Recording Studio Magic!

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

Combining some of our most popular products in an easy-to-use and install package, a home studio owner can get everything required to have a treated studio that will sound great and look even better. Depending on the goals or the available budget for the room you may acquire one or several boxes. Consisting of one single box containing 8 units Wavewood Ultra Lite, 2 units Multifuser DC3 and 2 tubes of Glue to install it all, VicStudio Box is an acoustic kit appropriated to treat your Project Studio. Acoustic solutions will always have a visual impact. The VicStudio Box can be acquired in three different finishes, so that you have more options available when it comes to deciding the look you want for your room. The kit includes the new Multifuser DC3, with built-in holder rips so it can be installed on a wall with a VicFix fixation system, using VicFix Mini (included), or VicFix J Profile 80mm (sold separately), or VicFix Corner (sold separately). It continues to be compatible with Flexi Glue Ultra (included), which is required for ceiling installation.

Flexi Wall is a portable, modular acoustic treatment system which can transform your working space in a matter of minutes. Its flexible panels enable you to set up a customized studio just about anywhere. The panels can also be used to change the acoustic properties of a room, allowing it to serve a variety of purposes. Flexi Wall is highly absorbent in all frequency ranges. Its design is based on Vicoustic’s top selling Flexi Panels. This unique solution can be used in a range of environments such as recording rooms, vocal booths, video editing rooms, etc.Packaging InformationUnits/Box: 3Box Dimensions (L×H×W): 620 x 620 x 500mm / 24.4'' x 24.4'' x 19.7''Box Gross Weight: 12.75kg

Introduced in 1960, the U 67 was the quintessential studio workhorse throughout the formative years of modern music. Today, more than ever, its inimitably smooth sound continues to be in high demand. Now, for the first time in decades, Neumann’s legendary tube microphone is back in production, built to the original specifications.Introduced as the successor to the eminent Neumann U 47, a lesser microphone would have failed. But the U 67 was quickly adopted as the new studio standard, offering many advantages over its predecessor. With three selectable polar patterns and advanced tube circuitry, including low cut and pad switches, the Neumann U 67 was well-equipped for virtually any recording task. It still is: To this day, many top level engineers would choose the U 67 as their “desert island” microphone for its extraordinary versatility and unmatched sound quality.Neumann Engineering at Its BestThe U 67 was the first microphone equipped with the famous K 67 capsule, which has since become associated with “the Neumann sound” and continues to be used in its successor, the U 87 A. No less important is the U 67’s masterful tube circuit featuring a clever pre-emphasis/de-emphasis scheme to minimize tube hiss. The U 67 was also the first microphone to address modern recording techniques such as close miking. Its switchable low cut filter compensates for the proximity effect occurring at short recording distances. Using its preattenuation, the U 67 can handle high sound pressure levels of up to 124 dB without distortion (and much more if you don’t mind a bit of “tube grit”).As timeless as its sound and technical design is its outer appearance. The U 67’s cone-shaped body and the tapered headgrille have since become iconic for the Neumann brand; the same elegant design would grace its solid state successor, the U 87, for the next 50+ years.ApplicationsThe U 67 is a universal studio microphone suitable for all applications. Its smooth top-end with a subtle tube shimmer makes the U 67 an outstanding vocal microphone. Due to its essentially linear response in three polar patterns – omni, cardioid, and figure-8 – the U 67 is also a very versatile microphone for all kinds of instruments such as strings, woodwinds, brass, piano, drums, acoustic and electric guitar, bass guitar and upright bass.History RepeatingSonically, the current reissue is identical to the U 67 made from 1960–1971. It uses the same capsule and electronic design. Key parts, such as the BV 12 output transformer, are meticulously reproduced according to original documentation. EF86 tubes are carefully selected for optimal characteristics and lowest noise in a dedicated measurement facility. The power supply was redesigned to meet today’s strict safety requirements and to accommodate the slightly higher filament current of newer premium grade tubes. The new power supply NU 67 V is fully compatible with older U 67 microphones.* Reissue of the legendary Neumann U 67* Superb vocal microphone for male and female singers* Versatile microphone for all kinds of instruments* Made to original specifications using archived documentation* New power supply NU 67 V automatically adapts to the local mains voltage* Handmade and hand soldered in Germany

Flexi Screen Ultra has over the years probably evolved as the best looking mobile acoustic shield for microphones in the pro audio industry. We now take this best-selling product to the next level, by presenting an improved version with anti-scratch melamine and eight color patterns, including Metallic Copper and Gold.Made from high quality materials, the exterior surface is produced in MDF with anti-scratch melamine, which helps to create a barrier and gives an attractive visual effect. Its polyurethane structure in the interior is designed to give maximum absorption efficiency.It's the ideal portable solution for voice recording in untreated rooms or venues, which lack sufficient acoustic control. It performs on untreated and scattered room reflections, effectively isolating the sound source. The singer's energy is absorbed on the inside of the unit, producing a dryer, less ambient sound. At the same time, scattered room reflections are blocked on the outside.Flexi Screen Ultra can be used with a wide range of microphones and can be adjusted either horizontally or vertically. It's the best solution for voice recording, either for singers, musicians or podcasters.

Cinema Round Premium panels provide flexible and elegant solutions for sound control across a multitude of applications. Combining modern design with maximum acoustic efficiency, the fabric-covered Cinema Round Premium panel is commonly used to control sound reflections and excess reverberation, helping you maximize the performance of your listening space.Cinema Round Premium has a broadband performance ranging from medium-low to high frequencies. It has been proved as one of the most stable panel with a very high and linear absorption coefficient.You may also install this product with the new VicFix J Profile fixation system using VicFix Base (sold separately).

Cinema Round Premium panels provide flexible and elegant solutions for sound control across a multitude of applications. Combining modern design with maximum acoustic efficiency, the fabric-covered Cinema Round Premium panel is commonly used to control sound reflections and excess reverberation, helping you maximize the performance of your listening space.Cinema Round Premium has a broadband performance ranging from medium-low to high frequencies. It has been proved as one of the most stable panel with a very high and linear absorption coefficient.You may also install this product with the new VicFix J Profile fixation system using VicFix Base (sold separately).

Made from solid wood, the Multifuser collection is perfect for use in venues such as concert halls, hi-fi rooms and recording studios, where effective diffusion is often required, without too much absorption occurring at the same time. With its striking angled surface, the two-dimensional diffuser is based on a QRD sequence combined with changing reflection techniques (a result of the angled surface).The panel itself is made in two parts. Each part can be rotated in different directions so that a uniform, omni-directional scattering of sound is achieved, with particularly effective diffusion of mid and low frequencies. Multifuser Wood 64 works between 310Hz and 8kHz and Multifuser Wood 36 works between 470Hz and 10kHz.As well as its acoustic efficiency, the panel’s attractive appearance makes it suitable for use in a range of settings. Available in Light Brown, Black, White and two new colours: Metallic Coper and Metallic Gold.

VicTotem is a free standing, variable acoustic treatment solution to provide absorption, diffusion, bass management and even mix all in one: Fully Sound Absorption: Switch all modules to have the VMT side on the front in order to use it as a sound absorber. Fully Sound Diffusion: Switch all modules to the Melamine wood side on the front to use as diffuser. Hybrid panel: Combine VMT and melamine front modules for absorption and diffusion. Bass Trap: Place it on the corners to serve as bass trap. Expandable: It’s easy to add an extra module for added height to the unit.

Οι ηχολήπτες / μηχανικοί  που αναζητούν έναν monitor controller με πλήρη χαρακτηριστικά για το στούντιο τους θα βρουν πολλά να αγαπήσουν στο API MC531. Εμπνευσμένο από το κεντρικό τμήμα των διάσημων αναλογικών κονσολών της API, το MC531 περιλαμβάνει ένα ποτενσιόμετρο ελέγχου 41 θέσεων για εύκολη ρύθμιση της έντασης, μαζί με ένα πλούσιο πακέτο I/O. Η ενσωμάτωση του προγραμματιζόμενου sub είναι πλέον παιχνίδι. Περιλαμβάνονται φυσικά διπλές εξόδους ακουστικών και ενσωματωμένο μικρόφωνο talkback. Πέρα από αυτό, το MC531 είναι κατασκευασμένο χρησιμοποιώντας ακριβώς το ίδιο κύκλωμα που θα βρίσκατε σε μια κονσόλα API πλήρους μεγέθους, αποδίδοντάς σας χαμηλό θόρυβο και κρυστάλλινο ήχο. Είτε εργάζεστε σε έναν μεγάλο χώρο είτε σε ένα μικρό στούντιο, το API MC531 παρέχει ευκολίες και δυνατότητες  που βασίζονται σε προδιαγραφές μιας μεγάλης κονσόλας.

Limited Edition του πυκνωτικού μικροφώνου μεγάλου διαφράγματος OC818 Studio set με πολλαπλά πολικά διαγράμματα (Omni, Figure8, Cardioid, HyperCardioid, etc), βασισμένο στην νέας σχεδίασης διπλή κάψα CKR12 με παγκόσμια πατέντα για τα διπλά χειροποίητα κεραμικά της δαχτυλίδια. Τα πολλαπλά πολικά διαγράμματα μπορούν να ελεγχθούν εκτός από τον κλασσικό manual τρόπο και μέσω του δωρεάν application POLARPILOT (Android and iOS) τοποθετώντας τον Bluetooth adapter OCR8 στο πίσω μέρος του μικροφώνου, δίνοντας στον χρήστη την δυνατότητα ρύθμισης 255 steps περνώντας από το Figure8 μέχρι το Omni, με έλεγχο των ρυθμίσεων pad. Όλες οι ρυθμίσεις μέσω της εφαρμογής γίνονται σε ψηφιακό περιβάλλον αλλά ο ήχος του μικροφώνου δεν μεταβάλλεται δεν μετατρέπεται και παραμένει αναλογικός. Μία ακόμη μεγάλη καινοτομία είναι τα διπλά output που διαθέτει ένα για κάθε μία κάψα χωριστά (front- rear) δίνοντας την δυνατότητα ηχογράφησης σε 2 κανάλια ξεχωριστά που μπορούν να υποστούν περεταίρω επεξεργασία και να αλλάξουν το μοτίβο του μικροφώνου μετά την εγγραφή μέσω του ειδικού καλωδίου / adapter που περιλαμβάνει στην συσκευασία για την δεύτερη έξοδο.

