Επεξεργαστές Ήχου

Next Generation Harmonizer με 16 dsp κανάλια και δυνατότητα δικτύωσης. Διαθέτει επεξεργαστική ισχύς 8 φορές περισσότερη από τον προκάτοχο του H8000.Διαθέτει 4 επεξεργαστές quad core που αντιστοιχούν σε 16 dsp κανάλιαΣτον τομέα των εισόδων/εξόδων διαθέτει:8 αναλογικές I/OΨηφιακές AES/EBU και ADAT16 USB κανάλια ήχου καιΠροαιρετικά μπορεί να συνδεθεί σε standard δίκτυα ήχου συμπεριλαμβανομένων των MADI, DANTE και Ravenna.Διαθέτει την δυνατότητα του FX Chain που επιτρέπει στον χειριστή να συνδέσει οποιοδήποτε set από τα τέσσερα (4) effects με οποιοδήποτε routing παρέχοντας την ευελιξία να λειτουργήσει σαν κανάλι φωνής, πετάλι κιθάρας ή modular synth με effects. Παρέχει δυνατότητα για απομακρυσμένο έλεγχο.

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

Συνδιάζοντας τον πλούσιο, ζωντανό ήχο των vintage compressors με τον καθαρό και ακριβή χαρακτήρα των μοντέρνων επεξεργαστών, ο Wes Audio BETA76 FET είναι ο απόλυτος compressor/limiter για κάθε μουσικό studio. Χαρακτηριστικά:  Δύο (2) λειτουργίες: Modern/Vintage Ένα (1) κανάλι Ρυθμιστικά: Attack, Release, Ratio switches, Modern/Vintage input modes Attack time: 20 ms - 800 ms Release time: 50 ms - 1100 ms Ratio: 4:1, 8:1, 12:1, 20:1 True Bypass Απόκριση Συχνοτήτων: 20 Hz - 20 kHz (+/- 1 dB) Αντίσταση εξόδου: 600 Ohm SC high-pass filter - 60, 90, 150 Hz Signal to noise ratio SNR > 83 dB Ενισχυμένη λειτουργία σύνδεσης Συνδεσιμότητα: 1 x XLR (είσοδος), 1 x XLR (έξοδος), 6.3 mm jack link connector Format: 19 "/ 2 U Διαστάσεις: 88 x 483 x 235 mm Βάρος: 6 kg

Προσθέστε τον ζωντανό και πλούσιο ήχο του vintage compression στο στούντιο σας με τον Wes Audio Vari-Mu Timbre. Το ισσοροπημένο κύκλωμα των λυχνίων είναι βασισμένο στην 6386 και στον STA-Level compressor.Χαρακτηριστικά: Carnhill μετασχηματιστές 6386 λυχνίες Λειτουργία Single / double / triple  Απόκριση Συχνοτήτων: 20Hz-30kHz Mέγιστο gain: 45 dB Μέγιστο gain reduction: 40 dB Διαλογέας 6 θέσεων release time Επιλέξιμο side-chain και high-pass φίλτρο Λειτουργία Bypass  Λειτουργία Link  Balanced XLR είσοδος και έξοδος. Format: 19" / 2HE Διαστάσεις: 483 x 88 x 235 mm Βάρος: 7 kg

