrated to all common reference levels (see 0 dBfs). Mercury offers a variable analog balanced stereo output. This output provides the same signal as the FIX OUT, but the level is continuously adjustable. Thus Mercury can also be used as a state-of-the-art monitor controller. Variable Output This analog potentiometer is used to control the level of the VAR OUT output. We use the ALPS RK27 “Big Blue” potentiometer with a nice “spoon in honey” feel and excellent channel tracking. So not only the auditory but also the haptic experience of volume control is at the highest level. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -82 dBu Frequency range (-3 dB): 4 Hz – 300 kHz Crosstalk (1 kHz): -108 dBu THD (0 dBu, 1 kHz): 0.000992 % Noise (A-weighted): -102.5 dBu Dynamic range: 135 dB Digital Inputs, DAC768 AES/EBU (XLR), PCM sample rates: 44.1/48/88.2/96/176.4/192 kHz Coaxial SPDIF (Cinch), PCM sample rates: 44.1/48/88.2/96/176.4/192 kHz Optisch SPDIF (Toslink F06), PCM sample rates: 44.1/48/88.2/96/with Glass fibre

16-Channel Mastering Monitor Controller The MC16 is designed to monitor surround and immersive audio projects (Dolby Atmos®, Auro 3D®, etc…) in the analog domain, offering the same unrivalled quality as 120V stereo monitoring. 16 Speakers Sixteen buttons are used to activate the corresponding loudspeakers. The 16 inputs of Input 1 and Input 2 are routed directly to the outputs to ensures that an output routing of a DAW session always matches the routing in the MC16. The buttons allow you to insert a label with the exact name of the loudspeaker. 2 x 16 MC16 offers two 16-channel inputs to quickly compare a current project with a reference production. Monitor Level This analog potentiometer is used to adjust the monitor level. We developed a 16-level potentiometer, with which we could realize the volume control in the analog domain, because we did not want to accept a digital control, which is afflicted with resolution deficits and limited dynamic range. Presets You can save speaker setups to three memory locations. So you can quickly call up a 5.1 or an 11.1 or a 9.1.6 configuration. In solo mode, three more memory locations are available with the same keys. For example, you can create solo groups for all front speakers and all ceiling speakers and all rear speakers. Specifications: Analog inputs & output: XLR & DB25 (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -82 dBu Frequency range (-3 dB): 4 Hz – 300 kHz Crosstalk (1 kHz): -100 dBu THD + N (+24 dBu): > 112 dB Noise (A-weighted): -102.4 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 70 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 88 x 300 mm Unit weight: 8.4 kg Shipping weight (incl. packaging): 12 kg

Mastering Compressor As a mastering compressor, IRON is inspired by the legendary vintage tube compressors à la Fairchild, Collins or Gates and has been developed in a way to give modern productions more energy and power with the advantages of the 120V technology. Input & Output Input and output levels are switchable in a control range of +/- 12dB. An increase of the input level leads to more intensive compression. When mastering full scale material, the reduction can be useful. The output is used to adjust the level ratios of input and output. Attack & Release The time parameters Attack and Release are switchable in six steps from Slow to Fast. The times vary depending on the rectifier circuit selected. Side Chain EQs With the side chain EQs, compression can be focused on frequency ranges. In addition to an inserted EQ, there are four internal EQ presets with a partly complex frequency response. Rectifier The tube stage is controlled by a rectifier circuit. There are six diode control characteristics generated by germanium, silicon and LED diodes or combinations thereof. Variable-Bias Limiter/Compressor The IRON Mastering Compressor is a variable-bias (variable µ) limiter/compressor from the basic concept. IRON works on the principle of the bias controlled remote cutoff tube. Parallel to this, a medium-variable-bias triode (sharp-cutoff tube) with a steeper characteristic is connected. The tube bias voltage (BIAS) can be adjusted in three steps. The tubes are integrated into special Lundahl manufactured balanced high-level double core mu-metal-iron transformers. AirBass & Tape Roll-Off The compressor is followed by a passive filter network with two equalizer presets: AirBass and Tape Roll-off. The AirBass filter boosts low and high frequencies by about 1.5 dB and the Tape Roll-Off filter emulates the typical frequency response of a tape machine. Link All functions can be set via switches and the threshold via a rasterized potentiometer which makes recall easy. The settings of Threshold, Bias, Attack, Release, Rectifier and Side-Chain-EQs are transferred from the right side (channel 2) to the left side in Link Mode, in which the compressor operates with summed control signals. Auto-Bypass Channels 1 and 2 are activated with the large illuminated IDEC switches. In Auto Bypass mode, the channels are automatically switched on and off, which leads to a more objective assessment. The Interval control is used to adjust the time window continuously between two and 20 seconds. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Frequency range (-3 dB): 10 Hz – 40 kHz Common mode rejection (0dBu, 1kHz): > 80 dB Crosstalk (1 kHz): -108 dBu THD (+10 dBu): 0.002 % Noise (A-weighted): -98 dBu Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 132 x 300 mm Unit weight: 11 kg Shipping weight (incl. packaging): 14 kg

Mastering D/A Converter Mercury is the first mastering DA-converter in 120V technology. It offers seven digital stereo input sources, all of which can be synchronized with each other or with a word clock. The additional variable output qualifies Mercury as a monitor controller. Seven Digital Sources Mercury provides connections for a total of seven digital stereo input sources.  For each digital source there is a dedicated and illuminated tactile switch for quick selection and quick comparison. The detected sample rate is shown in the display. One USB input and two coaxial, two optical and two AES/EBU inputs are available. AES input 2 also supports Dual-Wire (DW) mode. Sync The display shows the synchronization status and the detected sampling rate. Any source except USB can be synchronized to another source or to an external Word Clock. If the sync “Source” is selected in the display, each source uses its own sync code embedded in the signal. O dBfs Holding the Sync button for more than two seconds Mercury will change to the 0dBfs display. Mercury offers all reference levels in dBu corresponding to a 0 dBfs (full scale) digital signal: +14, +15, +16, +17, +18, +20, +22 and +24 dBu  Fix & Var The FIX OUT is an analog balanced stereo output which can be calibrated to all common reference levels (see 0 dBfs). Mercury offers a variable analog balanced stereo output. This output provides the same signal as the FIX OUT, but the level is continuously adjustable. Thus Mercury can also be used as a state-of-the-art monitor controller. Variable Output This analog potentiometer is used to control the level of the VAR OUT output. We use the ALPS RK27 “Big Blue” potentiometer with a nice “spoon in honey” feel and excellent channel tracking. So not only the auditory but also the haptic experience of volume control is at the highest level. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -82 dBu Frequency range (-3 dB): 4 Hz – 300 kHz Crosstalk (1 kHz): -108 dBu THD (0 dBu, 1 kHz): 0.000992 % Noise (A-weighted): -102.5 dBu Dynamic range: 135 dB Digital Inputs, DAC768 AES/EBU (XLR), PCM sample rates: 44.1/48/88.2/96/176.4/192 kHz Coaxial SPDIF (Cinch), PCM sample rates: 44.1/48/88.2/96/176.4/192 kHz Optisch SPDIF (Toslink F06), PCM sample rates: 44.1/48/88.2/96/with Glass fibre

16-Channel Mastering Monitor Controller The MC16 is designed to monitor surround and immersive audio projects (Dolby Atmos®, Auro 3D®, etc…) in the analog domain, offering the same unrivalled quality as 120V stereo monitoring. 16 Speakers Sixteen buttons are used to activate the corresponding loudspeakers. The 16 inputs of Input 1 and Input 2 are routed directly to the outputs to ensures that an output routing of a DAW session always matches the routing in the MC16. The buttons allow you to insert a label with the exact name of the loudspeaker. 2 x 16 MC16 offers two 16-channel inputs to quickly compare a current project with a reference production. Monitor Level This analog potentiometer is used to adjust the monitor level. We developed a 16-level potentiometer, with which we could realize the volume control in the analog domain, because we did not want to accept a digital control, which is afflicted with resolution deficits and limited dynamic range. Presets You can save speaker setups to three memory locations. So you can quickly call up a 5.1 or an 11.1 or a 9.1.6 configuration. In solo mode, three more memory locations are available with the same keys. For example, you can create solo groups for all front speakers and all ceiling speakers and all rear speakers. Specifications: Analog inputs & output: XLR & DB25 (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -82 dBu Frequency range (-3 dB): 4 Hz – 300 kHz Crosstalk (1 kHz): -100 dBu THD + N (+24 dBu): > 112 dB Noise (A-weighted): -102.4 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 70 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 88 x 300 mm Unit weight: 8.4 kg Shipping weight (incl. packaging): 12 kg