Η μαγεία πίσω απο το καταπληκτικο αυτό νεό EQ είναι η βασική ιδέα  της χρήσης Baxandall  φίλτρων και η υλοποίηση  του που διήρκεσε πολλά χρόνια. Τα κλασσικά shelving  φίλτρα  Baxandall  ήταν διάσημα ήδη απο την δεκαετία του  60 για την απίστευτη μουσικότητα τους και τον ιδιαίτερο μουσικό ήχο τους. Ο Chris Muth δούλεψε πολλά χρόνια για την δημιουργία ενός σύγχρονου Baxandall  EQ.Το Dangerous Music BAX EQ είναι το νέο  standard  για υψηλού επιπέδου equalization για ηχολήπτες mastering αλλά και ηχολήπτες studio. Προσφέρει απίστευτα μαλακά και μεταξένια υψηλά που πραγματικά δίνουν ζωή στίς μίξεις. Επίσης  οι χαμηλές  συχνότητες αποκτούν  σώμα και γίνονται πιο συμπαγείς. Όλα αυτά  δε χωρίς περίεργους χρωματισμούς.To νέο στερεοφωνικό EQ προσφέρει  ακριβή έλεγχο με ποτενσιόμετρα διακριτά σε στάδια  γεγονός που βελτιώνει ακόμα περισσότερο τον ήχο και δείχνει την σημασία στην λεπτομέρεια της κατασκευής του. Αν θέλεται έναν ακριβό ήχο με  σύγχρονη σχεδίαση αλλά και  vintage χαρακτήρα  ως πρός την γλυκύτητα του ήχου , αυτό είναι το EQ που πάντοτε περιμένατε !Dangerous Music BAX EQ Stereo Mastering and Mix Bus Shelving Equalizer Features:Inspired by the Classic P. J. Baxandall Shelving CurvesStepped controls throughout for repeatability and identical stereo operationBroad Q Shelving7-position High Pass and Low Pass Filters — 2-pole Butterworth configuration (12 dB/oct)8-position High and Low Frequency Select+/- 5dB Cut and Boost controls in 1/2dB steps

Dual-Band De-Esser Module Our well known De-Esser as a dual-band version built into a single module for the 500 Series. On/Bypass With On/Bypass you switch the module on or off (bypass). Signal LED The Sig LED (Sig) indicates whether an audio signal is present at the input and exceeds a level of -20 dB. This LED indicator serves as an aid to quickly recognize whether a signal is arriving at the DeS in a complex studio cabling system. Hi-S The Hi-S control adjusts the intensity of the S sound reduction in the upper frequency band. The center frequency for sibilance detection is 11.2 kHz with a bandwidth of 3 kHz. Lo-S The Lo-S control adjusts the intensity of the S sound reduction in the lower frequency band. Male/Female Voicing The Voice switch is used to adjust the low-band de-esser to the voice characteristics. The switch changes the center frequency for the sibilance identification: Female: 7.6 kHz, Male: 6.4 kHz. The processing bandwidth in the low band is 1.44 kHz. De-Esser Tech Talk De-Essing by Phase Cancellation SPL has developed a circuit technology that combines efficient de-essing with maximum ease of use. De-essing already during recording spares a lot of time in comparison to the subsequent search for the S-sounds in post production. The DeS automatically adjusts itself to the relevant frequencies and hones in on them so that only the range of the S-sound is processed and neighbouring frequencies remain untouched. This range is phase-inverted and mixed back into the original signal, which acoustically deletes the S-sound. The DeS therefore works unobstrusively and sound-neutral. Auto-Threshold The DeS features our Auto-Threshold which automatically adjusts the threshold if the input level fluctuates due to varying distance to the microphone which leads to fluctuating input levels. With Auto-Threshold engaged, the de-essing intensity remains constant at the value you set – a great help not only for untrained speakers/singers in the studio and live. With conventional de-essers using compressor technology, the processing intensity decreases as the distance to the microphone increases to which compressors or limiters then react by letting the S sounds reappear. The disadvantage of weaker de-essing – bad enough in itself – therefore also leads to undesired effects in the subsequent processing. Auto-Threshold prevents these disadvantages from occurring in the first place. Specifications: Input & Output: balanced Maximum input & output gain: 21 dBu Input impedance: 20 kΩ Output impedance: 150 Ω Common mode rejection: -82 dB Frequency range (-3 dB): 10 Hz – 100 kHz THD & N (0 dBu, 10 Hz – 22 kHz): 0,03 % Noise (A-weighted): -92.3 dB Dynamic range: 113 dB Dimensions & Weight Unit weight: 0.65 kg Shipping weight (incl. packaging): 0.9 kg

Our nonplusultra headphone amplifier.The Phonitor xe is the nonplusultra standalone headphone amplifier without any compromises. Phonitor Matrix, remote volume control, retro-look VU meter, the optional premium DA converter and the all-superior VOLTAiR technology make the Phonitor xe one of the best headphone amplifiers of our time.Great Sound – for all headphonesThe Phonitor xe offers connections for a standard headphone with a stereo jack plug and for balanced-driven headphones using a 4 pin XLR plug.Thanks to the enormous output power, all headphones are driven effortlessly.Thus, it plays out the advantages of the SPL VOLTAiR technology and rewards the listener with an honest, detailed and at the same time vivid sound experience.Twice as niceThe Phonitor xe provides headphone outputs on the front and on the rear. On the front, you switch between F (front) and R (rear). This way, your favorite headphones remain firmly connected on the rear – without visible cabling on the front.Milled from solidThe massive 45mm volume control knob milled from aluminum is a haptic highlight. Its mass together with the motorized Alps RK27 “Big Blue” potentiometer enhances the “spoon in the honey” feeling even further.The red marker LED ensures good visibility of the volume parameter even in darkened environments.Remote controlThe volume control can be remotely controlled with any infrared remote control.The Phonitor xe learns to communicate with it with the simple push of a button.Learning made easyUsing Phonitor x as an example, this video explains how you can use any infrared remote control to remotely control the volume.Source of joyUp to six (6 !) stereo sources can be connected to the Phonitor xe:XLR, RCA and via the optional DAC768 also USB, COAX, OPTICAL and AES.Phonitor xe accepts almost all audio connections. Balanced via XLR or unbalanced via RCA connectors.With the optional DAC768, four additional digital sources are added. From USB to professional AES format, no wishes remain unfulfilled.The DAC automatically picks up the sampling rate and resolution of the digital playback source. No matter if a streamer, computer or CD player is connected. No further settings on the Phonitor xe are necessary.The DAC768The highly acclaimed AKM AK4490 Velvet Sound™ premium DAC chip is used as the converter chip in the optional digital-to-analogue converter, which thanks to its architecture reproduces the finest sound details.It converts PCM audio with a resolution of 32 bits and a sampling rate of up to 768 kHz, which is equivalent to 16 times CD resolution. Direct Stream Digital is also supported up to a resolution of DSD4 or DSD256. In contrast to the DAC 768xs, the DAC768 not only offers an AES/EBU digital input, but also the SPL DLP120 with VOLTAiR technology.The DLP120 (Dual Low-Pass)The analog output of the DAC chip must be filtered by a low pass filter. Phonitor xe has two of them: One for PCM audio and one for DSD audio, since different roll-off frequencies are required.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 and sound.Good ol' timesTwo 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.Finding the middleis not always easy. By our very nature, hearing can be leaning more to the left or more to the right. This is especially obvious when listening with headphones.That’s why Phonitor xe has the uniquely finely resolved laterality control. With it, the center can be found perfectly.With the MODE switch you can choose between stereo or mono playback. This switch also activates the laterality control.The Revolution: Phonitor MatrixThe Phonitor Matrix is the revolution in the headphone amplifier.Thanks to the Phonitor Matrix, music can be experienced on headphones as if it was played on speakers. The tiring super stereo effect is a thing of the past.Enjoy your music without listening fatigue and exactly the way it should be heard.Music is normally produced and mixed for playback on stereo speakers.Listening on headphones is different from listening on loudspeakers. The biggest difference is the lack of crossing signals of the sound signal from the left speaker to the right ear and from the right speaker to the left ear. These crossing signals are missing in conventional headphone listening, because there are no signals crossing from one side of the headphones to the other. This results in an unnaturally wide stereo image and the various sound sources of the audio signal are not localized as the sound engineer intended them to. This effect is often referred to as “super stereo effect”. During conventional listening on headphones, our brain can balance the false representation of the playback to a certain extent – but this is very exhausting.The SPL Phonitor Matrix can correct this false stereo image with an analog circuitry. The Phonitor Matrix therefore not only ensures a correct representation of the stereo image, but also a relaxed listening experience.The two main parameters of the Phonitor Matrix are Crossfeed and Angle:Crossfeed determines the crossing signals of the channels, the so-called interaural level difference.Angle determines the opening angle of the stereo image, the so-called interaural time difference.Center of AttentionTo make the listening experience even more perfect, the level of the center of the stereo image needs to be attenuated when the Phonitor Matrix is active. This ensures that not only the position of all sound sources is correct but also their volume.In the Professional Fidelity Phonitor devices this value is set to a fixed attenuation of -1 dB, which is the best choice for getting an authentic representation of the sound stage.Sounds good!With all devices of the Professional Fidelity series we develop not only according to plan, but also by ear. All important components are installed on the circuit boards using Through-hole technology. This way we can ensure that we can use the best sounding components.The VOLTAiR TechnologyThe 120V technology is our reference technology. The 120V technology is unique in the world. It operates at a DC voltage of 120 volts. This is four times that of IC-based semiconductor op-amps. In our Professional Fidelity series, we refer to this unsurpassed technology as VOLTAiR technology.The highest possible audio quality requires the highest possible audio operating voltage.The 120V technology works with +/-60 V. To be able to handle such a high voltage, we have developed special proprietary operational amplifiers that can operate with a DC voltage of +/-60 V: the SPL 120V SUPRA operational amplifiers. This high voltage would destroy conventional components and operational amplifiers.By the way, the “120V” in the name of the technology has nothing to do with the local mains voltage from the mains power socket. This is about the operating voltage inside the device with which the audio signals are processed.The mains voltage from the mains power socket is transformed to the required secondary voltage in the device’s internal linear power supply with toroidal transformer. Rectifiers convert this AC voltage into DC voltage required in the audio device.