Xαρακτηριστικά  :   Classic Diode Bridge Tone Αποκτήστε τον punchy ήχο ,που χρησιμοποιείται σε αμέτρητες επιτυχίες τα τελευταία 50 χρόνια.   Advanced timing controls Προσαρμόστε το compression envelope σας με τον ενοποιημένο έλεγχο χρονισμού, το οποίο επιτρέπει μεγαλύτερο εύρος απαντήσεων , από ότι σε  vintage μονάδες ή κλώνους.   Custom Transformers και Class-A Line Eνισχυτές Η vintage ζεστασιά συναντά το βελτιωμένο headroom και τις ρυθμίσεις ακριβείας του ανανεωμένου Rupert Neve Line stage μετασχηματιστή .   'Eλεγχος 31- Θέσεων Aκριβής ανάκληση και αντιστοίχηση  ρυθμίσεών  , ταχύτατα και εύστοχα    Eνσωματωμένο parallel compression Eσωτερικό blend control που επιτρέπει , πιο δραματικές ρυθμίσεις του compressor , για την επίτευξη του επιθυμητού  χρώματος   Full-Wave Sidechain Detection Bελτιωμένο από αυτό της vintage συσκευής , half-wave σχέδιο , ο ανανεωμένος sidechain detector προσφέρει εμφανέστατα περισσότερη ακρίβεια .     Stereo Linking Λειτουργήστε τους compressors σας σε mono ή stereo configurations    Eσωτερικό Universal Power Supply Διαθέτει EIC σύνδεση για world-wide AC power από 90-240V ενσωματωμένο στο 1U rack-mountable σασί . Tεχνικά χαρακτηριστικά Aντίσταση εισόδου : 10 kΩ Aντίσταση εξόδου : 40 Ω Maximum Input Level (+4dBu Selected): +26.7 dBu typical Maximum Output Level: +26.7 dBu typical Noise (22 Hz - 22 kHz BW): -104 dBu typical Aπόκριση συχνότητας :  (10 Hz to 120 kHz): +/- 0.25 dB typical THD+N @1 kHz @ Maximum Level (22 Hz - 22 kHz BW): 0.0008% typical Xαρακτηριστικά θορύβου του Compressor Noise @ 0dB Make-Up Gain (22 Hz - 22 kHz BW): -84.5 dBu typical Noise @ +20dB Make-Up Gain (22 Hz - 22 kHz BW): -64.5 dBu typical Xαρακτηριστικά χρονισμού του Compressor   Σημείωση : Oι μετρήσεις χρόνου αναπαριστούν  το πλήρες εύρος που επιτυγχάνεται  μεταξύ 1.5:1 and 8:1 Ratio και  FAST Mode FAST Attack 250μS - 2 mS // Release 100mS - 200mS typical MF (MEDIUM FAST) Attack 1mS - 5mS // Release 100mS - 200mS typical MED (MEDIUM) Attack 3mS - 18mS // Release 350mS - 700mS typical MS (MEDIUM SLOW) Attack 5mS - 40mS // Release 600mS - 1S typical SLOW Attack 10mS - 80 mS // Release 800mS - 1.5S typical AUTO Attack 5mS - 40mS // Release T1 400-900mS, T2 1-2S typical Διαστάσεις :  (Πx B x Y) 48.3 x x 20.9 x 4.2 cm

 Xαρακτηριστικά:   Stereo link ή 2xmono 75V Variable gain  -6 dB έως +20 dB Εξαιρετικά ευέλικτος διπλός μονοφωνικός ή στερεοφωνικός compressor Ρυθμιζόμενη parallel compression Έλεγχος υφής για τη λειτουργία Silk-  και Silk + Music limiter Stereo field editor Eυέλικτo routing που επιτρέπει την ανεξάρτητη δυναμική επεξεργασία του mid-end side καναλιού Extensive level display Υποδοχές εισόδου / εξόδου: XLR Side chain send / return connector: Υποδοχή 6,3 mm Διακόπτης Ground lift 19 "(2U) Βάρος: 9,7 κιλά

Ένας ιδανικός τρόπος για να αφαιρέσετε τον ανεπιθύμητο θόρυβο από τον ήχο σας Παρέχει 2 κανάλια καθαρού σήματος για περισσότερο gain χωρίς to "φόβο" του feedback Έχει παρόμοια λειτουργία με το Noise Gate αλλά λειτουργεί με μια πιο μεγαλύτερη ακρίβεια Αυτόματη ανίχνευση σήματος για άμεση απόκριση  Τα απλά και εύχρηστα χειριστήρια συμβάλουν σε άμεσα αποτελέσματα

Βασισμένο στα θρυλικά EQ της δεκαετίας του '60 και του '70, ο παθητικός ισσοσταθμιστής Wes Audio LC-EQP θα δώσει ζωή στην μουσική σας. O συνδιασμός του αναλογικού signal path με τους μετασχηματιστές Carnhill διατηρεί την ηχητική ακαιρεότητα του κομματιού σας κατά την ισσοστάθμιση.Χαρακτηριστικά: Τύπος: Υβριδικό Carnhill μετασχηματιστές Αντίσταση εισόδου: > 1.5 kOhm Αντίσταση εξόδου:  150 ohms Μέγιστη ένταση εξόδου: +22dBu Aπόκριση Συχνοτήτων: 5 Hz - 65 kHz (-3 dB) SNR ratio: 90 dB Λειτουργία Bypass Περιοχές: 2 (Dedicated Boost/Cut) Balanced XLR είσοδος και έξοδος Εσωτερική τροφοδοσία 115/230V Format: 19 "2U Διαστάσεις: 483 x 88 x 237 mm Βάρος: 7 kg

Νέα έκδοση S γραφικού equalizer 1/3 της οκτάβας, 2x31 περιοχών constant Q. Επιλεγόμενο εύρος αυξομείωσης 6/12dB, φίλτρο αποκοπής χαμηλών συχνοτήτων στα 40Hz με 12dB ανά οκτάβα. Iσορροπημένες (balanced) είσοδοι και έξοδοι με XLR & TRS jacks, δυναμική περιοχή 108dB, 2U.