Mastering Compressor As a mastering compressor, IRON is inspired by the legendary vintage tube compressors à la Fairchild, Collins or Gates and has been developed in a way to give modern productions more energy and power with the advantages of the 120V technology. Input & Output Input and output levels are switchable in a control range of +/- 12dB. An increase of the input level leads to more intensive compression. When mastering full scale material, the reduction can be useful. The output is used to adjust the level ratios of input and output. Attack & Release The time parameters Attack and Release are switchable in six steps from Slow to Fast. The times vary depending on the rectifier circuit selected. Side Chain EQs With the side chain EQs, compression can be focused on frequency ranges. In addition to an inserted EQ, there are four internal EQ presets with a partly complex frequency response. Rectifier The tube stage is controlled by a rectifier circuit. There are six diode control characteristics generated by germanium, silicon and LED diodes or combinations thereof. Variable-Bias Limiter/Compressor The IRON Mastering Compressor is a variable-bias (variable µ) limiter/compressor from the basic concept. IRON works on the principle of the bias controlled remote cutoff tube. Parallel to this, a medium-variable-bias triode (sharp-cutoff tube) with a steeper characteristic is connected. The tube bias voltage (BIAS) can be adjusted in three steps. The tubes are integrated into special Lundahl manufactured balanced high-level double core mu-metal-iron transformers. AirBass & Tape Roll-Off The compressor is followed by a passive filter network with two equalizer presets: AirBass and Tape Roll-off. The AirBass filter boosts low and high frequencies by about 1.5 dB and the Tape Roll-Off filter emulates the typical frequency response of a tape machine. Link All functions can be set via switches and the threshold via a rasterized potentiometer which makes recall easy. The settings of Threshold, Bias, Attack, Release, Rectifier and Side-Chain-EQs are transferred from the right side (channel 2) to the left side in Link Mode, in which the compressor operates with summed control signals. Auto-Bypass Channels 1 and 2 are activated with the large illuminated IDEC switches. In Auto Bypass mode, the channels are automatically switched on and off, which leads to a more objective assessment. The Interval control is used to adjust the time window continuously between two and 20 seconds. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Frequency range (-3 dB): 10 Hz – 40 kHz Common mode rejection (0dBu, 1kHz): > 80 dB Crosstalk (1 kHz): -108 dBu THD (+10 dBu): 0.002 % Noise (A-weighted): -98 dBu Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 132 x 300 mm Unit weight: 11 kg Shipping weight (incl. packaging): 14 kg

Mastering Router with dual Parallel Mix Hermes revolutionizes mastering. Now it is possible to have an audio signal processed by up to eight 2-channel processors in any order that can be stored. At the push of a button you can compare up to four complex processing chains. Connect, route, store, compare Hermes accelerates mastering workflows in an unprecedented achievable way. The time-consuming replugging of the patchbay alone had made true comparison almost impossible. Now you can change, store and compare processing chains in seconds. All with real buttons, relays and without additional software. Simply push the processor buttons A to H in the order in which the audio signal should pass through the processors and store it.  All processors can be named for a better overview. The name always appears briefly in the display when an insert button is pressed. Free routing of two parallel mix stages Hermes has two parallel mix stages that can be freely assigned to each of the eight processors and stored with a processing chain. This means that even two compressors with different parallel mix settings can be compared quickly and easily. The routing is completely passive with gas-encapsulated and gold-plated high-end relays. All active stages, such as the input/output stages and the parallel mix stages work in 120V technology. Sends & Returns The stereo channels are strictly separated on two boards to achieve the highest possible channel separation. The inserts are connected with XLRs for the first four stereo processors and with DB25 for the second four stereo processors. Specifications: Analog inputs & output; XLR & DB25 (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Frequency range (-3 dB): 4 Hz to 300 kHz Common mode rejection: -75 dBu Crosstalk (1 kHz, 0dBu): -130 dBu Crosstalk (1 kHz, 0dBu, P-Mix on): -110 dBu Noise (A-weighted): -121 dBu Noise (A-weighted, P-Mix on): -104 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 88 x 300 mm Unit weight: 9 kg Shipping weight (incl. packaging): 12 kg

Mastering M/S Processor Gemini is the first mid/side processor in 120V technology. In mastering, M/S processing is often the best way to get targeted access to individual elements of a mix. M/S ? The decomposition of the stereo signal in mid (voice, snare, bass …) and side (guitars, pads, cymbals …) allows their separate processing. The center signal (Mid) is the sum of the left and right channel of the stereo signal (L+R), i.e. the “in phase” part of the stereo signal. The side signal (Side) is the difference of the left and right channels of the stereo signal (L-R), i.e. the “out-of-phase” part of the stereo signal. Gemini can also be used to enlarge or reduce the stereo image. An elliptical filter for shifting the low frequency component from the side to the mid is also on board. The Mid When the M/S button is activated, the input signal (L/R stereo) is split into a mid and side signals. The exact center position can be adjusted with the Balance control and the exact level with the Trim control. Both functions are switchable to be in the signal path only when in use. Exclusive monitoring of the center is possible when the solo function is activated. Processors can be inserted to process the mid signal and activated with the Insert button.  The Side The side signal also has a solo function and a switchable insert for external processing.  In addition, the elliptical filter can be used to shift the bass frequencies from the side to the mid. This improves the punch and precision of low frequencies. The Stereo Width control changes the level of the side signal, with a level increase broadening the stereo image. These two functions can also be switched on to be in the signal path only when used.  I/Os and Inserts All inputs and outputs as well as sends and returns are balanced using Neutrik XLR connectors. Processors can be connected to the inserts for external processing. Especially interesting is the integration of the Gemini into the Hermes Mastering Router. In this way, processing chains can be created that combine classic L/R processing with M/S processing. Gemini & Hermes The M/S encoder and decoder stages of the Gemini can each be connected to an insert of the Hermes and freely positioned within the processing chain. Processors that are in a chain between M/S encoder and decoder process the mid/side signal. These processors can also easily be mono devices. In the example above, Insert Send A is routed to Gemini for M/S encoding. The mid/side sends of the Gemini go back to Return A of the Hermes. Send B goes from Hermes back to the Gemini to be encoded back to L/R, which flows from the output of the Gemini back to Return B of Hermes.  For example, it is possible (see figure above) to place the M/S encoder at processing position 3, an equalizer at processing position 4 for separate processing of the mid and side signals, and then the M/S decoder stage of the Gemini at processing position 5 to generate an L/R stereo signal again. If a compressor is now to be used as an additional device for M/S processing, it can simply be set to processing position 5 in the chain, and the M/S decoder stage would move to processing position 6 accordingly. Specifications: Analog inputs & output: XLR (balanced) Maximum input & output gain: 32,5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -79 dBu Frequency range (-3 dB): 10 Hz – 150 kHz Crosstalk (1 kHz): -108 dBu THD + N (0 dBu, 1 kHz): -110 dBu Noise (A-weighted), all stages active): -98,2 dBu Dynamic range: 135 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 500 mA Fuse for 115 V: T 1 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 44 x 300 mm Unit weight: 5 kg Shipping weight (incl. packaging): 8,1 kg

Mastering Router with dual Parallel Mix Hermes revolutionizes mastering. Now it is possible to have an audio signal processed by up to eight 2-channel processors in any order that can be stored. At the push of a button you can compare up to four complex processing chains. Connect, route, store, compare Hermes accelerates mastering workflows in an unprecedented achievable way. The time-consuming replugging of the patchbay alone had made true comparison almost impossible. Now you can change, store and compare processing chains in seconds. All with real buttons, relays and without additional software. Simply push the processor buttons A to H in the order in which the audio signal should pass through the processors and store it.  All processors can be named for a better overview. The name always appears briefly in the display when an insert button is pressed. Free routing of two parallel mix stages Hermes has two parallel mix stages that can be freely assigned to each of the eight processors and stored with a processing chain. This means that even two compressors with different parallel mix settings can be compared quickly and easily. The routing is completely passive with gas-encapsulated and gold-plated high-end relays. All active stages, such as the input/output stages and the parallel mix stages work in 120V technology. Sends & Returns The stereo channels are strictly separated on two boards to achieve the highest possible channel separation. The inserts are connected with XLRs for the first four stereo processors and with DB25 for the second four stereo processors. Specifications: Analog inputs & output; XLR & DB25 (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Frequency range (-3 dB): 4 Hz to 300 kHz Common mode rejection: -75 dBu Crosstalk (1 kHz, 0dBu): -130 dBu Crosstalk (1 kHz, 0dBu, P-Mix on): -110 dBu Noise (A-weighted): -121 dBu Noise (A-weighted, P-Mix on): -104 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 88 x 300 mm Unit weight: 9 kg Shipping weight (incl. packaging): 12 kg

Mastering Console The DMC is the heart of the mastering studio. The converters, the players, the DAW, the recorders and the speakers are connected to them. The audio quality of the console is therefore crucial. And like all devices of the mastering series, the DMC also works on unparalleled 120V operating voltage. Inputs & Sources Audio signals that shall be processed are connected to the Inputs and audio signals for comparison or playback are connected to the Sources. Four stereo inputs pairs are available for each. Each input channel can be switched on/off, phase reversed and trimmed in 0.25 dB steps. A stereo input can be switched to mono. The large potentiometer for the recording gain allows sensitive gain rides. If it is not used, it should not be activated. This keeps the entire control stage outside the signal path. Monitoring & Inserts Three pairs of speakers can be operated for full-range, mid-field and near-field monitors. Speakers D is for a mono loudspeaker. Preferably a Phonitor headphone amplifier is connected to the Phonitor HP Out, whereby it can be programmed whether the loudspeaker is automatically switched off during headphone operation or not. The same applies to the subwoofer. It can be programmed with which monitor it is paired and activated together. The insert return can also be trimmed in 0.25 dB steps to compensate for the finest level differences after an insert chain. The Hermes Mastering Router is preferably connected to the inserts, with which up to eight stereo processors can be connected and freely routed and stored. In the monitoring section, each loudspeaker channel can be solo’ed and phase reversed. The large monitoring level potentiometer has an illuminated indicator so that the monitor level can be easily assessed even from a greater distance. A loudness compensation (+/- 10 dB) can be activated. Alternatively it can be linked to the Insert, Sources or Inputs switches allowing loudness compensation at any stage. DMC & MC 16 Yeah, it looks kind of wild. Makes sense, though. The DMC can be linked to the MC16 for surround and immersive audio applications. Dolby Atmos® or Auro 3D® projects can also be realized. The MC16 is the world’s first analog 16 channel monitoring controller. Mastering studios often use the L/R speakers and subwoofer for stereo and multi-channel monitoring. The combination of DMC with MC16 makes it unnecessary to replug these speakers. Pressing the Speaker A button for two seconds transfers the volume control of L/R and Sub to the MC16 and pressing it again brings it back to the DMC. In this way, stereo and surround projects in a studio can easily be performed one after the other. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dB Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -82 dBu Frequency range (-3 dB): 4 Hz to 300 kHz Noise (A-weighted, +24 dBu, Rec Out, Insert On): -101.6 dBu Noise (A-weighted, +24 dBu, Speaker Out): -103.9 dBu THD & N (+24 dBu, Rec Out, Insert On): > 112 dB THD & N (+24 dBu, Speaker Out): > 108 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 132 x 300 mm Unit weight: 10.6 kg Shipping weight (incl. packaging): 14 kg