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 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

To Dutch&Dutch 8C είναι ένα υψηλής ποιότητας ενεργό studio monitor που συνδιάζει επαναστατική σχεδίαση, με ισχυρό DSP και καρδιοειδές μπάσο, προσφέροντας φυσικό ήχο με μεγάλη λεπτομέρεια.The Dutch & Dutch 8C uses a proprietary waveguide tweeter with an acoustic cardioid midrange and boundary-coupled bass drivers and active room matching, to provide stunning acoustical reproduction in any room. Unlike traditional speakers, the 8C can be placed closer to room boundaries without losing performance.Built to provide superior detail and clarity, the 8c provides constant directivity from 100Hz upwards and has a linear frequency response from 35Hz and up (+/- 0.5dB) offering unparalleled neutrality, precision and in-room tonal balance.The subwoofer is powered by a 500Watts amplifier feeding two high-excursion 8” drivers with boundary loading to ensure uncompromised precision and impact. The cabinet is made of high-quality birch plywood surrounded by stunning solid oak exterior panels.Despite their compact footprint, the speakers include high-quality DACs, subwoofers, DSP and room matching and streaming capabilities. DSP includes controls to let you fine tune your system, emulate another loudspeaker or simply tweak the sound a little. The DSP can be controlled via its web-based application or a native App on your phone or tablet. Automatic updates are also available with new firmware provided to keep your speaker up-to-date with the latest standards and features.Overview.Completely accurate music reproduction requires more than a thoroughly optimized speaker. It requires a speaker that works together with the acoustics of the listening room.The 8c is more than just a loudspeaker. It is a unique acoustic concept because its revolutionary design provides constant directivity from 100 Hz upwards. As a result, the 8c is above and beyond any other system in terms of neutrality, precision, and in-room tonal balance.Accurate.The 8c represents our commitment to accuracy and clarity. With its constant directivity from 100Hz upwards and +/-0.5dB frequency response from 35Hz upwards, music can now be experienced exactly as it was intended. Nothing is added, nothing left out.Experience the sensation of truly accurate music reproduction, hear truth in audio like never before.Adaptive.Tune the system to the room, not the room to the system. 8c’s adapt to the room they are in and can be placed (very) close to room boundaries without losing performance.To achieve this, 8c’s combine a proprietary waveguide tweeter with an acoustic cardioid midrange, boundary-coupled bass drivers and active room matching. The result: superb acoustical reproduction in any room,.All-in-one.Besides drivers, the 8c’s small footprint presence holds high-end DACs, amps, subwoofers and a DSP. The system also comes with room matching and streaming capabilities out-of-the-box.All components match each other perfectly and together deliver a “big sound” at 106 dB continuously from 35 Hz upwards, while keeping the signal-to-noise ratio very high.At a glanceCompact DSP controlled monitor speaker2 x 8" woofer, 1" waveguided tweeter, all individually drivenFrequency response: 30Hz...25kHz +/- 1dBPhase response: minimum (best possible time coherence).Long term SPL(*): 106dBControlled Directivity from 100HzSize: 20x40x40cm, 8"x16"x16" (WxHxD)Weight: 26kg (57lbs)Inputs: Analogue, AES/EBUSelectable correction for free-standing, near wall or in cornerDSP for position and frequency response control, speaker emulationControl via Web-based application or phone and tablet Native App

Κατασκευασμένο στη Γαλλία, το νέο Solo6 είναι ένα monitor δύο δρόμων που προσφέρει ασυναγώνιστη διαφάνεια, έλεγχο, ευκρίνεια, δυναμικές και ακρίβεια στερεοφωνικής εικίνας. Χάρη στη λειτουργία Focus, το Solo6 προσφέρει δύο monitor σε ένα, διατηρώντας το sweet spot κατά τη διάρκεια της μίξης, εξοικονομώντας χώρο, και απλοποιώντας την σύγκριση ενός πλήρους και ενός πολύ μικρότερου monitor με το πάτημα ενός ποδοδιακόπτη.

Κατασκευασμένο στη Γαλλία, το νέο Twin 6 είναι ένα monitor δύο δρόμων που προσφέρει ασυναγώνιστη διαφάνεια, έλεγχο, ευκρίνεια, δυναμικές και ακρίβεια στερεοφωνικής εικόνας. Χάρη στη λειτουργία Focus, το Twin 6 προσφέρει δύο monitor σε ένα, διατηρώντας το sweet spot κατά τη διάρκεια της μίξης, εξοικονομώντας χώρο, και απλοποιώντας την σύγκριση ενός πλήρους και ενός πολύ μικρότερου monitor με το πάτημα ενός ποδοδιακόπτη.

Classic API Compression for the Modern Studio The API 2500+ Stereo Bus Compressor joins the company’s regular lineup, bringing all that formidable dynamics-shaping power to your rack in a sleek, space-saving 1U chassis. The API 2500+ model added a sophisticated Mix/Blend circuit to API’s venerable design coming form the anniversary edition. API’s flagship compressor delivers the inimitable sound of iconic API compression along with unparalleled parametric control. The result is an incredible-sounding, versatile, world-class stereo bus compressor capable of handling any audio production task. Meticulously designed to deliver a broad range of compression options and features not found on most compressors, the API 2500+ delivers warmth, clarity, and punch, whether used for nuanced dynamics control, brick-wall limiting, or anything in between. Parallel compression done right The Mix/Blend circuit found on the API 2500+ does a lot more than the simple wet/dry blend pot found on many modern compressors, giving you the option of either crossfading or parallel mixing of the compressed and uncompressed signals. First of all, the circuit can be hardwire relay bypassed entirely to deliver a purer signal than a standard blend pot simply maxed out to fully “wet” — a feature golden-eared engineers will appreciate. Next, when engaged and set to X (Cross), the Mix control lets you crossfade between fully uncompressed and fully compressed, literally increasing one while decreasing the other. In || (Parallel) mode, the MIX control effectively dials in your desired amount of compressed signal to blend in with the uncompressed signal, which remains constant. In case you’re wondering; trust us — these two active modes do sound and behave differently and you’ll quickly find uses for each. Equip Your Studio with Iconic API Compression If you’re after versatile compression, the API wrote the book. While the 2500+ is set up for stereo compression, you can also use it dual-mono. However you use it, though, you’ll have a range of compression styles to dial in — all highly musical, all incredibly usable. The 2500+ sports API’s patented Thrust circuit, a proprietary loudness contour that packs a powerful punch, imbuing each octave with the same energy (instead of half the energy as the next lowest one, as is the normal state of affairs).The Old/New Tone Type switch lets you choose between classic feedback and modern feed-forward compression styles. Whether you’re using it for drum stems, guitars, bass, vocals, or as a stereo bus compressor to pump up your mixes, the 2500+ delivers the iconic API analog sound and "slam factor" that has been relied on by recording engineers and heard on countless hits for a half century. Simply put: every serious studio needs the API 2500+. Incredibly versatile, highly musical When you choose API, you know you’re getting legendary sonic character. And with the API 2500+, you’ve got a range of character to choose from. To start, the 2500+ is equipped with API’s patented Thrust circuit before its RMS detector, which delivers punchy, old-school low end. There are also two types of compression onboard the API 2500+ — Old and New. The Old style uses the feedback type of compression in which the detector is placed after the VCA (as found on the classic API 525), while the New style uses a feed-forward type for a faster response typical of many popular modern compressors.The API 2500+ is stereo-ready, but sports a variable link between the left and right channels, so you can independently put the channels to work on your mono sources. Whatever way you use it, you’ll appreciate having API’s auto-makeup gain button on the output stage. It lets you vary the API 2500+’s threshold or ratio, while automatically maintaining a consistent output level. Sidechain input for creative ducking Every dynamics processor has a sidechain circuit that examines the signal and determines how much the VCA will reduce gain — but not every unit provides access to its sidechain. In compressors without a separate sidechain input, your main input signal is, essentially, compressing itself. With compressors that have a separate sidechain input — like the API 2500+ — you can introduce a different signal that determines the compression action on the main signal.An overt illustration of sidechaining is the “pumping” effect that’s popular in EDM production. A control signal — let’s say, a bass drum — is plugged into the sidechain input, triggering the detector and causing the main signal — a synth bass, in this example — to "duck," under each bass drum hit. This clears the way for maximum kick drum impact. Another classic use is for auto-ducking music under a voiceover, as in a radio commercial spot. Sidechaining can be used creatively in many ways, limited only by your imagination! API — the legendary American pro audio company No American pro audio company is more iconic than API. Launched in 1968 by Saul Walker, Automated Processes Inc. began building quality consoles for broadcast applications. Soon, the company’s products found favor with recording studios, and a string of industry-leading innovations (including the 500 Series module, the first VCA, computerized console automation, and more) followed. API produced the 2520 amplifier, one of the most famous op-amps in the recording industry, and their consoles and products found homes in such iconic studio facilities as the Hit Factory, Record Plant, Ocean Way, Sunset Sound, and many others.In fact, there are over 700 vintage API consoles around the globe — many of which are still in use. And the company certainly isn’t resting on its laurels; today’s API products give you the same unbeatable combination of utility, innovation, and great sound. That’s why, at Sweetwater, the name API commands reverence. API 2500+ Stereo Bus Compressor Features: * New Mix/Blend circuit with crossfade or parallel compression* Selectable ratio, attack, and release times* Expanded variable threshold between -20dBu to +20dBu* Selectable NEW or OLD switch for feed-forward or feed-back operation* Over Threshold LED illuminates when input audio crosses the set threshold* Patented Thrust filter with 3 settings for frequency-dependent sidechain control * 3 selectable compressor curve Knee settings: Soft, Medium, or Hard* Choice of Old (feedback) or New (feed-forward) compression* Preset or variable release time control* Variable Left/Right channel linking