Γραφικό equalizer 2/3 της οκτάβας, 2x15 περιοχών. Επιλεγόμενο εύρος αυξομείωσης 6/15dB, φίλτρο Bessel αποκοπής χαμηλών συχνοτήτων στα 40Hz με 18dB ανά οκτάβα. Hλεκτρονικά ισορροπημένες (balanced), unbalanced και RF φιλτραρισμένες είσοδοι και έξοδοι με XLR, TRS jacks και γυμνών επαφών, 2U.

Νέα έκδοση S γραφικού equalizer 2/3 της οκτάβας, 2x15 περιοχών constant Q. Επιλεγόμενο εύρος αυξομείωσης 6/12dB, φίλτρο αποκοπής χαμηλών συχνοτήτων στα 50Hz με 12dB ανά οκτάβα. Ισορροπημένες (balanced) είσοδοι και έξοδοι με XLR & TRS jacks, δυναμική περιοχή 108dB, 1U.

If there is a single piece of analogue processing equipment that is synonymous with SSL, it must be the SSL Bus Compressor. From the very first commercially released SSL 4000B console in 1976 and through many generations of SSL consoles that have followed, the Bus Compressor has always been the stalwart of the console centre section. For many of the world’s top engineers and producers, the Bus Compressor continues to be the most relied upon processing tool for making mixes sound bigger and more complete, with drive and energy from adding that legendary SSL glue and punch.

The COMP-554 MKII is the 500 series rack version of the COMP-54 MKIII with some additional features. The COMP-554 MKII is a one-channel vintage style compressor for the 500-format. The signal path uses only discrete components like resistors, capacitors and transistors. The input and output are transformer balanced and the unit also uses a third interstage transformer. This is the way audio components were built before integrated circuits became available. IC´s are small and cheap and they are widely used in most modern designs. It is clear though that audio components built with modern technology doesn´t always provide the best perceived sound quality or character that the modern user desires.On the contrary, the subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern units. This is the reason why so many vintage audio components are cloned and produced again and also why the vintage originals are often very expensive on the second hand market. The class-A circuit used in the COMP-554 MKII is similar to the one in the classic 2254 compressor that was designed in 1969. It quickly became a legend due to it´s totally unique sound character that is warm, smooth, sweet and musical.These characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on many sound sources and in many genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.

The COMP-3A Jr is a one channel vintage style Compressor / Leveler. The signal path uses only discrete components like resistors, capacitors, diodes and transistors. The input and output is transformer balanced, using two different transformers, each one optimized for its purpose. This is the way audio components were built before integrated circuits became available. Integrated circuits are small and cheap and widely used in most modern designs. The drawback is that audio components built with modern technology doesn’t always provide the best perceived sound quality or the type of character that the modern user desires. The subjective sound quality delivered by vintage equipment is often preferred over the one delivered by modern units, a situation that is even more obvious now when music is recorded with clean-sounding digital audio equipment. This is the reason why so many vintage audio components are cloned and produced again and also why the vintage originals are often very expensive on the second hand market. The circuit used in the COMP-3A Jr is based on classic design elements and it uses an integrated optocoupler to control gain. This gives the COMP-3A Jr a unique compression characteristics. In addition, the vintage style signal path adds a wonderful and musical character to the sound. The ease of use with only two main controls makes it very simple to achieve the desired sound. These attributes has made vintage products with a similar design favorites of engineers and musicians worldwide. A classic sound and compression style is now available at a very affordable price point with the COMP-3A Jr. Features: Vintage style electronics. No integrated circuits in the main audio signal path. Transformer balanced input and output. Can drive almost any load, balanced or unbalanced. The maximum output level is 25 dBu. – Uses an integrated optocoupler to control gain. The fastest attack time is about 1 ms. Very simple to operate with only two main controls, Gain Makeup and Gain Reduction. Three-position TIME switch to select different combinations of Attack- and Release time. Selectable jumpers inside the unit to increase the timing on TIME-switch position B and C. Hardwire bypass switch for easy comparisons. XLR and TRS input and output jacks for flexible connections. Link jack for connecting to another unit for stereo operation. All external controls located on the front panel. External power supply to avoid interaction with the audio circuits and transformers. Compact 1RU quarter rack format. Up to four units can be mounted in our 19-inch rack kit, the UNITE MKII. A solid build quality that will last many years of normal use.