Mastering M/S Processor Gemini is the first mid/side processor in 120V technology. In mastering, M/S processing is often the best way to get targeted access to individual elements of a mix. M/S ? The decomposition of the stereo signal in mid (voice, snare, bass …) and side (guitars, pads, cymbals …) allows their separate processing. The center signal (Mid) is the sum of the left and right channel of the stereo signal (L+R), i.e. the “in phase” part of the stereo signal. The side signal (Side) is the difference of the left and right channels of the stereo signal (L-R), i.e. the “out-of-phase” part of the stereo signal. Gemini can also be used to enlarge or reduce the stereo image. An elliptical filter for shifting the low frequency component from the side to the mid is also on board. The Mid When the M/S button is activated, the input signal (L/R stereo) is split into a mid and side signals. The exact center position can be adjusted with the Balance control and the exact level with the Trim control. Both functions are switchable to be in the signal path only when in use. Exclusive monitoring of the center is possible when the solo function is activated. Processors can be inserted to process the mid signal and activated with the Insert button.  The Side The side signal also has a solo function and a switchable insert for external processing.  In addition, the elliptical filter can be used to shift the bass frequencies from the side to the mid. This improves the punch and precision of low frequencies. The Stereo Width control changes the level of the side signal, with a level increase broadening the stereo image. These two functions can also be switched on to be in the signal path only when used.  I/Os and Inserts All inputs and outputs as well as sends and returns are balanced using Neutrik XLR connectors. Processors can be connected to the inserts for external processing. Especially interesting is the integration of the Gemini into the Hermes Mastering Router. In this way, processing chains can be created that combine classic L/R processing with M/S processing. Gemini & Hermes The M/S encoder and decoder stages of the Gemini can each be connected to an insert of the Hermes and freely positioned within the processing chain. Processors that are in a chain between M/S encoder and decoder process the mid/side signal. These processors can also easily be mono devices. In the example above, Insert Send A is routed to Gemini for M/S encoding. The mid/side sends of the Gemini go back to Return A of the Hermes. Send B goes from Hermes back to the Gemini to be encoded back to L/R, which flows from the output of the Gemini back to Return B of Hermes.  For example, it is possible (see figure above) to place the M/S encoder at processing position 3, an equalizer at processing position 4 for separate processing of the mid and side signals, and then the M/S decoder stage of the Gemini at processing position 5 to generate an L/R stereo signal again. If a compressor is now to be used as an additional device for M/S processing, it can simply be set to processing position 5 in the chain, and the M/S decoder stage would move to processing position 6 accordingly. Specifications: Analog inputs & output: XLR (balanced) Maximum input & output gain: 32,5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -79 dBu Frequency range (-3 dB): 10 Hz – 150 kHz Crosstalk (1 kHz): -108 dBu THD + N (0 dBu, 1 kHz): -110 dBu Noise (A-weighted), all stages active): -98,2 dBu Dynamic range: 135 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 500 mA Fuse for 115 V: T 1 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 44 x 300 mm Unit weight: 5 kg Shipping weight (incl. packaging): 8,1 kg

Mastering Console The DMC is the heart of the mastering studio. The converters, the players, the DAW, the recorders and the speakers are connected to them. The audio quality of the console is therefore crucial. And like all devices of the mastering series, the DMC also works on unparalleled 120V operating voltage. Inputs & Sources Audio signals that shall be processed are connected to the Inputs and audio signals for comparison or playback are connected to the Sources. Four stereo inputs pairs are available for each. Each input channel can be switched on/off, phase reversed and trimmed in 0.25 dB steps. A stereo input can be switched to mono. The large potentiometer for the recording gain allows sensitive gain rides. If it is not used, it should not be activated. This keeps the entire control stage outside the signal path. Monitoring & Inserts Three pairs of speakers can be operated for full-range, mid-field and near-field monitors. Speakers D is for a mono loudspeaker. Preferably a Phonitor headphone amplifier is connected to the Phonitor HP Out, whereby it can be programmed whether the loudspeaker is automatically switched off during headphone operation or not. The same applies to the subwoofer. It can be programmed with which monitor it is paired and activated together. The insert return can also be trimmed in 0.25 dB steps to compensate for the finest level differences after an insert chain. The Hermes Mastering Router is preferably connected to the inserts, with which up to eight stereo processors can be connected and freely routed and stored. In the monitoring section, each loudspeaker channel can be solo’ed and phase reversed. The large monitoring level potentiometer has an illuminated indicator so that the monitor level can be easily assessed even from a greater distance. A loudness compensation (+/- 10 dB) can be activated. Alternatively it can be linked to the Insert, Sources or Inputs switches allowing loudness compensation at any stage. DMC & MC 16 Yeah, it looks kind of wild. Makes sense, though. The DMC can be linked to the MC16 for surround and immersive audio applications. Dolby Atmos® or Auro 3D® projects can also be realized. The MC16 is the world’s first analog 16 channel monitoring controller. Mastering studios often use the L/R speakers and subwoofer for stereo and multi-channel monitoring. The combination of DMC with MC16 makes it unnecessary to replug these speakers. Pressing the Speaker A button for two seconds transfers the volume control of L/R and Sub to the MC16 and pressing it again brings it back to the DMC. In this way, stereo and surround projects in a studio can easily be performed one after the other. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dB Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -82 dBu Frequency range (-3 dB): 4 Hz to 300 kHz Noise (A-weighted, +24 dBu, Rec Out, Insert On): -101.6 dBu Noise (A-weighted, +24 dBu, Speaker Out): -103.9 dBu THD & N (+24 dBu, Rec Out, Insert On): > 112 dB THD & N (+24 dBu, Speaker Out): > 108 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 132 x 300 mm Unit weight: 10.6 kg Shipping weight (incl. packaging): 14 kg

Surround Monitor Controller The SMC 7.1 expands analog surround monitoring to 8 channels and offers Solo, Solo-In-Place and Solo-To-Center as well as a headphone jack. Inputs & Speaker Management Two 7.1 and two stereo input sources can be connected to the SMC 7.1. This is important because in monitoring, two productions are always compared with each other. A subwoofer can be added to a stereo input by activating the LFE button. Each loudspeaker can be switched on and off individually, and the SMC 7.1 remembers the last speakers used for each source. The Solo-In-Place function now turns the loudspeaker on/off switches into solo buttons. This allows each loudspeaker to be heard alone at its position. Solo-To-Center places the selected loudspeaker on the center speaker, so that it can be listened to exactly from the front in case critical listening is required. An alternative output is available for connecting a pair of stereo loudspeakers.  The 45mm all-aluminium rotary knob moves an 8-level potentiometer.  Mute is especially important when the DAW is sending full-range audio garbage due to a problem. Mute can be used quickly to protect speakers and hearing. As an alternative to the speakers, headphones can be used for monitoring. The headphones can be switched on and have their own volume control. The SMC 7.1 can be installed in the Expansion Rack to be screwed into a 19-inch rack. The Expansion Rack is equipped with a switch that can passively route the stereo output signal of the SMC 7.1 to four stereo outputs. In this combination, the SMC 7.1 is expanded by three additional stereo outputs. This allows a 7.1 loudspeaker array and full-range, mid and nearfield stereo speakers to be controlled and monitored. Specifications: Analog inputs & outputs; XLR & DB25 (balanced) Maximum input: 22 dBu Input impedance: 20 kΩ Output impedance: 100 Ω Frequency range (-3 dB): 10 Hz – 150 kHz THD +N (10 Hz – 22 kHz, 0 dBu): 0.001 % Noise (A-weighted): -93 dBu Crosstalk (1 kHz): -92 dB Common mode rejection (1 kHz): 82 dB Dynamic range: 115 dB Standard Headphones Output, 6.35 mm (1/4") TRS Jack Wiring: Tip = Left, Ring = Right, Sleeve = GND Frequency range (-3dB): 10 Hz – 80 kHz Crosstalk (1 kHz): -70 dBu Total harmonic distortion (0 dBu, 1 kHz, 40 kΩ load): 0.001 % Noise (A-weighted): -93 dBu Dynamic range: 115 dB Internal Linear Power Supply with Toroidal Transformer Operating voltage for analog audio: +/- 18 V Operating voltage for relays and LEDs: +12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Sicherung für 230 V: T 500 mA Sicherung für 115 V: T 1 A Power consumption: max. 30 W Dimensions & Weight W x H x D (width x height x depth): 278 x 100 x 330 mm Unit weight: 4.1 kg Shipping weight (incl. packaging): 5 kg