Barefoot Sound hit a sweet spot when it introduced the Footprint01, the first in a new line of active 3-way speakers designed specifically for today’s evolving production workflows. Recording engineers, producers, composers, musicians and beat-makers as well as post-production professionals quickly recognized that the Footprint01 offered the sonic character and design features of Barefoot Sound’s high-end studio monitors, but in a smaller package and at a more affordable price.Now, the best 3-way monitor in its class has been joined by the Footprint02, a similar but smaller active nearfield speaker at an even more affordable price, offering the same uncompromising audio quality and design characteristics as the Footprint01. But these two models don’t just share each other’s looks and quality, it also the same Barefoot signature designs — Dual-Force™ technology opposing sub woofers, dual ring radiator tweeter and Multi-Emphasis Monitor Emulation™ or MEME — Technology first featured in their flagship MicroMain and MiniMain series.The Footprint02 looks a lot like its big sister: side-mounted dual opposing paper cone subwoofers; dual ring radiator tweeter and aluminum cone midrange driver set in an aluminum front sub baffle; sleek, rounded corners and edges, minimizing cabinet diffraction. The front baffle speaker configuration is instantly recognizable, with the tweeter positioned below the midrange woofer, an unusual geometry that generates the acoustic focus at the center of the cabinet.Inside they are nearly identical. The Footprint02 houses 2-way DSP crossover feeds, dual Class D amplifiers modules, as befits its reduced cabinet dimensions which is about 60 percent the volume of the Footprint01. Dual opposing 6.5-inch opposing subwoofers offering deep bass extension. The Footprint02 may be small but it is mighty, offering all the characteristics of a Barefoot Sound speaker — exemplary sound quality, 3-D imaging and wide dynamic range.Dual-Force is a core Barefoot technology, placing two subwoofers in opposition to eliminate cabinet vibrations, eliminating all vibration at the source. The only sound heard comes from the drivers, not the cabinet. The dual ring radiator tweeter is another key design component. As the wavelength of high frequency information approaches the diameter of a tweeter diaphragm, the dispersion begins to narrow, adversely affecting the image. Combining a center waveguide with the dual ring tweeter ensures a wider high frequency dispersion pattern at the listening position. Barefoot’s MEME technology enhances the versatility of the Footprint02, allowing it to fit into a broad range of applications: playback room, mobile setup, home, and production environments. MEME offers true emulations modeled on the performance and character of mix cube speakers, the infamous white coned speaker we all know well, and consumer hi-fi speakers, allowing the mixer the ability to reference all of those iconic monitors with a flick of a switch. No more need of multiple monitors cluttering up your bridge.Features:Dual-Force™ TechnologyDual ring radiator tweeterMEME™ TechnologyWide dynamic range350 Watts Total Power per monitorMore affordable price $2,750 USD a pairDescription: 3-way active monitor with MEME™ voice emulationControls: Input level stepped attenuator, MEME voice selectInput Impedance: Balanced XLR, 50k Ohm ImpedanceSensitivity: 90dB @ 1 meter with -15dBV input signal (Level control set to 0dB)Frequency Response: 42Hz – 45kHz (±3dB), 52Hz – 40kHz (±1dB)Bass Response: -3 dB @ 36Hz, Q = 0.707 Slope = 18 dB/octaveCabinet: 13 liters total internal volume, Sealed woofer and midrange enclosures, Machined aluminum baffle plate, Polyurethane acoustic damping throughoutCrossover Frequencies: 180 / 3600 Hz (Passive crossover between Midrange and Tweeter)Tweeter: 1″ ring radiator, Low distortion motor, Rear waveguide chamberMidrange: 4.0″ aluminum cone, Aluminum phase plug, Low distortion motor, +/- 3.5 mm linear excursionWoofers: 6.5″ paper cone, +/- 8.2 mm linear excursionHigh Frequency Amplifier: 150WLow Frequency Amplifier: 200WAC Power Input: 85 VAC to 265 VACPower Consumption: Idle: 2W, Maximum: 320WWeight: Speaker: 27.9 lbs each (12.66 kg)Shipping: 33.6 lbs each (15.25 kg)Dimensions HxWxD: 12.12 x 8.7 x 13.0 inches (308 x 222 x 330 mm) 

The Telefunken ELA M 250/251 was made for Telefunken by AKG after Neumann discontinued its OEM production of the Telefunken U-47. The Golden Age Premier GA-251 is inspired by this truly classic mic model. The GA-251 shares the same design goal that was set for the GA-47: to offer the classic qualities and advantages that a vintage unit in perfect condition would provide and doing so at a very low price point. Having gone through a number of prototypes that was compared to great sounding vintage units in different recording settings, everyone involved agreed that the goal was reached. The coupling capacitor is made by Solen from France. It is a high balanced film capacitor made from MKP material with pure oxygen-free copper connections. It has a very delicate and balanced sound.The capsule capacitor uses NOS Siemensantique grade polystyrene capacitor to reduce loss.The tube cathode bypass capacitor uses an ELNA OFC Cerafine high end hifi capacitor from Japan with oxygen free copper connections exhibiting a very sweet and delicate character, not the least for vocals.The other capacitors are of the low loss polystyrene type.The resistor used for setting the capsule voltage is a high quality DALE 1% metal film resistor. The result is a very stable and consistent operating level leading to better consistency between different GA-251 units. The plate resistor uses a non-inductive resistor of the United States IRC audio with pure copper connections. The sound level is rich and full bodied. The GA-251 uses a 34 mm K251 style capsule. Being a dual-sided one, it provides both cardioid and omni polar patterns.In order to get a good consistency between units, for each production run of 50 pcs GA-251 units, approximately 200 capsules is evaluatedin order to find 50 capsules with specifications that lie within the tight tolerances. The sensitivity of the front and back side of the capsule do not differ more than 0,3 dB. The sensitivity between different capsules do not differ more than 0,5 dB.The tight manufacturing tolerance will lead to a very good consistency between different GA-251 units.The capsule is specially designed to complement the electronic circuit of the GA-251 to achieve a frequency response curve with a nice balance between the high, middle and low frequencies. The result is a very smooth sound with a warm bottom and airy top end just like ELA M251. The vintage style power supply PSU uses a high power R-style transformer with a low noise level and minimum stray field.A simple but effective circuit uses dual-stage filtering for the filament voltage. The High voltage is also precisely filtered and stabilized using an ON semiconductor zener diode. The polar pattern switch is placed on the power supply so that the recording engineer can change the polar pattern between Cardioid and Omni remotely. A ground lift switch will help to solve mains power related noise issues that can appear in some cases.

The classic C800G is the only tube microphone in the world equipped with a semiconductor active cooling system that results in a higher signal-to-noise ratio compared to most other tube microphones. It has a very high-quality modern sound performance.The Golden Age Premier GA-800G is currently the only microphone to fully reproduce the C800G. It´s appearance and structure, as well as accessories and circuit principles, including its sound character, strictly follows the original design. All of the parts including the power plug and the pin definition of the power supply are the same as in the original C800G. Even though its based on the original, the circuit board has been upgraded to a ROGERS ceramic circuit board that has superior insulation parameters and offers a more stable performance. The coupling and bypass capacitors has also been upgraded, resulting in a deeper and more exact low frequency performance and a more delicate and transparent high frequency reproduction.The classic semiconductor active cooling and external cooling system from the C800G is also used in the GA-800G. This is to ensure that the GA-800G has the highest possible signal-to-noise ratio. The tube (a 6AU6) is mounted in an aluminum casing, with the semiconductor cooling chip being attached to the bottom of the case. The temperature of the tube in the GA-800G is the effectively kept down when the GA-800G is in it´s working state, the heat generated by the tube is actively dissipated. The heat that the tube generates is transferred to the reverse side of the semiconductor and transferred to the effective outer aluminum alloy heat sink at the rear of the microphone. This heat sink will then dissipate the heat from semiconductor cooling chip to the air surrounding the GA-800G.PCB board: A ROGERS ceramic gold-plated circuit board is used. This type of circuit board is usually used in high-end aerospace communication products, the cost is about twenty (20!) times higher than an ordinary PCB board.Capsule:  By disassembling a C800G and handing it´s capsule to a manufacturer with more than twenty years of microphone capsule production experience, they were able to produce a capsule that matched the characteristics of the original one. The capsule used in the GA-800G can handle a higher sound pressure level than the original one and it has almost the same sound character.Tube: In order to ensure the tube will have a long life, we are using a NOS CIFTE 6AU6 tube from France, it has a maximum anode voltage rating of about 300V. The tube in this circuit has an anode voltage of 90V and will generate more heat than tubes in many other tube microphones that typically uses voltages between 35-50V. The higher voltage used in the GA-800G increases the heat dissipation so the semiconductor active cooling system is an important element in the design.Power supply: The classic 800G uses two 6AU6 tubes as rectifiers for the high voltage rail, they work as pseudo diodes by connecting all grids to the anode that outputs about 290V.After a lot of listening tests comparing a tube rectifying circuit with a solid state one, we found that we did prefer the sound of the latter so this is what we decided to use. The additional advantage is that there is no need to worry about replacing tubes in the power supply.Capacitors, resistors and solder: The metal resistors and electrolytic capacitor from Japan are of special audiophile audio types. The coupling capacitors are Siemens EPCOS from Germany. The connecting wires inside the GA-800G are oxygen-free copper wires from Japan. The solder is FELDER silver/copper-containing solder from Germany.Shockmount:  Rycote USM-VB

Titan and Atlas are world class multi-track interfaces offering flexible expansion and unsurpassable sonic clarity. Using the latest generation of Prism Sounds trusted conversion, Titan is ideal for music and sound recording, multi-tracking, overdubbing, stem-based mastering, analogue summing and critical listening applications. UNSURPASSED CLOCKING AND JITTER REJECTION Prism Sounds history in developing test and measurement equipment for the audio industry has allowed our engineers to get a much deeper understanding of digital clocking and its associated issues. DIGITAL MIXER WITH FLEXIBLE MONITORING Titan has a powerful built-in digital mixer that can be configured to provide a multitude of ultra low latency feeds, Including foldback to performers, stereo and surround outputs. FLEXIBLE I/O Titan has a maximum capability of 18 concurrent input and output channels, offering 8 analogue recording channels, 8 monitoring outputs, stereo digital input and output on a phono connector plus concurrent optical digital I/O ports. FUTURE PROOF CONNECTIVITY With a standard USB connection Titan can connect to the widest range of computers today and for the foreseeable future. Add to this the option of ProTools HDX and Dante modules for the most flexible and professional solution. MDIO MULTI-CHANNEL I/O EXPANSION In an ever changing world of I/O connectivity, the MDIO expansion slot allows your Prism Sound interface to remain relevant, increasing its lifespan and bring a much better return on your investment. Both options allow you to stack multiple Titan or Atlas providing sample accurate phase locked audio between multiple units. Specifications: Dimensions: 1U 19inch rack mountable(rubber feet and rack ears supplied) Table top (inc feet): W: 440mm D: 290mm H: 50mm Rack-mount (inc ears):W: 483mm D: 290mm H: 44.5mm Power: 90-250VAC, 50/60Hz internal power supply IEC 6A connector 35W 0.5A(T) 20mm ceramic fuse Inputs: 4 x combo connectors with XLR sockets for mic input and 6.3mm TRS jack sockets for line input (balanced or unbalanced) 1 x RCA 1 x TOSLINK for S/PDIF or ADAT Optical input Outputs: 8 x 6.3mm TRS jack sockets (balanced or unbalanced) 1 x RCA 1 x TOSLINK for S/PDIF or ADAT Optical output

IsoAcoustics βάσεις ηχείων .....Τα ηχεία σας αξίζει να  ακουστούν καλύτερα! Οι νέες  IsoAcoustics ISO-155 επιτραπέζιες βάσεις ηχείων είναι τώρα διαθέσιμες για τοποθέτηση ηχείων επάνω σε κονσόλες και γραφεία. Όπως και στα παλαιότερα μοντέλα, οι ISO-155 έχουν σχεδιαστεί για να βελτιώσουν την απόδοση και τη σαφήνεια κάθε ηχείου Με τις IsoAcoustics ο ήχος παραμένει  αχρωμάτιστος και ελεύθερος απο τις παρενέργειες της επιφάνειας στήριξης. Είναι σχεδιασμένες  για να φιλοξενήσουν ηχεία με πλάτος τουλάχιστον 5 "και βάρος μέχρι 20 κιλά. Η ISO-L8R155 μπορεί να ρυθμιστεί σε 3" ή 8 " με επιπρόσθετους  ρυθμιστές  που παρέχουν έως και 14 παραλλαγές του ύψους και των προσαρμογών κλίσης. Είτε μιξάρετε το projectσας είτε ακούτε την αγαπημένη σας μουσική, θα ακούτε ένα αυστηρά ελεγχόμενο μπάσο και ταυτόχρονα μεγάλη διαφάνεια σε όλο το φάσμα των συχνοτήτων.