Surround Monitor Controller The SMC 7.1 expands analog surround monitoring to 8 channels and offers Solo, Solo-In-Place and Solo-To-Center as well as a headphone jack. Inputs & Speaker Management Two 7.1 and two stereo input sources can be connected to the SMC 7.1. This is important because in monitoring, two productions are always compared with each other. A subwoofer can be added to a stereo input by activating the LFE button. Each loudspeaker can be switched on and off individually, and the SMC 7.1 remembers the last speakers used for each source. The Solo-In-Place function now turns the loudspeaker on/off switches into solo buttons. This allows each loudspeaker to be heard alone at its position. Solo-To-Center places the selected loudspeaker on the center speaker, so that it can be listened to exactly from the front in case critical listening is required. An alternative output is available for connecting a pair of stereo loudspeakers.  The 45mm all-aluminium rotary knob moves an 8-level potentiometer.  Mute is especially important when the DAW is sending full-range audio garbage due to a problem. Mute can be used quickly to protect speakers and hearing. As an alternative to the speakers, headphones can be used for monitoring. The headphones can be switched on and have their own volume control. The SMC 7.1 can be installed in the Expansion Rack to be screwed into a 19-inch rack. The Expansion Rack is equipped with a switch that can passively route the stereo output signal of the SMC 7.1 to four stereo outputs. In this combination, the SMC 7.1 is expanded by three additional stereo outputs. This allows a 7.1 loudspeaker array and full-range, mid and nearfield stereo speakers to be controlled and monitored. Specifications: Analog inputs & outputs; XLR & DB25 (balanced) Maximum input: 22 dBu Input impedance: 20 kΩ Output impedance: 100 Ω Frequency range (-3 dB): 10 Hz – 150 kHz THD +N (10 Hz – 22 kHz, 0 dBu): 0.001 % Noise (A-weighted): -93 dBu Crosstalk (1 kHz): -92 dB Common mode rejection (1 kHz): 82 dB Dynamic range: 115 dB Standard Headphones Output, 6.35 mm (1/4") TRS Jack Wiring: Tip = Left, Ring = Right, Sleeve = GND Frequency range (-3dB): 10 Hz – 80 kHz Crosstalk (1 kHz): -70 dBu Total harmonic distortion (0 dBu, 1 kHz, 40 kΩ load): 0.001 % Noise (A-weighted): -93 dBu Dynamic range: 115 dB Internal Linear Power Supply with Toroidal Transformer Operating voltage for analog audio: +/- 18 V Operating voltage for relays and LEDs: +12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Sicherung für 230 V: T 500 mA Sicherung für 115 V: T 1 A Power consumption: max. 30 W Dimensions & Weight W x H x D (width x height x depth): 278 x 100 x 330 mm Unit weight: 4.1 kg Shipping weight (incl. packaging): 5 kg

200 Watt Power Soak The Reducer reduces the output power of guitar or bass amplifiers. Enjoy the rich tube sound and full power amp distortion of your favorite amp even at room volume. Reduction The reducer is connected between the amplifier (head) and the loudspeaker. Here it converts the electrical energy of the amplifier into heat and transmits a reduced power to the loudspeaker. The art here is that the power reduction does not affect the sound, so play quietly with the original sound. The desired reduction is first switchable, in steps of 3 dB and then 5 dB. In the last switch position “Variable”, a load potentiometer is used to continuously reduce the level reduction from -7 dB to almost complete fade-out. Impedances The reducer can be connected to amplifiers (heads) with all common impedances. Available are 4 Ω, 8 Ω or 16 Ω. Specifications: Inputs & Outputs; 1/4" (6,35mm) TS-Jack (unbalanced) Load impedances, selectable: 4 Ω, 8 Ω, 16 Ω Maximum input power (4 Ω, RMS): 90 W Maximum input power (4 Ω, Peak): 120 W Maximum input power (8 Ω, RMS):200 W Maximum input power (8 Ω, Peak): 260 W Maximum input power (16 Ω, RMS): 160 W Maximum input power (16 Ω, Peak): 180 W Dimensions & Weight W x H x D (Width x Height w/ feet x Depth): 179 x 85 x 190 mm Unit weight: 1.85 kg Shipping weight (incl. packaging): 2.65 kg

Υψηλής πιστότητας ενισχυτής ακρόασης για ακουστικά.Διαθέτει: Τεχνολογία 120 volts Κουμπί Mono Διακόπτη εξασθένισης (Dim) Κουμπί Solo (αριστερά - δεξιά) Αντιστροφή φάσης Ενδεικτικά στάθμης VU Σύνδεση εισόδου / εξόδου balanced XLR Πλήρης προσομοίωση ακρόασης μέσω ηχείων Ρύθμιση γωνίας των ηχείων Ρύθμιση στάθμης ‘‘κέντρου’’ του ήχου Έξοδος ακουστικών (εμπρός μέρος) Αριθμός Εισόδων: 2 Συνδετήρες Εξόδου: 2 x XLR 1 x TRS Τύπος Ενίσχυσης: Ενεργή

Επιτραπέζιος ελεγκτής ακρόασης Stereo με σύστημα ενδοεπικοινωνίας (talkback). Διαθέτει: Αναλογικό έλεγχο στάθμης stereo Κουμπί Mono Διακόπτη εξασθένισης (Dim) Σύστημα ενδοεπικοινωνίας με ενσωματωμένο μικρόφωνο (talkback) 3 στερεοφωνικές εξόδους ηχείων Έξοδος Cue-Mix Επιλογή πηγής ήχου 6X Stereo (4 balanced και 2 unbalanced) Ενισχυτής ακουστικών Ιδανικό σύστημα ακρόασης σε οποιοδήποτε επαγγελματικό ή home στούντιο. Αριθμός Εισόδων: 6 Ιδιαίτερα Χαρακτηριστικά: Ιδανικό σύστημα ακρόασης σε οποιοδήποτε επαγγελματικό ή home στούντιο Συνδετήρες Εξόδου: 3 x XLR Τύπος Ενίσχυσης: Ενεργά

16+16 channel AD/DA converter and MADI interface Madison offers what hardly any other manufacturer in this price segment has to offer: 16 AD/DA converters. With SmartMADI and the Madicon this becomes an expandable multi-channel studio interface of the first order. MADI transmission distance up to 2 km MADI I/O latency: 1 sample Optical MADI socket, type SC 56 & 64 channel Hi/Lo modes accepts Varispeed up to +/-12,5% Sync to MADI, Wordclock or Internal Device ID for daisy chaining 16 AD and 16 DA converters 24 bit / up to 192 kHz Level lights per channel in easily readable blocks of four OdBfs: 15, 18, 22 or 24 dBu Fanless and therefore particularly suitable for noise-sensitive environments Optional redundant power supply unit Madison together with the Madicon support SmartMADI MADI becomes more user-friendly, simple and modern SPL’s Madicon and Madisons can now be connected in series (daisy chaining) like Audio-Over-IP devices, and are easier to configure and more reliable. An additional MADI router for more than two MADI devices is not required The sample rate is now transmitted via the MADI stream and Madisons follow automatically – very handy Specifications: Analoge Input & Outputs; DB25 (balanced) Maximum input & output gain: 24 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection (1 kHz): 82 dB Crosstalk (1 kHz, 48 kHz SR): -110 dB Dynamic Range (A-weighted, 48 kHz SR): 115 dB Digital I/O; MADI-Port MADI optical, Type SC: 44.1/48/88.2/96/176.4/192 kHz Varispeed: ±12.5% in 56 CH mode, -12.5% in 64 CH mode Reference Levels: 15dBu, 18dBu, 22dBu, 24 dBu Wordclock input, BNC, terminated impedance: 75 Ω Wordclock Level (Input TTL/CMOS5/CMOS3): 3.3 V S/N (A-bewertet, 48kHz SR): -115 dBFS S/(N+D) (-1 dBfs, 48kHz SR): -102 dBFS Passband response (-0.02dB, 48kHz SR): 22 kHz Passband Ripple (Decimation-LPF, 48kHz SR): +/- 0.005 dB Stopband Attenuation (Decimation-LPF, 48kHz SR): 100 dB Crosstalk (1 kHz, 48kHz SR): -110 dBu Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 17 V Operating voltage for digital audio: +12 V, +5 V BTU (British Thermal Units, typical): 65 BTU/h BTU (British Thermal Units, max): 110 BTU/h Mains Power Supply Mains voltage: 90 – 264 V AC, 50/60 Hz Hz Power consumption: max. 35 W Dimensions & Weight W x H x D (width x height x depth): 482 x 44 x 260 mm Unit weight: 3.05 kg Shipping weight (incl. packaging): 5 kg

USB / MADI Interface Madicon is a MADI digital audio interface that connects up to 64 input and 64 output channels to the computer via USB. USB Audio Interface Maximum 64 input and 64 output channels via MADI Additional optical stereo output (Ch1/2) 24 bit / up to 192 kHz Hi-Speed USB with detector LED USB bus powered Internal/External Clock Switch External Clock Lock LED Windows & Mac Zero-latency monitoring (FPGA Monitoring Mixer) SmartMADI MADI becomes more user-friendly, simple and modern SPL’s Madicon and Madisons can now be connected in series (daisy chaining) like Audio-Over-IP devices, and are easier to configure and more reliable. An additional MADI Router for more than two MADI devices is not necessary The sample rate is now transmitted via the MADI stream and Madisons follow automatically – very handy Monitor Mixer Control Room Mixer and six additional individual headphone mixers Intuitive and fast workflow Talkback 128-channel MADI stream metering MADI splitter – one signal can be distributed to 63 other channels Record without a DAW – directly to the hard disk! Automatic arming Displaying the remaining recording time Automatic naming of the files Solo auditions MADI Train & Device IDs This drawing explains the device ID settings when up to four Madison with SmartMADI are connected to the Madicon and a DAW in a daisy-chain connection at single, double and quadruple sample rates. Specifications: Inputs & outputs; MADI, USB, Toslink Optical MADI port: Standard 64/High Optical Toslink port (F06): Max. 192 kHz USB 2.0 High Speed, Bus-Powered, Power consumption (max): 2.5 W Dimensions & Weight W x H x D (width x height x depth): 100 x 42 x 108 mm Unit weight: 0.2 kg Shipping weight (incl. packaging): 0.45 kg

Dual-Channel Microphone Preamplifier in 120V-Technology With the Crescendo duo, we are expanding our 120V microphone preamp portfolio with a dual-channel version of the Crescendo. The Undistortable Crescendo duo convinces with the same outstanding sound and technical features as the flagship of the product range – the eight-channel Crescendo. It is almost impossible to overdrive this microphone preamplifier. It shines with absolute signal fidelity and clarity and lets microphones appear in a whole new light – because they have never been amplified like this before. 48 V  The phantom power required for the use of condenser microphones is activated with the 48V switch. VU -10 In the Crescendo duo, high gains can be used to optimally drive subsequent AD converters. Should the VU meter therefore deflect too far, you can reduce the displayed level by 10 dB. Ø Turn the polarity of a microphone signal 180° by activating the polarity reversal switch. HP A high-pass filter with 6 dB per octave reduces subsonic noise below 120 Hz. Mic Gain The gain is adjusted by a 12-step switch. The pre-amplification ranges from +18 dB to +70 dB. Output The switchable output control allows level adjustment to subsequent devices. The control range is +/- 10 dB. This results in a total gain of 80 dB.   Pad For loud input signals (including line signals) the input sensitivity can be reduced by 20 dB. Built-in Output Splitter Both microphone preamps have dual outputs. The often needed splitter is therefore already built in. Record the microphone signal on a recording system and at the same time record it on a backup system. Specifications Analog input & output XLR (balanced): Maximum input & output level: 32.5 dBu Input impedance: 10 kΩ Output impedance: 75 Ω Frequency range (-3dB): 20 Hz – 100 kHz THD + N (10 Hz – 22 kHz, 32 dB Gain): 0.002 % THD + N (10 Hz – 22 kHz, 63 dB Gain): 0.001 % Noise (A-weighted, 150 Ω, 32 dB Gain): - 94 dBu Noise (A-weighted, 150 Ω, 63 dB Gain): - 67.5 dBu E.I.N. (150 Ω): -130.5 dBu Common mode rejection (1 kHz): 88 dB Internal Linear Power Supply with Shielded Toroidal Transformer: Operating voltage for audio electronics: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply: Mains voltage (selectable, see fuse chamber):230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 20 VA Dimensions & Weight: W x H x D (width x height x depth): 482 x 88 x 300 mm Unit weight: 6.1 kg Shipping weight (incl. packaging): 9 kg

Stereo Monitor Controller The 2Control is an excellent sounding compact monitor controller that perfectly controls your near-field and full-range monitors. It is equipped with our crossfeed control for headphone monitoring to create mixes on phones that translate on speakers. Inputs & Speakers The 2Control, which is analog throughout, allows the connection and selection of two stereo sources. These can be monitored via two stereo speaker sets and two headphones. A third mono output is used to connect a subwoofer or mono loudspeaker. The inputs are additive! The 2Control mixes the input signals together. The volume is controlled by a high quality potentiometer (ALPS RK27 “Big Blue”) with active control and a 45mm full aluminium rotary knob. The inputs are designed for balanced analog line-level signals. The input IN1 is calibrated to a nominal level of +4dBu. The sensitivity of input IN2 can also be adjusted to a nominal level of -10dBV – ideal for connecting consumer level CD/DVD players. Headphone outputs with Crossfeed The 2 Control is equipped with two active output stages for headphones, whose level can be individually adjusted. To be able to judge a mix via headphones, the super stereo effect, which affects the placement of voices and instruments in the stereo image and also reverb rooms and the generally exaggerated effects, must be corrected. This is done by the crossfeed control, thanks to which mixes created on headphones work just as well on speakers. Crossfeed is a part of our Phonitor Matrix. In its largest expansion stage it has three adjustment parameters: Crossfeed, Speaker Angle and Center Level. In the 2Control the Center Level is preset to -1 dB and the Speaker Angle to 30°. These are the most commonly used values. The crossfeed function determines the crosstalk of the channels, the so-called interaural level difference. The intensity of the crossfeed is infinitely variable. SPECIFICATIONS :   Inputs & Outputs Electronically balanced instrumentation amplifiers Input sockets: XLR  Output sockets: XLR, Stereo TRS Nominal input level: IN 1: +4dBu, IN 2: +4dBu/-10dBV Input impedance: 22kOhm Output impedance: 75Ohm/Headphones: 22Ohm Max. input level: 21,3dBu Max. output level: 21,3dBu Volume control range: -80dB to +6,6dB Headphones: -65dB to +14,9dB    Measurements Frequency range: 10Hz to 100kHz (-3dB) CMRR: ›60dB (@1kHz, 0dBu input level, unity gain) THD&N: 0,002% (@1kHz, 0dBu input level, unity gain) Signal to noise ratio: -96dB/Headphones: -85dB (A-weighted) Crosstalk L/R: ›70dB (@1kHz) Dynamic range: 116dB Power consumption: ca. 25W    Power Supply Features: Toroidal transformer with voltage selector Fuses (slow blow): 230V/50Hz: 315mA, 120V/60Hz: 630mA    Dimensions and Weight Housing (BxHxT): 215x80x220mm Depth w. controls & sockets: 245mm Height with feet: 95mm Front height w. opened feet: 126mm Weight: 2,1kg   Note: 0dBu = 0,775V. Specifications are subject to change without notice.  

Ο πρώτος 8κάναλος Προενισχυτής Μικροφώνου με Τεχνολογία 120V Ο Crescendo είναι ο πρώτος προενισχυτής μικροφώνου που λειτουργεί με εσωτερική τάση 120V. Μοναδικός στην κατηγορία του, λόγω της τεχνολογίας 120V, αφού είναι σχεδόν αδύνατο να υπεροδηγήσουμε τον προενισχυτή . Ο Crescendo υπερέχει με απόλυτη πιστότητα σήματος και ποιότητα. Ξανά-ανακαλύψτε τα μικρόφωνα σας. Δεν θα έχουν ενισχυθεί έτσι ποτέ ξανά στο παρελθόν . SUPRA op-amp Χάρη στην discrete κατασκευή του με τους αντίστοιχους ενισχυτές υψηλής τάσεως SUPRA op-amps της SPL, με την δυνατότητα λειτουργίας τάσεως +/- 60V (Τεχνολογία 120V ), ο Crescendo παρέχει 'πληροφορία' σε επίπεδα που δεν έχει ξαναυπάρξει. Ο Crescendo είναι ικανός να ενισχύσει ακόμα και τα γρηγορότερα transients, τις μικρότερες λεπτομέρειες και το πλήρες ηχητικό φάσμα, καθαρά και σχεδόν με μηδενική παραμόρφωση. Mic GainΧρησιμοποιήστε το Gain μικροφώνου για να ρυθμίσετε την προενίσχυση, έχοντας στην διάθεση σας εύρος από 18dB μέχρι 70dB. Για υψηλών στάθμεων σήματα, όπου δεν χρειάζονται και τόσh ενίσχυση, μπορείτε να κάνετε χρήση του PAD -20dB. Έτσι, το εύρος ελέγχου της ενίσχυσης μετατρέπεται από -2dB μέχρι 50dB. Οι ενισχυτές στο στάδιο εισόδου είναι κατασκευασμένοι με transistor ανα ζεύγος. Η επιλογή των transistors καθώς και των αντιστάσεων έχουν εμφανή επίδραση στον ήχο. Μετά από αμέτρητα sessions ακροάσεων, τα ιδανικά εξαρτήματα επιλέχθηκαν για τον Crescendo– Άξιζε τον κόπο!ServoΟι discrete op-amps στο στάδιο εξόδου είναι ικανοί να οδηγήσουν μεγάλης απόστασης καλωδίωση χωρίς κανένα πρόβλημα . Τα στάδια εξόδου λειτουργούν ως ενισχυτικά με τάση 6mA , παρέχοντας έτσι λειτουργία Κλάσης Αλφα. Έχουν επιτευχθεί οι κατάλληλες ενέργειες για την αποφυγή ηχητικών μειονεκτημάτων, (diffuse, blurring, έλειψη δυναμικής περιοχής ). Επίσης, έχουν χρησιμοποιηθεί ενεργά κυκλώματα servo, για αποφυγή θορύβου λόγω τάσης DC.Κάθε ένας από τους οχτώ προενισχυτές του Crescendo, διαθέτει ξεχωριστό έλεγχο (Mic Gain), ξεχωριστά μετρητικά VU , επιλογή αλλαγής φάσεως, phantom power, ένα επιλογέα -20dB PAD και μείωση ένδειξη στάθμης των VU meter (VU -10).Η τροφοδοσία τοροειδούς μετασχηματιστή είναι ενσωματωμένη στο σασί του Crescendo. Για αποφυγή ηλεκτρικών παρεμβολών του τροφοδοτικού στην προενίσχυση, το τροφοδοτικό είναι καλυμμένο και απομονωμένο με το ειδικό κάλυμμα Mu-metal. Ο μετασχηματιστής είναι επίσης 'προστατευμένος' με το ειδικό κάλυμμα Mu-metal.Xαρακτηριστικά:Ο πρώτος παγκοσμίως προενισχυτής μικροφώνων με τεχνολογία 120V, τον οποίον είναι σχεδόν αδύνατο να υπεροδηγήσετε.Διαθέτει πολύ μεγάλη δυναμική περιοχή καθώς και όρια παραμόρφωσης, χωρίς αλλοίωση στον ήχο, ώστε να μπορείτε να ηχογραφήσετε όλες τις δυναμικές των μικροφώνων, χωρίς όρια.Προηγμένη σχεδίαση (SUPRA op-amp), με δυνατότητα ενίσχυσης ακόμα και των πιο γρήγορων μεταβατικών (transients) σε όλη την περιοχή συχνοτήτων, με καθαρότητα και χωρίς παραμόρφωση.Έλεγχος στάθμης προενίσχυσης από 18dB έως 70dB. > Χρήση απόλυτα ταιριασμένων τρανζίστορ υψηλής ποιότητας, σε όλα τα στάδια εισόδου εξόδου, για τέλειο ήχο.Ενεργό κύκλωμα servo για εξάλειψη DC voltage. > Κάθε κανάλι διαθέτει: έλεγχο στάθμης (Mic Gain), ένδειξη στάθμης (VU meter), διακόπτη αντιστροφής φάσης, τροφοδοσία phantom power, διακόπτη -20dB PAD, μείωση της ένδειξης στα VU meter (VU -10).Power Supply: Τροφοδοτικό με τοροειδή μετασχηματιστή. Θωρακισμένο με ειδικό μεταλλικό φύλλο (Mu-metal). > Απόκριση συχνότητας: 20-50kHz, -3dB.Αντίσταση εισόδου: 10 kOhm. > Αντίσταση εξόδου: < 600 Ohm.Στις εξόδους διαθέτει σύνδεση XLR (για κάθε μία) και σύνδεση DB25 (8 κανάλια).