IsoAcoustics βάσεις ηχείων .....Τα ηχεία σας αξίζει να  ακουστούν καλύτερα! Για Studio monitors , ενισχυτές κιθάρας και μπάσου. Οι νέες  IsoAcoustics ISO-430  επιτραπέζιες βάσεις ηχείων είναι τώρα διαθέσιμες για τοποθέτηση  μεγαλύτερων ηχείων επάνω σε κονσόλες και γραφεία. Όπως και στα παλαιότερα μοντέλα, οι ISO-L8R430  έχουν σχεδιαστεί για να βελτιώσουν την απόδοση και τη σαφήνεια κάθε ηχείου. Με τις IsoAcoustics ο ήχος παραμένει  αχρωμάτιστος και ελεύθερος απο τις παρενέργειες της επιφάνειας στήριξης. Είναι σχεδιασμένες  για να φιλοξενήσουν ηχεία  βάρους μέχρι 45 κιλά. Η ISO-430 μπορεί να ρυθμιστεί σε έως και 14 παραλλαγές του ύψους και των προσαρμογών κλίσης. Είτε μιξάρετε το project σας είτε ακούτε την αγαπημένη σας μουσική, θα ακούτε ένα αυστηρά ελεγχόμενο μπάσο και ταυτόχρονα μεγάλη διαφάνεια σε όλο το φάσμα των συχνοτήτων.

API successfully debuted THE BOX Console over five years ago, and its highly desirable large console sound in a compact footprint has become a favorite choice of audio pros worldwide — from commercial production facilities to home studio operations. The newest version of the award-winning BOX Console provides even more options and flexibility for modern studio workflow. Offering a total of eight input channels and eight 500 Series slots, the updated BOX Console also features LED metering for each of its 24 summing channels. The new BOX Console provides the same comprehensive rear panel connections, full center section and monitoring as its predecessor, as well as the 0dB bypass switch on each summing channel — a feature so popular it was included in the design of API's new 1608-II and 2448 consoles. THE BOX is API's small-format solution for any studio where space or budget is limited. Using the same circuitry and components as all other API consoles (including the Vision and Legacy AXS), THE BOX provides the signature analog sound and performance users have come to expect from API. Designed and optimized for the digital era, THE BOX handles all the functions needed for production not provided by most DAWs, including mic preamps, input signal processing, high-quality mix bus, cue sends with talkback, monitor control and more. Most importantly, THE BOX offers the legendary API sound in an efficient, cost-effective package.   Features: Eight (8) input channels with Mic Preamp, Line Input and Hi Pass Filter Eight (8) 500 Series slots (1 per input channel) Direct Out on Input Channels On-Board Stereo Bus Compressor w/ ability to assign to program bus or input channels 1-4 Instrument Direct Inputs on channels 1-4 Sixteen (16) summing channels (24 channels during mix) 0dB bypass switch for each summing channel 4-Segment LED Metering on each summing channel Stereo program bus with master fader, insert, and external input One (1) stereo and (2) mono auxiliary sends/buses Stereo cue send/bus & headphone system PFL, AFL, and Solo-In-Place solo modes with stereo solo bus Full-featured monitor section that supports two stereo monitor systems Talkback system Comprehensive rear panel connections with balanced inputs and outputs Integrated power supply

Εκτός από τους νέους οδηγούς ηχείων (5 "mid-range και 10" subwoofer) με υψηλή απόδοση.To καινούριο monitor ηχείο Trio11 Be διαθέτει όλες τις τελευταίες τεχνολογίες της Focal όσων αφορά την ακουστική και τα ηλεκτρονικά κυκλώματα, τις τεχνολογίες TDM και NIC, και επιπλέων διαθέτει βελτιστοποιημένους αεραγωγούς που βοηθούν στην καλύτερη απόκριση των χαμηλών συχνοτήτων, επιτρέποντας ακόμα μεγαλύτερη γραμμικότητα του subwoofer ...Χάρη στον ενισχυτή κατηγορίας G, το Trio11 Be προσφέρει υψηλό SPL (118dB στο 1m) και μεγάλη ευελιξία στη χρήση και την εγκατάσταση σε Nearfield και midfield εφαρμογές. Ένα ηχείο, το οποίο χαρακτηρίζεται από εξαιρετικό ήχο και στερεοφωνική εικόνα, με ιδιαίτερα μεγάλο συχνοτικό εύρος (30 Hz-40 kHz).Χαρακτηριστικά:Υψηλό SPL: 118 dB @ 393/8 '' (1m).Λειτουργία Focus: δύο monitor σε ένα με το τηλεχειριστήριο.Τweeter ανεστραμμένου θόλου απο βηρύλλιο.'W' σύνθετος κώνος "σάντουιτς" στο γούφερ και στο subwoofer:Ουδέτερος ήχος, χωρίς παραμόρφωση.Ρυθμίσεις bass, mid-bass και treble στο πίσω μέρος.Βελτιστοποιημένη αποσύνδεση του μεσαίου ηχείου χάρη στα αποσπώμενα μπλοκ.Εξαιρετικά χαμηλή παραμόρφωση και θόρυβος.Το σκληρό περίβλημα του ηχείου αναπτύχθηκε και κατασκευάστηκε στο εργαστήριο της στο Bourbon-Lancy στη Γαλλία, αποτελείται από δύο πλευρικά πλαίσια και ένα σώμα σε MDF με πάχος μεταξύ 13/16 "(21mm) και 13/16" (30mm)με ιδιαίτερη προσοχή στα τελειώματα. Το Trio11 Be έχει δύο πλαϊνά πλαίσια σε φυσικό σκούρο κόκκινο καπλαμά και μαύρο κεντρικό σώμα. Trio11 Be, η δύναμη και η ευελιξία σας περιμένουν! Νιώστε τη διαφορά!

The Neumann U-47 was produced between 1949 and 1965 meaning that the vintage original units are now very old and their performance do differ a lot depending on their condition. The different clones all have their specific sound character too. So, it´s not easy to say which sound is “the right one”. As always, not the least as far as microphones goes, it will ultimately be a matter of taste. Does the world need one more U-47 clone? The GA-47 microphone as the first product in Golden Age Projects new high end line, changing “Project” to “Premier” for this product range, the answer is “Yes!”.The Golden Age Premier GA-47 has been born from a lot of hard work and real world testing. The end result is a microphone with a very sweet character that should appeal to a great number of users and a microphone that can be used for the most demanding recording tasks. It has proved itself to be a great allrounder, this is not a “vocal-only” microphone. The GA-47 is not a product that will be built in huge quantities on a big assembly line. It´s a product that is built by hand, fifty units at a time in a small workshop by a skilled and dedicated staff. It uses very high quality components all the way to achieve the desired goal, allowing me to answer “yes!” to the rephrased question mentioned above. The capsule for the GA-47 is designed to provide the requirements of modern day recordings by mixing the character between a vintage K47 capsule and the one from a K67-style capsule with a wide frequency response and high sensitivity. The result is a truly great sound.

Το Royer R-10 είναι ένα παθητικό μονοφωνικό ribbon μικρόφωνο, σχεδιασμένο για εφαρμογές στούντιο και live. Είναι χειροποίητα κατασκευασμένο στο εργοστάσιο Burbank της Καλιφόρνια. Ο ήχος και η απόδοση του R-10 είναι ταυτισμένος με τον ήχο των μικροφώνων Royer και μπορεί να αντέξει έως 160 dB SPLs στα 1 kHz. Το συμπαγές μέγεθος και το σύστημα στερέωσης του R-10 επιτρέπει την ευέλικτη, διακριτική τοποθέτηση του.Τα στοιχεία του R-10, των 2.5 χιλιοστών μικρών αλουμινίων είναι κατασκευασμένα με πατέντα της  διαδικασίας άμεσης αυλάκωσης και προστατεύεται από ένα σύστημα τριών επιπέδων με windscreen και εσωτερικό αισθητήριο κορδόνι. Ο μετατροπέας ribbon είναι καλωδιωμένος για να απορρίπτει ηλεκτρομαγνητικούς θορύβουςΤο ενσωματωμένο windscreen του R-10 παρέχει ανώτερη προστασία από τις μεταβολές του αέρα. Μειώνει επίσης το proximity effect (συσσώρευση μπάσων από κοντινή λήψη), έτσι ώστε οι κιθάρες και τα ακουστικά όργανα να ηχογραφούνται με close-miking. Ο εσωτερικός shockmounted  μετατροπέας ribbon, τον προστατεύει από κραδασμούς και δονήσεις, αυξάνοντας έτσι την αντοχή του μικροφώνου.Το R-10 χρησιμοποιεί έναν custom μετασχηματιστή του David Royer για υψηλή φόρτιση threshold, ελαχιστοποιώντας τον κορεσμό ακόμα και σε εξαιρετικά υψηλά επίπεδα ηχητικής πίεσης. Ποτέ δεν θα υπερφορτώσετε ένα R-10! Ο σχεδιασμός του ανοικτού “grill” του μικροφώνου ελαχιστοποιεί τα στάσιμα κύματα και τα φαινόμενα comb-filtering, έτσι ώστε να έχει ομαλή απόκριση συχνοτήτων, γραμμική φάση και έλλειψη παραμόρφωσης Για αυτό τον λόγο, το καθιστούν ιδανικό για όλες τις μορφές ψηφιακής & ζωντανής ηχογράφησης. Χαρακτηριστικά:High SPL capabilities for electric guitar, brass and other close miking applicationsMulti-layered wind screen provides superior protection to ribbon elementInternally shock-mounted ribbon transducer gives increased durabilityPassive design and custom transformer minimize high SPL overloadHum-bucking transducer design delivers extremely low residual noiseRibbon element not affected by heat or humidityAbsence of high-frequency peaks, “ringing” and phase shiftsEqual sensitivity from front or back of the element 

To R-121 είναι το πρώτο ριζικά ξανασχεδιασμένο ribbon μικρόφωνο σε παγκόσμιο επίπεδο. Μακριά από  τη γνωστή, μεγάλη, βαριά, εύθραυστη, κλασσική προσέγγιση των ribbon μικροφώνων το R-121 δίνει ζεστή, φυσική τονική ισορροπία, αλλά σε ένα  πλήρες, ελαφρύ, υψηλής παραγωγής, σκληρό design – πρωτοποριακό για τα ribbon μικρόφωνα που ξέραμε πριν το  R-121. Όπως πολλά από τα ribbon μικρόφωνα το R-121 έχει figure-8 pattern ευαισθησία στη δυναμική περιοχή, ζεστό ρεαλιστικό τόνο και flat απόκριση συχνότητας. Ωστόσο όμως με τη χρήση προηγμένων υλικών το R-121 είναι ένα πολύ πιο ευπροσάρμοστο και φιλικό στον χρήστη ώστε να μπορεί να ανταπεξέλθει σε στις πιο απαιτητικές συνθήκες 