Το Phonitor x, είναι ο απόλυτος ενισχυτής ακουστικών. Προσφέρει συνδέσεις για ακουστικά τόσο balanced όσο και unbalanced, ενώ με ισχύ εξόδου 3.7 W, η απόδοσή του είναι εντυπωσιακή.  Το επαναστατικό σύστημα Phonitor Matrix, προσφέρει την πιό ρεαλιστική ακρόαση για ακουστικά, αφού δημιουργεί την εντύπωση ακρόασης μέσω ηχείων. Το Phonitor x, δεν είναι μόνο ενισχυτής ακουστικών, αλλά και ένας εξαιρετικός προενισχυτής, όπου μπορείτε να συνδέσετε έναν τελικό ενισχυτή ή ενεργά ηχεία μόνιτορ Προδιαγραφές: Ενισχυτής ακουστικών και προενισχυτής, τεχνολογίας VOLTAiR 120 V Rail,  Ξεχωριστές συνδέσεις για ακουστικά και τελικό ενισχυτή balanced και unbalanced,  Κατάλληλο για όλα τα ακουστικά με αντίσταση μεγαλύτερη από 10 ohms,  Είσοδοι balanced και unbalanced (XLR και RCA),  Προαιρετικά ψηφιακές εισόδους: USB, coaxial and optical,  Προαιρετικά μετατροπέας DAC: 192 kHz / 24 Bit,  Έξοδοι balanced και unbalanced (XLR και RCA),  Phonitor Matrix για προσομοίωση ακρόασης ηχείων,  Έλεγχος Laterality: super-fine balance,  Διακόπτης Mono,  Έλεγχος στάθμης (ελέγχεται και με τηλεχειριστήριο),  Μέγιστη ισχύς εξόδου: 2 x 3.7 W (120 ohms),  Απόκριση συχνότητας: 10 Hz - 300 kHz (-3 dB),  THD+N: 0.00091 % (HP), 0.00085 % (Line),  Dynamic range: 135.5 dB (HP), 136.3 dB (Line),  Σύνδεση AMP CTR με τον τελικό ενισχυτή Performer (για έλεγχο του διακόπτη on/off),  Made in Germany Χαρακτηριστικά: Απόκριση Συχνότητας: ‹10Hz - ›200kHz (-3dB) Αριθμός Εισόδων: 2 Αριθμός Εξόδων: 2 & 1(Headphones) Δυναμική Περιοχή: 129,5 dBΑ Ενισχυτής Ακουστικών: ΝΑΙ Συνδετήρες Εισόδου: 2 x XLR Συνδετήρες Εξόδου: 2 x XLR 1 x TRS Τύπος Ενίσχυσης: Ενεργή  

Το Phonos είναι ένας προενισχυτής για πικάπ, που χρησιμοποιούν κεφαλή κινητού μαγνήτη (MM) ή κινητού πηνίου (MC). Η καμπύλη ισοστάθμισης ακολουθεί το πρότυπο RIAA και είναι κατάλληλη για όλους τους δίσκους βινυλίου. Το φίλτρο RIAA βασίζεται στο σχεδιασμό του Douglas Self.  Με δυνατότητα προενίσχυσης μέχρι 70 dB για κεφαλές MC και 51 dB για κεφαλές MM, το Phonos είναι από τους πιό δυνατούς προενισχυτές πικάπ της αγοράς. Προδιαγραφές: Προενισχυτής για πικάπ, τεχνολογίας VOLTAiR 120 V rail,  Ισοστάθμιση κατά RIAA (Douglas Self),  Κατάλληλο για κεφαλές κινητού μαγνήτη (MM) ή κινητού πηνίου (MC).  Μέγιστη προενίσχυση: 51dB (MM), 70dB (MC),  Μεταβλητή χωρητικότητα για κεφαλές MM: Off, 150 pF, 220 pF, 330 pF  Μεταβλητή αντίσταση για κεφαλές MC: 100, 220, 470; 2k2, 4k7, 10 kohms  Πυκνωτές Styroflex σε όλη τη διαδρομή της ισοστάθμισης,  Μεταβλητή στάθμη: Normal, -10 dB, +4 dB,  Επίχρυσες εισόδους / εξόδους (RCA),  Διαθέτει σύνδεση για γείωση του πικάπ,  Φίλτρο αποκοπής χαμηλών (Subsonic),  Γραμμικό τροφοδοτικό με τοροειδή μετασχηματιστή,  Χαρακτηριστικά: Αριθμός Εισόδων: 6 Ιδιαίτερα Χαρακτηριστηκά: Φίλτρο Hi-Pass, Ειδική σύνδεση LK17 για το σύστημα ASM5 της Brauner και το σύστημα INA5-R της Microtech Gefell Τύπος Εισόδων: 1 x XLR & 1 x Pentarray & 1 x DB25 Τύπος Εξόδων: 6 x XLR & 1 x DB25  

Stereo Power Amplifier This small stereo power amplifier shows everyone that size does not necessarily have anything to do with greatness. With the power of 570 W it has every speaker under control. Thanks to VOLTAiR technology, it is fast, precise and highly efficient with outstanding sound. Better safe than sorry The Performer s800 has a protection circuit against DC voltage and a limiter against output overload. If direct current (DC) is detected, the output stage switches off automatically and the Protect LED lights up red. To protect the output against overdriving, an LDR limiter (light-dependent resistor) is used. Since it works optically, the audio quality is not affected. The Protect LED lights up yellow when the limiter responds. As one calls into the forest, so it echoes out. This saying inspired us to send the input signal out again in order to drive another power amplifier in bi-amping mode. Trim to fit With reference to the s800, “fit” means adapted. And you can adapt the input sensitivity in 0.5 dB steps. From 0 dB to -5.5 dB. This is the much more audiophile solution for acoustically problematic rooms or loudspeaker set-ups than the panorama potentiometer of the preamplifier. In addition, the difference in loudness of loudspeakers can be elegantly compensated in bi-amping mode. Plus & Minus The loudspeaker binding posts can accommodate banana plugs as well as a stranded wire with a diameter of up to 4mm. For bi-wiring operation, both types of connection can be used together. No loudspeaker with less than 4 ohms impedance may be connected. Bridge You can turn the two power amplifier channels into one power amplifier by connecting only the two plus pole terminals to the loudspeaker. This allows 450W into 8 Ohm in mono operation mode. AMP CTL The power amplifier can be switched on and off using the AMP CTL connection between the Performer s800 and a preamplifier such as the Director Mk2 or the Crossover. To do this, connect the 3.5 mm jack sockets with a cable with 3.5 mm mono or stereo jack plugs. Third-party preamps can also switch the Performer s800 on and off with their 12 V trigger. Specifications: Analog Input & Thru: XLR (balanced) Input gain (max): 32.5 dB Input impedance (THRU not connected): 20 kΩ Common mode rejection (THRU not connected): -82 dB Input sensitivity: 6 dBu Loudspeaker Outputs: Binding posts with ø4mm cable hole (screwable) and banana plug Output power (RMS, 4 Ω): 570 W Output power (RMS, 8 Ω): 370 W Harmonic distortion (1 kHz, 8 Ω): < 0.03 % Output power (RMS, 8 Ω, Bridge Mode): 450 W Harmonic distortion (1 kHz, 8 Ω, Bridge Mode): < 0.011 % Output power (peak to peak): 74 V Output power (peak to peak, Bridge Mode): 180 V Output voltage (RMS): 35 V Output voltage (RMS, Bridge Mode): 86 V Output impedance (20 Hz – 20 kHz): < 0.031 Ω Output impedance (20 Hz – 20 kHz, Bridge Mode): < 0.043 Ω Amplification gain: 26 dB Amplification gain (Bridge Mode): 32 dB Damping factor (1 kHz, 8 Ohm): > 300 Damping factor (1 kHz, 8 Ohm, Bridge Mode): > 190 Frequency range (-3dB): 9 Hz – 200 kHz Noise (A-weighted): -123 dBu Internal Linear Power Supply with Shielded Toroidal Transformer Toroidal transformer: 875 VA Operating voltage (Input stage): +/- 60 V Operating voltage (power stage): +/- 60 V Operating voltage for relays, LEDs, AMP CTL: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse 230 V: T 4 mA Fuse 115 V: T 8 A Power consumption: max. 875 VA Idle power consumption: 40 W Stand-by power consumption: < 0.3 W Dimensions & Weight W x H x D (width x height incl. feet x depth): 278 x 100 x 375 mm Unit weight: 12.8 kg Shipping weight: 14 kg

All essential functions in a stylish, slim housing. The Phonitor e offers Phonitor Matrix, volume remote control, connection also for balanced headphones, DA converter option and the all superior VOLTAiR technology. For all headphones The Phonitor e offers connections for standard headphones with jack plug and for balanced headphones a 4-pin XLR connector. Thanks to the high output power, all headphones are driven effortlessly. Volume with remote control The volume is adjusted with a milled all-aluminium rotary knob. The Alps RK27 “Big Blue” potentiometer provides a pleasant “spoon in honey” turning feeling. The volume can be adjusted with any infrared remote control. The Phonitor e learns their commands. To do this, press the IR programming button on the back and then the buttons for louder and softer. Source selection A total of five sources can be connected to Phonitor e: XLR, Cinch, USB, Coax, and Optical Phonitor e is equipped with RCA connectors and balanced XLR connectors for the analog inputs. The optional DAC768xs adds three more digital sources: USB, Coax and Optical. The optional DAC768xs The converter chip used in the optional digital-to-analog converter is the highly acclaimed AKM AK4490 Velvet Sound™ premium DAC chip, which thanks to its new architecture reproduces the finest sound details. It converts PCM audio with a resolution of 32 bits and a sampling rate of up to 768kHz, which corresponds to 16 times the CD resolution. Direct Stream Digital is also supported up to a resolution of DSD4 or DSD256.  The Revolution in the headphone amplifier is the Phonitor Matrix, with switchable crossfeed, thanks to which you can listen to music with headphones as if you are listening to speakers. The tiring super stereo effect and the exaggerated reproduction of reverberation rooms and effects are a thing of the past. Enjoy your music without tiring and exactly as it should be heard. The Phonitor Matrix, in its largest expansion stage, has three adjustment parameters: Crossfeed, Speaker Angle and Center Level. In Phonitor e the center level is preset to -1 dB and the speaker angle to 30°. These are the most common values. The crossfeed function determines the crosstalk of the channels, the so-called interaural level difference. There are two switch positions C1 and C2 for the intensity of the crossfeed. Specifications:   Analog Inputs: XLR (balanced), RCA Maximum input gain: 32.5 dBu Input impedance: 20 kΩ Digital Inputs: DAC768xs (optional) Coaxial SPDIF (RCA), PCM sample rates: 44.1/48/88.2/96/176.4/192 kHz Optical SPDIF (Toslink F06), PCM sample rates: 44.1/48/88.2/96/with Glass fibre

The Frontliner has everything to record voices and instruments in perfect quality: Positioned even above the already legendary Channel One, the Frontliner combines preamp, de-esser, EQ and compressor, tube saturation, which can be used individually or in combination. Discrete Tube Preamp The Frontliner is a hybrid preamplifier consisting of a discrete semiconductor stage and a tube stage. The hybrid construction of the preamplifier combines the advantages of semiconductors (high dynamics with low distortion, low noise) with the musical qualities of tube sound (pleasant high/overtone spectrum, beautiful three-dimensionality). The microphone preamplifier is completely discretely constructed from single transistors. It features 48 V phantom power, polarity inversion, padding and an LF cut filter. The line input has a precision balancing stage for connecting additional studio equipment. The also discrete and low-noise instrument input is easily accessible on the front panel. De-Esser The De-Esser removes annoying S sounds without affecting the natural sound. In contrast to conventional compressor techniques, the S-frequencies are detected and phase-cancelled in a very narrow band, whereby the S-sounds are deleted very unobtrusively. The De-Esser works in the Auto-Threshold mode. This ensures constant processing even if the distance to the microphone fluctuates. Operation is reduced to just one knob that sets the desired S-reduction. Compressor / Limiter The special feature of the compressor is our Double-VCA-Drive circuitry that achieves outstanding noise and distortion characteristics. By splitting the compressor activity on two VCA’s compression itself has a lesser tendency to side effects like pumping. The attack and release controls can be automated depending on the signal. The control activity is thus permanently and precisely adjusted to musical requirements. However, it is still possible to manually influence the characteristics of the automatic control, so that the boundaries between purely manual and automated control merge seamlessly. Equalizer & Tube Saturation The EQ section provides two semi-parametric filters for low and mid band as well as an Air-Band filter delivering a silky and smooth top end. The EQ especially optimized to process vocals, acoustic and electronic instruments allowing for both corrective adjustments and sound design. The sound effects from saturating a tube can be used to fatten an audio signal or make it better cut through the mix. The sound results resemble tape saturation effects and increase the density and perceived energy in a very pleasant way. VU The large VU meter displays the output level as VU value (energy) and peak value (peak level). To visualize levels above +5 dB, the sensitivity can be reduced by -10 dB. The VU meter can be switched to display the gain reduction of the compressor. External Inputs Each Frontliner module has its own balanced inputs and outputs. Thanks to a sophisticated circuit logic, you can integrate all elements of the Frontliner like single devices into a studio environment. However, you can also group them as you wish or define insertion points at each interface. If you think of the respective Frontliner modules as analog plugins, the added value becomes clear, which makes the Frontliner a versatile analog processing station in addition to the classic recording channel: DAW-based studios in particular are enriched with a first-class recording front-end and can also access high-end analog processors for the essential signal processing during mixing. Specifications: Line/Insert Input & Output; XLR (balanced) Maximum input level: 22 dBu Maximum output level: 21.5 dBu Input impedance: 20 dBu Output impedance: 50 Ω Common mode rejection (1 kHz): -80 dBu Frequency range (Tube Gain +6 dB, 600 Ω, -3 dB): 10 Hz – 45 kHz Frequency range (Tube Gain +15 dB, 600 Ω, -3 dB): 10 Hz – 35 kHz THD + N (10 Hz – 22 kHz, 0 dB, Line input): 0,022 % Noise (A-weighted, Line input): -94,7 dBu THD + N (10 Hz – 22 kHz, 0 dB, De-Esser): 0,002 % Noise (A-weighted, De-Esser): -97 dBu THD + N (10 Hz – 22 kHz, 0 dB, Compressor): 0,004 % Noise (A-weighted, Compressor): -97 dBu THD + N (10 Hz – 22 kHz, 0 dB, EQ-Tube): 0,01 % Noise (A-weighted, EQ-Tube): -91 dBu THD + N (10 Hz – 22 kHz, 0 dB, entire channel strip): 0,03 % Noise (A-weighted, entire channel strip): -91 dBu Dynamic range (unweighted): > 112 dB Microphone input; XLR (balanced) Maximum input level (Mic, 13 dB gain): 9 dBu Input impedance: 10 kΩ Frequency range (Tube Gain +6 dB, -3 dB): 20 Hz – 45 kHz Frequency range (Tube Gain +15 dB, -3 dB): 20 Hz – 35 kHz THD + N (10 Hz – 22 kHz, 30 dB Gain): 0,024 % Noise (A-weighted, 150 Ω, 30 dB Gain): -91.5 dBu E.I.N. (150 Ω): -127 dBu Instrument input; TS Jack (unbalanced) Maximum input level (Instrument, 6 dB gain): 11.5 dBu Input impedance: 1 MΩ Frequenzgang (Tube Gain +6 dB, 600 Ω, -3 dB): 10 Hz – 45 Frequenzgang (Tube Gain +15 dB, 600 Ω, -3 dB): 10 Hz – 30 THD + N (10 Hz – 22 kHz, unity gain): 0.03 % Noise (A-weighted, 100kΩ, 1:1 Gain): -95.5 dBu Internal Linear Power Supply with Toroidal Transformer Operating voltage for analog audio: +/- 15 V Operating voltage for relays and LEDs: +12 V Operating voltage for optional ADC192: +5 V V Tubes anode voltage: +250 V Tubes heating voltage: +12.6 V Phantom power: +48 V Mains Power Supply Mains voltage (selectable): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 315 mA Fuse for 115 V: T 630 mA Power consumption: max. 30 W Dimensions & Weight W x H x D (width x height incl. feet x depth): 482 x 88 x 261 mm Unit weight: 5.7 kg Shipping weight (incl. packaging): 7.3 kg

Class-A Summing Mixer The MixDream is a cascadable 16-in-2 summing device that adds Class-A stereo summing, extensive analog insert functionality, stereo expander, limiter and switchable transformers to any DAW. Analog Summing Analog summing with the MixDream brings intense depth, precise localisation and impressive spatiality. Individual instruments mix with smooth transitions.  Insert of each channel Each of the 16 input channels has a switchable insert for inserting EQs, compressors, Transient Designer, etc. Reverb and multi-effect devices can of course also be connected to the inserts. In the DAW, the aux send is then routed to the corresponding output. Master Insert In the Master Insert, a combination of compressor and equalizer is usually recommended. The insert send level determines the level at which the insert device is controlled. Stereo Expander The Stereo Expander can add more width and depth to a mix so that the stereo width gained from analog summing can be increased even further. No Mix With the No Mix switch position, the channel is muted for summing, but is retained at the Direct Out output and can thus be recorded again. The No Mix function is especially useful when, for example, a compressor is inserted: the compressed signal can be recorded again and assigned a level automation. Without this function, also known as “bounce back”, signals with level automation could not be compressed, because the compressor is looped in behind the post fader control and therefore the compressor threshold could not be adjusted during level runs. Direct Outputs Each channel has an active Direct Out, which allows individual channels to be recorded back into the DAW after insert editing. Peak Limiter The limiter can provide good protection for subsequent A/D converters. On the one hand, it can be used to intercept individual peaks that are too loud, and on the other hand it can also be used to increase loudness when used more intensively. How much loudness is possible with the limiter depends strongly on the nature of the music. With larger dynamic peaks, such as those coming from drums, loudness of up to 6dB can be obtained. Master Insert In the Master Insert, a combination of compressor and equalizer is usually recommended. The insert send level determines the drive level to the inserted device. Stereo Expander The Stereo Expander can add more width and depth to a mix so that the stereo width gained from analog summing can be increased even further. Output & Transformers The output has a level switch, which can be used to optimize the level to subsequent A/D converters.  In addition, the MixDream is equipped with two Lundahl LL1539 output transformers, whose special sound gives the master a final polish. Expansion If 16 channels are not enough when summing, the expansion input can be used as another stereo input. The output of another MixDream or MixDream XP can also be connected here. Mono 1 - 6 The channels 1/2, 3/4 as well as 5/6 can be switched mono, so that two signals can be converted by one D/A chip. For this purpose, the signals that are placed in the phantom center of the stereo mix (e.g. kick, snare, lead vocal, bass) are panned hard left/right in the DAW. Inserts On This allows all inserts to be switched on and off together. Specifications: Analog inputs & output: XLR & DB25 (balanced) Maximum input & output gain: 28 dBu Input impedance: 10 kΩ Output impedance (Master & Monitor w/o transformer, Insert Sends): 82 Ω Output impedance (Master & Monitor w/ transformer): 65 Ω Frequency range (-3 dB): 1 Hz – 220 kHz THD + N (A-weighted, +10 dBu, all channels active): -104 dBu Noise (A-weighted, all channels active): -97 dBu Common mode rejection (1 kHz): 70 dB Dynamic range: 125 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 30 V Operating voltage for relays and LEDs: +12 V Mains Power Supply Mains voltage 230 V: 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 800 mA Fuse for 115 V: T 1.6 A Power consumption: max. 75 W Dimensions & Weight W x H x D (width x height x depth): 482 x 88 x 237 mm Unit weight: 6.6 kg Shipping weight (incl. packaging): 8.05 kg