Το Dangerous 2-Bus παρουσιάστηκε το 1999 και δημιούργησε μόνο του μια νέα κατηγορία αυτή των summing mixers που βοηθούν τον ήχο των DAW  να αποκτήσουν κάτι απο την μαγεία της μίξης σε  αναλογική κονσόλα.Με ανασχεδιασμένο κύκλωμα το νέο  2-BUS+  προσφέρει αξεπέραστη στερεοφωνική εικόνα, σφικτό  ήχο και μεγάλη δυναμική περιοχή.Ταυτόχρονα στη νέα σχεδίαση περιλαμβάνονται 3 κυκλώματα με 3 διαφορετικούς ήχους που μπορεί κάποιος  να προσθέσει στο σήμα και να έχει έτσι μια παλλέτα με διαφορετικές αρμονικές, ανάλογα το κομμάτι και το στύλ μουσικής.Το Paralimit είναι ένα FET-style limiter και  το X-Former είναι ένα ζευγάρι απο  Cinemag output transformers που οδηγούνται απο ένα ειδικά σχεδιασμένο κύκλωμα. Εύκολο στη χρήση και με δυνατότητα σχεδόν απεριόριστων συνδιασμων ήχου, σχεδιασμένο απο τον θρυλικό  Chris Muth το 2-BUS+  είναι άλλο ένα προιόν Dangerous που απευθύνεται σε όσους αναζητούν πάντα τον καλύτερο ήχο για τις παραγωγές τους.Επίσης είναι σημαντικό να ξέρουμε πως μπορεί να έχουμε πολλά πετυχημένα emulation για επεξεργαστές ήχου σε ψηφιακό domain αλλά το analog summing παραμένει αδύνατο να γίνει emulation ψηφιακά.Χαρακτηριστικά:16 channels of the world’s best active analog summing, that even surpasses the original.Three distinctive analog color options: Harmonics, Paralimit and X-Former.Effortless routing and blending of analog color circuits via elegant user interface.Switchable stereo analog insert for easy outboard gear integration.Massive sounds, sacrificing no detail.Crystal clear sonic imaging and three-dimensionality.Endless headroom for modern digital signal levels.Stepped output gain control for exact recalls.Both XLR and D-Sub input connectivity.Audiophile-grade components throughout.

H Manley σχεδίασε το Core  ένα  channel strip που αλλάζει τα δεδομένα σε τιμή πρός απόδοση , ώστε να μπορείτε να πατάτε το Rec και να επικεντρώνεστε στην ερμηνεία σας , και όχι στο signal chain . Έχει, την ποιότητα , την απόδοση και την ευελιξία για την οποία το VoxBox είναι γνωστό, σε τιμή που το καθιστά προσιτό σε κάθε σοβαρό καλλιτέχνη ή μηχανικό ήχου . Πέρνετε έναν παγκόσμιας κλάσης Manley προενισχυτή μικροφώνου , που ακολουθείται από έναν  3:1 Elop στυλ κομπρέσορα για εύκολο κοντρολάρισμα των δυναμικών . Οι ηχολήπτες στο Athens Mastering είναι ενθουσιασμένοι από το ενεργό Baxandall EQ  και το FET brickwall limiter, το οποίο με γρήγορο attack στο τέλος της αλυσίδας προστατεύει τους μετατροπείς σας από τα οverloads . Ακόμα κι αν περάσετε απο 'κει το σήμα, χωρίς να πειράξετε ούτε ένα κουμπί ,να είστε βέβαιοι ότι θα πάρετε ένα εκπληκτικό ήχο .Χαρακτηριστικά Manley Core Reference Channel Strip:Εύκολο στη χρήση και φοβερό ηχητικά channel stripΒάσισμένο στο βραβευμένο VoxBox Class A λαμπάτο προενισχυτή μικροφώνου με τους περίφημους μετασχηματιστές της  Manley τυλιγμένους στο χέριDirect input χρησιμοποιεί το ίδιο κύκλωμα με του Manley SLAM! για φανταστικές direct-instrument ηχογραφήσειςElop κομπρέσορας με αναλογία 3:1 τιθασεύει οποιοδήποτε σήμα με απόλυτη διαφάνεια.Baxandall EQ με  low/high shelving και sweepable mid για ευέλικτη ηχητική διαμόρφωση.Fast attack FET brickwall limiter εξασφαλίζει  το να μην κλιπάρουν οι μετατροπείς σας κατά την εγγραφή.Ευέλικτο metering που μπορεί να μετρήσει στάθμες εισόδου, εξόδου και compressor gain reduction levels 

At War With The Loudness WarWe’re not going to hide our intentions: when we set out to design The Dangerous COMPRESSOR, we spent over two years figuring out how to achieve modern levels of limiting and compression while avoiding the deadening effects of today’s ultra-limited productions. We make gear that helps you deliver the impact, punch and clarity that brings music to life, and when it comes to compression and limiting our answer was not to avoid it like some purists might, but to deliver an audiophile-grade tool that provides powerful compression and limiting without robbing the music of its lifeforce. The Dangerous COMPRESSOR points the way to the future of dynamics. Transparently BeautifulCompressors fall into two basic categories: so-called “color boxes” capable of drastically changing sound, of which there are hundreds available, and the much more difficult to design “transparent units” that control dynamics without introducing obvious sonic artifacts. The Dangerous COMPRESSOR is decidedly in the latter category, delivering crystal clear compression that allows you to easily alter and control dynamics without drastically changing the original sound. But don’t let the word ‘transparency’ trick you into thinking The COMPRESSOR doesn’t sound beautiful – like all Dangerous gear, the low end is big and powerful, the mids maintain texture and detail, and the top-end is open and deeply engaging, even during very active gain reduction. This level of open musicality is unique even among the small field of transparent compressors, putting The COMPRESSOR in a class of its own where sounding transparent and beautiful is no longer a paradox. Beyond VersatilityBecause The Dangerous COMPRESSOR is so transparent and simple to operate, it can handle a wide range of tasks often left to automation and eq during tracking, mixing and mastering. Few compressors are as versatile. Tedious vocal level rides can be handed over to The Dangerous COMPRESSOR’s VCA as if it were a trusted assistant intuitively riding a fader. Use the internal sidechain EQ curves to tame a sibilant vocal or to let deep bass punch through untouched, or both simultaneously. Effortlessly peak-limit a master in the analog realm and dispense with your digital limiter using the unique Smart Dynamics feature. Patch an eq into the  external side chain for dynamic eq across the midrange, or use the two channels as independent mono units, or in series to achieve ultra-transparent “cascaded compression.” Beyond versatility, The Dangerous COMPRESSOR invites you to creatively solve sonic problems without worrying about unwanted sonic artifacts. A No Compromise Design WIth Unique FeaturesHand assembled in the USA, at the heart of The Dangerous COMPRESSOR is a unique and unparalleled audiophile-grade circuit by legendary designer Chris Muth. In typical Dangerous fashion, nothing is sacrificed, and The COMPRESSOR delivers intelligent, innovative, easy-to-use features with unsurpassed sound.Dual Detectors – The COMPRESSOR utilizes two totally independent RMS detectors with a nuanced and sophisticated circuit that governs how the left and right channels work together in stereo. This allows The COMPRESSOR to deliver crystal clear and rock solid stereo imaging when processing a full mix, a drum buss, a finished master or any stereo material. What’s more, you can use each channel as an independent mono compressor – great on kick and snare, for example – or you can “cascade” the two channels into each other for ultra-transparent compression with peak limiting – a great technique for automatically riding a vocal, a spiky lead instrument, or anywhere that powerful and transparent control is needed. Smart Dynamics By engaging “SmartDyn,” you turn on The COMPRESSOR’s unique “dual slope” detector circuits, allowing you to control fast transient peaks without causing average volume levels to drop. This lets you maintain higher average volume levels while avoiding the pumping artifacts commonly incurred when pushing toward the expectations of modern loudness. Smart Dynamics is equally helpful when tracking a dynamic singer or mixing a snappy drum kit, and most users end up leaving the “SmartDyn” button engaged at all times. With its dual detector working in conjunction with Smart Dynamics, The COMPRESSOR’s circuit design is so agile that it seems to possess artificial intelligence. Auto Attack & Release And if it wasn’t already easy enough to get powerful and transparent compression, The COMPRESSOR also includes an automatic attack and release setting that allows you dial in your sound simply using the threshold and make-up gain knobs. If you need more precise settings for attack and release, simply press the “Manual Att/Rel” button and start tweaking. On-Board Side Chain Filters The COMPRESSOR includes two audiophile-grade side-chain EQs that you can turn on and off at the push of a button…no complex patching necessary. Bass Cut turns down low-end below 60Hz, assuring that the detector is not overreacting to low-end content or “breathing” along with the beat. The Sibilance Boost utilizes the BAX EQ’s ultra-linear high-end shelf to push more treble content into the detector, which causes The COMPRESSOR to dynamically attenuate sibilance and other unwanted spikes of high-end like harsh cymbals or erratic acoustic guitar strums – great on vocals during tracking or mixing, or on a whole mix during mastering.VU and LED Metering The dual VU meters can show you gain reduction, input or output levels.   There is a -6dB offset button so that loud material is always hovering in a usable range, perfect for visually monitoring average levels. What VUs can’t show you are the fast transient leaps past threshold, and that’s where the dual LED meters come in. Together, the VU and LED meters provide two important insights into the nuanced inner workings of The COMPRESSOR in action.Audiophile Components Throughout – Chris Muth’s fastidious designs call for only the highest quality components in areas of the circuit that don’t even pass audio. Detector and control voltage circuits (which lie at the heart of any compressor but are not in the audio path) are often built from substandard components in order to cut costs. However, these detector components have a major impact on how any compressor performs, especially with the high standards we set for achieving the nuanced and intelligent compression you’ll get out of The COMPRESSOR. Combine To Taste Whether you’re tracking, mixing or mastering, The Dangerous COMPRESSOR works beautifully with vintage analog gear or patched into today’s cutting-edge digital systems, allowing you to achieve truly modern levels without the undesired artifacts that plague so many modern productions. Combine it with our ultra-transparent BAX EQ for one of the most open EQ/Compressor combinations possible, perfect for mastering or mixing. Place The Dangerous COMPRESSOR after any “color box” — a console, a vintage tube compressor, a funky EQ, or all three together — and you can dial in the exact dynamics you want without having to rely on the often unruly controls of yesteryear’s gear. The World’s Most Intelligent Analog Compressor With its sophisticated dual detector circuit, unique Smart Dynamics section, automatic attack and release function, unmatched versatility and incredibly transparent, audiophile-grade sound, The COMPRESSOR from Dangerous Music is today’s most intelligent analog compressor. Taking modern loudness seriously while prioritizing clear, open sound, The COMPRESSOR is pioneering a new and innovative approach to modern compression for today’s most discriminating tracking, mixing and mastering engineers. Features * Elegant, easy-to-use design with an uncompromising audio circuit by legendary designer Chris Muth.* Unique Smart Dynamics dual-slope detector handles transient peaks without ducking the average level, making modern compression levels easier to achieve and totally transparent.* Auto Attack/Release – achieve excellent results with just the threshold and makeup gain settings.* Two audiophile-grade internal sidechain eq settings.* Hard and soft knee slope selection.* External sidechain routing.* Audiophile-grade VCAs for controlling levels without artifacts.* Stepped ratio settings from 1:1 to 20:1.* Multiple meter modes. Awards * TEC Award (winner)* Rockit Award (winner)* Resolution Award (nominated)* Sound on Sound Awards (nominated)