4κάναλη συσκευή, ειδικά σχεδιασμένη για τον έλεγχο της δυναμικής των οργάνων. Λειτουργεί ανεξάρτητα από την ένταση του σήματος και μπορεί να μειώσει ή να αυξήσει τη ΅΅διάρκειαΆΆ ενός ήχου. Αλλάζοντας τα Attack και Sustain, μπορεί να διορθώσει προβλήματα συντονισμού (booming) ή βάθους (reverb), καθώς και να αναδείξει ή να υποβαθμίσει ένα όργανο στη μίξη. Διαθέτει: Έλεγχο για Attack και Sustain, Ένδειξη σήματος με LED, Μέγεθος 1U Rack Είσοδο/έξοδο με σύνδεση Balanced XLR και TRS.

Passive Mastering Equalizer In the PASSEQ we have revived the concept of the passive equalizer that was used in the 50’s and 60’s. The charming sound of this vintage technology combined with the modern 120V technology results in a very special equalizer. Only one filter​ All control functions are part of only one passive filter. There are three frequency ranges: Low Freq / Mid Freq / High Freq Each with a cut control on the left and a boost control on the right. In the middle is the output control. Design A passive filter has no amplification stages. It can therefore only be lowered. If one frequency is to be boosted, all the others must be lowered. Behind the filter there is a stage that makes up for the lowered overall level. Since low noise is particularly important here, since up to 20 dB can be made up for, the 120V technology comes into its own. The entire passive filter (variable resistor, capacitor and coil) provides a very nice sound characteristic. Besides the choice of components, the charging behaviour of the capacitors and the saturation behaviour of the coils play a major role in this. The resulting relative inertia compared to potentially very fast active filters is the reason for a pleasant, musically advantageous sound characteristic. We would choose smoothness and transparency as well as strikingly silky highs and pithy basses as a description that suits our perception. During fine-tuning, through component selection, in countless listening sessions, the emphasis was on achieving the most musical sounding curves possible, which, for example, need fear no comparison with a Pultec EQ from the 1950/60s. Only without all the disadvantages of a 60 year old original, such as the very high background noise, but above all the very limited frequency selection. Another highlight of the PASSEQ is the HF+ band, which has been extended by the frequencies 25 kHz and 35 kHz and sounds so incredibly good that you don’t want to switch it off. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -60 dBu Frequency range (-3 dB): 10 Hz – 200 kHz Crosstalk (1 kHz): -108 dBu THD + N (+30 dBu, 1 kHz): 0.0012 % Noise (A-bewertet): -95.2 dBu Dynamic range: 134.5 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 500 mA Fuse for 115 V: T 1 A Power consumption: max. 15 VA Dimensions & Weight W x H x T (W x H x D (width x height x depth) x Höhe x Tiefe): 482 x 132 x 300 mm Unit weight: 10.2 kg Shipping weight (incl. packaging): 14 kg

Ο Gainstation 1 της SPL είναι μονοφωνικός προενισχυτής τάξης Α  compact σχεδίασης και κατασκευής επιτρέποντας την τοποθέτηση του και εκτός rack . Διατίθεται σαν εξτρά θήκη μεταφοράς ,η GainBag ,η οποία διαθέτει επιπλέον χώρο για  ένα μικρόφωνο και την καλωδίωση του. Για πιο μόνιμες καταστάσεις μπορούν τα τοποθετητούν Ανεξάρτητη προενίσχυση λάμπας και τρανζίστορ, Peak/FET Limiter, Μεταβλητή αντίσταση εισόδου μικροφώνου (200 Ohms, 1,2 και 10 kOhms), Ενίσχυση 60V Class-A, Επιλεγμένα υλικά και επίχρυσες επαφές στους διακόπτες, Συνδέσεις Balanced XLR και TRS, Phantom power 48V, Διακόπτης αντιστροφής φάσης, Φίλτρο Hi Pass (50 Hz), Μικρό μέγεθος για εύκολη μεταφορά. Πρόσθετα: 24/96 AD converter, Lundahl Mic-in transformer. 

Ο προενισχυτής  GoldMike Mark2 της SPL συνδυάζει τα προτερήματα του hybrid solid state και λυχνίας ,σε μια κατασκευή τάξης Α σε  πολύ προσιτή τιμή. Χαρακτηριστικά Ανεξάρτητη προενίσχυση λάμπας και τρανζίστορ Peak/FET Limiter Μεταβλητή αντίσταση εισόδου μικροφώνου (200 Ohms, 1,2 και 10 kOhms) Ενίσχυση 60V Class-A, Επιλεγμένα υλικά και επίχρυσες επαφές στους διακόπτε Συνδέσεις Balanced XLR και TRS, Phantom power 48V, Διακόπτης αντιστροφής φάσης Φίλτρο Hi Pass (50 Hz);Ενδεικτικά όργανα VU, Dynamic range (30dB Gain) 110dB, Απόκριση συχνότητας 10Hz - 90kHz (-3dB) Πρόσθετα: 24/96 AD converter, Lundahl Mic-in/ Line-out transformers.

Κορυφαίος επεξεργαστής ήχου για βελτίωση οποιασδήποτε ηχογράφησης (ιδανικό και για mastering). Διαθέτει:Ένα τμήμα με ξεχωριστό Compressor για τις υψηλές και χαμηλές συχνότητες, με φίλτρα για έλεγχο του ήχου και ρυθμιστικά λειτουργίας της συμπίεσης,Ένα δεύτερο τμήμα με λάμπες (1950) για περισσότερο ζεστό ήχο,Τα δύο τμήματα μπορούν να ενεργοποιηθούν ανεξάρτητα,Μέγεθος 2U Rack,Ενδεικτικά όργανα VU,Λειτουργία Stereo,Είσοδο/έξοδο με σύνδεση Balanced XLR και TRS.

Το Volume 8 της SPL είναι hi-end 8κάναλος επιτραπέζιος ελεγκτής ακρόασης (οικονομική λύση για ακρόαση 5.1 Surround) με DB25 εισόδους / εξόδους και μεγάλο  υψηλής ποιότητας ποτενσιόμετρο. Χαρακτηριστικά:  Αναλογικό έλεγχο στάθμης 8 καναλιών Λειτουργία Mute Είσοδο/έξοδο balanced DB25  Υψηλής ποιότητας ποτενσιόμετρο Ενεργό κύκλωμα για καλύτερη απόδοση Οικονομική λύση για έλεγχο στάθμης σε στούντιο για επεξεργασία ήχου σε ταινίες ή δημιουργία δίσκων DVD Αναλογικό έλεγχο στάθμης 8 καναλιών Λειτουργία Mute Eίσοδο/έξοδο balanced DB25 Υψηλής ποιότητας ποτενσιόμετρο Ενεργό κύκλωμα για καλύτερη απόδοση Οικονομική λύση για έλεγχο στάθμης σε στούντιο για επεξεργασία ήχου σε ταινίες ή δημιουργία δίσκων DVD

2κάναλος επιτραπέζιος ελεγκτής ακρόασης Stereo. Το Volume 2 της SPL είναι ένα hi-end monitor controller με  balanced XLR 's εισόδους και εξόδους και μεγάλο ποτενσιόμετρο. Χαρακτηριστικά: Αναλογικό έλεγχο στάθμης stereo Λειτουργία Mute Είσοδο/έξοδο balanced XLR Υψηλής ποιότητας ποτενσιόμετρο Ενεργό κύκλωμα για καλύτερη απόδοση Ιδανικό για έλεγχο στάθμης από κάρτες ήχου (ηχογράφηση σε υπολογιστές) Αριθμός Εισόδων: 1 Ιδιαίτερα Χαρακτηριστικά: Iδανικό για έλεγχο στάθμης από κάρτες ήχου Συνδετήρες Εξόδου: 1 x XLR Τύπος Ενίσχυσης: Ενεργή

Επιτραπέζιος ελεγκτής ακρόασης 5.1 Surround.Διαθέτει: Αναλογικό έλεγχο στάθμης 5.1 Διαχείριση ηχείων Κουμπί Mono Διακόπτη εξασθένισης (Dim) Πρόσθετη στερεοφωνική έξοδος ηχείων Επιλογή πηγής ήχου 2X surround και 2X Stereo Ιδανικό σύστημα ακρόασης σε στούντιο για επεξεργασία ήχου σε ταινίες ή δημιουργία δίσκων DVD Αριθμός Εισόδων: 6 Ιδιαίτερα Χαρακτηριστικά: Iδανικό σύστημα ακρόασης σε στούντιο για επεξεργασία ήχου σε ταινίες ή δημιουργία δίσκων DVD Συνδετήρες Εξόδου: 6 x Jack 1/4 Surround & 2 x Jack 1/4 Stereo Τύπος Ενίσχυσης: Ενεργή