Aκολουθόντας την δημοφιλή επιτυχία των modules σε 500άρι format, η API πήρε το πιο καλοπουλημένο lunchbox και το έκανε ακόμα καλύτερο. Πρόσθεσε DB25 in-out υποδοχές κάνοντας ακόμα πιο εύκολη τη μεταφορά του και την προσαρμογή του σε διαφορετικά setups. Η παροχή του ρεύματος είναι πλέον ξεχωριστή για το κάθε slot αποτρέποντας έτσι ένα πιθανά προβληματικό module, από το να επηρεάζει την λειτουργία των υπόλοιπων. Επίσης,η παροχή του ρεύματος αυξήθηκε στα 215mA για κάθε slot και τέλος προστέθηκε επιλογέας για λειτουργία στα 100VAC, δίνοντάς του τη δυνατότητα χρήσης παγκοσμίως χωρίς την ανάγκη επιπλέον μετασχηματιστή.To API μοντέλο 500-6B Lunchbox είναι rack 6 υποδοχών, με ενσωματωμένη παροχή ηλεκτρικού ρεύματος, σχεδιασμένο για όλα τα API standard 5.25" X 1.5" μοντέλα. Αυτό επιτρέπει σε έναν ηχολήπτη να διαχειρίζεται με ευελιξία εξειδικευμένα EQ εφφε σε οποιαδήποτε κατάσταση.Χαρακτηριστικά του νέου API Lunchbox6 slots για 500άρια modules.DB-25 in-out υποδοχές.215mA για κάθε slot.Ξεχωριστή παροχή ρεύματος για κάθε slot.Επιλογέας λειτουργίας στα 100 έως 250 Volts,47 έως 63H Η API φτιάχνει διάφορα μοντέλα για το 500-6Β, όπως το 512C mic preamp, το 525 compressor, το 560 Graphic EQ, και το 550B four band EQ. Συνδυασμοί αυτών των μοντέλων δημιουργούν το τέλειο πακέτο στερεοφωνικής ηχογράφησης (δύο 512C's και δύο 550B's) ή vocalist's box, (ένα 512C, δύο EQ και ένα 525 compressor).          Αλλες χρήσεις για το ευπροσάρμοστο Lunchbox περιλαμβάνουν:Multitrack Recording of Acoustic and Electronic Audio Sources.Sound Reinforcement Systems and Recording Live to Multitrack formats.Multiple facility projects where portability is a plus.Broadcast and Audio for Video Production.Custom Channel Input Strips.

Το R-122V σχεδιάστηκε αρχικά το 2001 ως συγκριτική μέτρηση επιδόσεων του R-122. Μετά από τέσσερα χρόνια πρόσθετης ανάπτυξης εξελίχθηκε σε ένα παγκόσμιας ποιότητας ribbon μικρόφωνο με ασύγκριτο όγκο, βάθος και λεπτομέρεια, ειδικά στις μεσαίες συχνότητες. Το R-122V προσφέρει την καλύτερη απόδοση σε μικρόφωνο ribbon για εκείνους που δεν συμβιβάζονται με τίποτα λιγότερο. Το R-122V φέρνει την πρωτοπόρα τεχνολογία της Royer σε ένα πρωτοφανές επίπεδο μέσα από την ενσωμάτωση vacuum tube electronics στο ίδιο αποδεδειγμένο σύστημα μετατροπέων που χρησιμοποιείται στα διεθνώς αναγνωρισμένα R-121 και  R-122 ribbon μικρόφωνα Η υψηλή τάση του vacuum tube παρέχει headroom πέρα από κάθε προηγούμενο – γεγονός που σημαίνει απίστευτη σαφήνεεια, λεπτομέρεια και ελαφρότητα. 

The AT5040 Studio Vocal Microphone by Audio-Technica marks the debut of their flagship 50 Series of microphones. In addition to vocals, its fast transient response make it ideal for acoustic instruments. Each AT5040 is hand-assembled and individually inspected to ensure the finest quality audio capture.The AT5040 employs a four-part rectangular element to provide purity of sound. Each of the four parts function together and get proprietarily summed to output. This provides a surface area twice the size of a standard one-inch circular diaphragm. Additionally, the AT5040 features an advanced internal shockmounting system, effectively decoupling the capsule from the housing for vibration-free performance.The Audio-Technica AT5040's frequency response chart reflects the company's claim of an "extremely smooth top end with controlled sibilance." A dip of approximately 3dB occurs between 4.5kHz and 8.5kHz, a prime "s" location. The microphone's reactivity slowly tapers after the 10kHz mark. An approximate 2 to 3dB boost in response below 80Hz could create a pleasant promiximity effect on a male vocalist, then rolled off to taste in mixing.Χαρακτηριστικά:Element Type: Fixed-charge back plate, permanently polarized condenser Polar Pattern: Cardioid Frequency Response: 20 to 20,000 Hz Open Circuit Sensitivity: -25 dB (56.2 mV) re 1V at 1 Pa Impedance: 50Ω Maximum Input Level: 142 dB SPL, 1 kHz at 1% T.H.D. Noise: 5 dB SPL (typical, A-weighted) Dynamic Range (Typical): 137 dB, 1 kHz at max SPL Signal-to-Noise Ratio: 89 dB, 1 kHz at 1 Pa Phantom Power Requirements: 48V DC, 3.8 mA typical Output Connector: Integral 3-pin XLRM-type Case Form Factor: Audio-Technica R10 Dimensions (Ø x L): 2.24 x 6.51" (57 x 165.3 mm) Weight: 20.5 oz (582 g)

Thermionic Culture is celebrating its 20th anniversary with the launch of a limited edition Thermionic Culture Vulture 20A at the 2018 NAMM Show. The 20A differs from the original in that it has much lower background noise using Sowter transformers to balance line inputs and outputs and also indented pots for easy recall. The sound is nearly identical to the original except the top end is extended to far beyond audio range making it a great mastering tool. It still has the classic Culture Vulture distortion settings with an extra extreme position on the function switch.Originally designed as a "distortion box" to simulate distortion in valve amps, the Thermionic Culture Vulture has found lots of uses beyond this. Some owners use them on drum loops, vocals, piano sounds and even across entire tracks (it is a stereo unit). Distortion figures are reduced to only 0.2% at lowest to about 99.9%. Predominant distortion can be changed from even to odd harmonics with a simple switch.Features:

Aνανεωμένη έκδοση του κλασικού πια Fat Bustard, με ενσωματωμένο INT/EXT διακόπτη στο master section και ένα ζευγάρι από αντίστοιχα jack inputs για σύνδεση ενός playback device που μπορεί να γίνει route στο monitor buss. Αυτό μπορεί χρησιμοποιηθεί και για να γίνει έλεγχος του σήματος ενός Phoenix compressor που έχει συνδεθεί στο output του Fat Bustard. Η στάθμη του σήματος EXT μπορεί να ρυθμιστεί με ένα trim pot.Το Fat Bustard είναι κάτι παραπάνω από ένα απλό mixer, παρέχοντας δυνατότητες διαμόρφωσης του ήχου με χειριστήρια bass και high cut και lift, καθώς και δυνατότητα ανοίγματος της στερεοφωνικής εικόνας. Οι είσοδοι είναι κατανεμημένες σε 4 stereo, 4 mono όλες με διακόπτη mute και οι mono με pan pots.Τεχνικά ΧαρακτηριστικάInput Impedance:8 kohm + (dependant on channel and setting), unbalancedOutput Impedance:600 ohms, unbalancedGain (ch. 1-8):0 at Attitude 1, + 15dB at Max AttitudeMaximum Output Level (MOL)+ 26 dBuDistortion : (at Att 1) 0.015% +8dBm output (at Att 3) 0.22% (at Att Max) 1+ % (dependent on how hard input valves are driven)Signal to noise (IEC weighted) 100dB below MOL (at Attitude 1)Frequency response +/-0.5 dB 9Hz to 30kHz (at Attitude 1)Max Bass Lift +11dB @ 50 HzMax Top Lift +12.5dB @ 10kHzAll audio connectors XLR wired pin 2 signal, 1&3 earthValve complement 2 x 5965, 2 x 6SN7, 1 x 12AU7

Το  Manley VOXBOX  προσφέρει όλα αυτά που ένας εξαίρετος προενισχυτής και επεξεργαστής φωνής πρέπει να έχει. Αλλά αυτό είναι μόνο η αρχή. Εκτός απο το τμήμα προενίσχυσης προσφέρει έναν εξελιγμένο opto-compressor, ένα τμήμα EQ  με μεσαία σε στύλ Pultec και ενσωματωμένο de-esser και peak limiter. Σε όλα αυτά τα τμήματα υπάρχει έλεγχος των παραμέτρων λειτουργίας για ακρίβεια στις ρυθμίσεις.Το VOXBOX μπορεί να χρησιμοποιηθεί εκτός απο φωνές, σε τύμπανα , κιθάρες, keyboards, κλπ.   Όλα αυτά και ο γνωστός ήχος της Manley εξηγούν την μεγάλη του επιτυχία σε όλο τον κόσμο σαν έναν απο τούς καλύτερους επεξεργαστές ήχου. Χαρακτηριστικά:Stunning mic preamp, with opto-compressor, EQ with the extended Pultec Mid Frequency Equalizer, de-esser and peak limiter for vocal and instrument tracking applicationsManley Transformers w/nickel laminations in mu-metal cases2K ohm MIC INPUT Z w/High current 48V Phantom power built-inHi-Z (100K) Direct Instrument InputLINE & INSERT INPUTS (balanced XLR & 1/4 inch)PREAMP & EQ outputs LO-Z (50 ohm)Transformer balanced XLR outputTransformerless unbalanced 1/4 inch outputsSTEREO LINK for Compressor & De-esser/Limiter offers expandability if you get another VOXBOXSIDE CHAIN MONITOR for De-EsserLarge ILLUMINATED Sifam METER with FIVE readout modesTHD + N (1kHz @ +20 dBu): 0.3%Maximum output: +31dBuDe-Ess Notch Frequencies: 3, 6, 9, 12KHzPower Consumption: 24 wattsDimensions: 19 x 5.25 x 10 inches (occupies 3U) 

Το Manley MASSIVE PASSIVE είναι ένα κορυφαίο EQ δύο καναλιών, τεσσάρων περιοχών με πρόσθετα   high pass και low pass φίλτρα.  Το  MASSIVE PASSIVE δεν χρησιμοποιεί ενεργό αλλά παθητικό κύκλωμα ήχου για αυξημένη μουσικότητα καθώς και κορυφαία υλικά. Με μεγάλο ήχο, τεράστια δυναμική περιοχή το πλήρως λαμπάτο αυτό EQ  στα χέρια έμπειρων ηχοληπτών γίνεται ένα δημιουργικό εργαλείο.Με το Massive Passive μπορεί να έχεις απο τις πιο απλές μέχρι τις πιο δραστικές επεμβάσεις  πάντα με μεγάλη μουσικότητα.  Οι καμπύλες του είναι συνδιασμός των καλύτερων στοιχείων ενος Pultec με πολλά νέα χαρακτηριστικά  σε ρυθμίσεις  παραμετρικές και self. Είναι ένα ιδιαίτερο εργαλείο που έχει αποτελέσματα που δεν μπορεί κάποιος εύκολα να πετύχει με άλλα EQ η Plug-In. Χαρακτηριστικά:Perhaps the ultimate studio EQ for tracking instruments, mastering and delivering powerful tonal control with characterAll-Passive tone sculpting circuitryUnique Shelf curves use the "bandwidth" controlOverlapping and Interleaved Frequency choicesEvery band switchable to shelf or bellVacuum tube make-up gain and line driversParallel symmetrical topologyPremium components throughoutHP and LP Filters plus gain trimsEach band can be bypassed or set to boost or cut. This provides twice the control resolution over conventional EQs. It also eliminates the problem of a centre detent not guaranteeing flat responseEach band is capable of 20 dB of boost or cut combined with amazing headroom and freedom from clippingSteep LP and HP filters for maximum effectiveness and achieved passively for minimal coloration. The minimum slope is 18 dB/octave and the 18kHz filter was designed for 60 dB/octaveModular design that allows future upgrades and special functionsTransformer balanced floating outputs for ease of installation and a touch of desirable flavourIns and Outs Balanced XLR and 1/4 inch (accepts unbalanced)Level +4 dBm nominal, internal switches for -10 operationBypass Switch bypasses EQ and tube circuits (not hardwire)44 Frequencies (roughly 1/4 octave spacing)Frequency Range: 22 Hz to 27 kHzEQ Boost/Cut Range : 20 dB boost, 20 dB cutNominal Q range: 1.5 to 3 (uniquely active in shelf modesFrequency Response: +/- 2 dB: 8 Hz to 60 kHzMaximum Output @ 1.5% THD +37 dBv; + 26dBv @ 20 HzTHD and Noise (1kHz @ +4 dBm): 0.06%Noise Floor (referred to + 4dBm): -85 dB (A Weight)Dynamic Range: 120 dBTube Complement: 5751 x 2, 6414 x 4Power Consumption 72 wattsSize (3U): 19 x 5.25 x 10 inchesWeight: Unit 21 lbs. Shipping weight: 27 lbs

Introducing the MicroSub45.  Featuring Barefoot Sound’s innovative Dual-Force™ technology, the MicroSub45 brings the MicroMain45 to new power and depths.  The subwoofers boasts dual-opposing 8” subs in each of the two cabinets. The MicroMain45 has turned into a cult speaker that musicians love. A common request from users since the release of the MicroMain45 is for Barefoot Sound to build a companion subwoofer. So Barefoot has built a subwoofer as an off-the-menu item. But as demands have been overwhelming, it’s time to bring this product into the light.Introducing the MicroSub45 featuring Barefoot Sound’s innovative Dual-Force™ technology The MicroSub45 brings the MicroMain45 to new power and depths with a pair of dual-opposing 8” subs in each cabinet and Dual-Force™ Technology.The MicroMain45 is the only Barefoot that doesn’t feature Dual-Force™ Technology. But now there is a path for MicroMain45 users who want to take it to the next level. Or if you’re interested in a pair of MicroMain45s and want the option to upgrade down the road as your needs grow, this is the perfect solution!The MicroMain45s can be placed on top or below the MicroSub45, depending on your preference. The tilt feature allows the MM45 to be positioned down to the listening sweet spot and it is designed so that the stack is very sturdy and will not slip.The subwoofers is the MicroSub45s. When packaged with the MicroMain45s, it becomes the MicroStack45.  The stack features six high excursion 8” drivers, all designed to work seamlessly together and as a single unit. Each MicroSub45 features analog crossovers which allows analog signal paths into the sub and also into the MicroMain45. It crosses over at 80hz and goes down to 25hz.Προδιαγραφές:Comes in a pairDual 8” subs in each cabinetDual-Force™ Technology1000 Watts of PowerBass response down to 25HzBalanced analog High-Pass filterΧαρακτηριστικά:Crossover Frequency: 80 HzSubwoofers: Dual 8″ aluminum cone with high linearity motor, +/- 13 mm linear excursionAmplifier: 500W in each cabinetAC Power Input: 85 VAC to 265 VACPower Consumption: Idle: 5W, Maximum: 765WWeight: Speaker: 45 lbs each (20.5 kg)Shipping: 54.5 lbs each (25 kg)Dimensions HxWxD: Cabinet: 14.0 x 9.5 x 13.0 inches (356 x 241 x 330 mm)Overall: 14.0 x 10.25 x 13.6 inches (356 x 260 x 345 mm) 

Μια νέα έκδοση του Phoenix soft knee stereo valve compressor, o Phoenix Standby. Τα νέα χαρακτηριστικά περιλαμβάνουν έναν διακόπτη standby που παρέχεται για την παράταση της ζωής των λυχνιών και των πυκνωτών. Όταν η συσκευή βρίσκεται σε "κατάσταση αναμονής" το ρεύμα που περνάει μέσω των λυχνιών είναι μόνο το 50% της κανονικής του αξίας. Οι μηδενικοί προσαρμογείς των level meters είναι πλέον στο μπροστινό μέρος για να κάνουν την ρύθμιση πιο εύκολη και να μην χρειάζεται να βγει η μονάδα έξω από το rack.Ο Phoenix είναι μία twin channel "vari-mu" συσκευή. Το compression ratio ξεκινά χαμηλά και αυξάνει σταδιακά, έτσι ώστε η συμπίεση μπορεί να είναι ανεπαίσθητη και φυσική, αλλά μπορούμε να έχουμε και compression effects αν οδηγήσουμε τον Phoenix στα άκρα και όλα αυτά με πολύ χαμηλό θόρυβο. Ακόμα υπάρχουν continuously variable controls για τα Gain, Attack, Release, Threshold και Output Level. Τέλος υπάρχει και η δυνατότητα για Stereo link για τη συμπίεση μιας ομάδας (π.χ. τύμπανα) ή για ολόκληρη τη μίξη.Ο Phoenix κάνει τα φωνητικά και τα μεμονωμένα όργανα να είναι διακριτικά, απαλά και "ζεστά", καθώς και τα σόλο να ακούγονται πιο ισχυρά. Γενικά μπορεί να δώσει σε μία ψηφιακή μίξη αληθοφάνεια και υπόσταση.Χαρακτηριστικά:All valve design for greater presence and naturality.Completely free from solid state additives.Transparent compression.Punchy when pushed.Drive it hard for compression effects and distortion.Absolutely flat frequency response over entire audio range and beyond.Minimal phase shift giving a crisp and warm sound.

  Στηριγμένο στην πολύ μεγάλη επιστυχία του MicroMain27, το MicroMain27 Gen2 είναι ένα  3.5-way  ενεργό σύστημα με 5 μεγάφωνα σε κλειστή καμπίνα που κατεβαίνει στα 30 Hz με πολύ μικρές παραμορφώσεις, έχει πάρα πολύ μεγάλη δυναμική περιοχή και πάρα πολύ γρήγορα μεταβατικά.   Το  tweeter με ring radiatoris  είναι ιδιαίτερα αναλυτικό και με μεγάλη διασπορά και το νέο  μεγάφωνο μεσαίων των  5.25″ είναι ίσως το ποιό εξελιγμένο τεχνολογικά μεγάφωνο στην κατηγορία του. Ταυτόχρονα ο  ιδιοφυής  Bruno Putzeys της εταιρείας  Hypex  είναι υπέυθυνος για τους εξαιρετικούς ενισχυτές  του ηχείου. Η καρδιά του συστήματος είναι το νέο ενεργό crossover  με DSP για το οποίο ο Thomas Barefoot εργάστηκε 4 χρόνια (!) και το οποίο σε συνδιασμό με μετατροπείες νέας γενιάς και ειδικά φίλτρα στην αιχμή τηςτεχνολογίας δίνει στο  MicroMain27 Gen2 ένα τεράστιο ήχο, ένα μεγάλο  sound stage πολύ αποκαλυπτικό στην αναπαραγωγή της μουσικής. Ταυτόχρονα με την τεχνολογία  MEME™ μπορεί να προσομοιάζει και άλλα κλασσικά monitors όπως τα Yamaha NS10, ένα ηχείο Hi-Hi καθώς και το ομοαξονικά Auratone !   MicroMain27 Gen2 features: 3.5-way active studio monitor with integral subwoofers Four-setting DSP voice emulation Analog and AES3 digital inputs Hypex amplification Tweeter - 1" ring radiator with Advanced neodymium motor Rear waveguide chamber. Amplifier: 250W Hypex Midbass 1 - 5.25" poly/paper cone with Advanced neodymium motor , with +/- 5 mm linear excursion. Amplifier: 250W Hypex Midbass 2 - 5.25" poly/paper cone with Advanced neodymium motor, with +/- 5 mm linear excursion. Amplifier: 250W Hypex Subwoofers - 2 x 10" aluminum cone with high linearity motor, with +/- 13 mm linear excursion. Amplifier: 500W Hypex Crossover Frequencies: 100 / 600 / 3000 Hz Cabinet Dimensions: 20.5" x 9.5" x 15.5" Overall Dimensions: 20.5" x 10.4" x. 17.4"