The SR22 Dual Channel Compressor features two channels of API's patented award-winning compressor circuit in a rackmount unit with internal power supply. This same compressor circuit was originally designed into the legendary ATI Paragon analog live mixing console. Each channel includes the patented THRUST® circuit, which protects the sensitive high frequency content of the audio signal, even under the most vigorous of compression ratios. The perfect companion to the new SR24 Dual Channel EQ, the SR22 provides comprehensive, easy-to-use control along with classic analog VU meters for monitoring output and gain reduction. The two channels can also be linked for use as a stereo compressor with true RMS power summing of the left and right signals.

The SR24 is a two channel, four band equalizer in a two rack-space chassis. With a dedicated knob and/or switch for each control function, the SR24 is easy to use; by utilizing continuously-variable controls for both the frequency and boost/cut, the SR24 can be very precise in applying equalization to the selected audio material. The SR24 circuit design is deeply rooted in API's history. From the late 1970's to the early 1980's, an audio company called "APSI" manufactured consoles and equalizers. Their 562 module was a 4-band, fully parametric equalizer which was designed by APSI and sold through API. Over the last several decades, these EQ modules remained a favorite among many studio engineers, but have become increasingly difficult to find. The SR24 is a faithfully re-engineered version of the original 562, offering the user 2 channels of classic analog EQ in one rackmount unit.

The API Select T25 is a classic 2-channel, FET feedback-style compressor/limiter with a Class-A tube output stage that utilizes a custom API transformer. Built with 12AT7WC and 12BH7 dual-triode vacuum tube, the T25 represents a new direction in API's line of compressors. It offers the user a powerful and flexible feature set, including the ability for use in either dual mono or stereo mode, and is carefully engineered to deliver classic tube performance. The T25 excels at delivering the unmistakable sound of API and features our industry-exclusive Five Year Warranty.

70 Χρόνια Μετά τη Δημιουργία  του, Το Baxandall Eq Αναβαθμίζεται Η τοπολογία του Baxandall equalizer, που παρουσιάστηκε στο κοινό από τον Peter Baxandall το 1952, ήταν ένας πολύ έξυπνος τρόπος να έχουμε high και low shelves με επιλογή πρόσθεσης και αφαίρεσης χωρίς τη χρήση ακριβών περιστροφικών διακοπτών. Αυτό το προσιτό κύκλωμα υιοθετήθηκε σύντομα από κατασκευαστές hi-fi και κονσόλων για την απλότητά του, όπου δεν απαιτούνται παραμετρικές επιλογές eq. H Heritage Audio αντικατέστησε επιτυχώς την τοπολογία Baxandall με ένα λειτουργικό ισοδύναμο - πολύ πιο μουσικό, το οποίο υλοποιήθηκε σαν μια μονάδα 1U rack για master bus και mastering. Το Stereo Asymptotic Equalizer, γνωστό ως Symph EQ, παίρνει το όνομά του από το σχήμα που λαμβάνεται από τις καμπύλες των shelf eq, όπου το εύρος ενίσχυσης ή αποκοπής μεγαλώνει έως ότου επιτευχθεί η ασυμπτωτική τιμή, διατηρώντας πάντα τις εξαιρετικά υψηλές και χαμηλές συχνότητες υπό έλεγχο. Ο ήχος του μπορεί να περιγραφεί μόνο ως σφιχτός, γλυκός και φυσικός, και η χρήση της παράλληλου equalizing για τη λήψη των επιθυμητών καμπυλών απόκρισης το κάνει να έχει εξαιρετική απόκλιση χαμηλής φάσης. Shelving Με Χειρουργική , αλλά Μουσική Ακρίβεια. Μια διάταξη έξυπνου κυκλώματος επιτρέπει ρύθμιση + ή - 10,5 dB σε βήματα 0,5 dB. Ο κύριος περιστροφικός διακόπτης θέτει βήματα 1dB ενώ το κουμπί 0,5 προσθέτει μισό dB στην κύρια ένδειξη. Το κουμπί CUT μετατρέπει το ποσό ενίσχυσης σε περικοπή. Διατίθενται έξι στρατηγικά επιλεγμένες, επιλογές συχνότητων ανά μπάντα (8, 10, 12, 15, 20 και 24 Khz στο high shelf και 470, 360, 220, 110, 60 και 20 Hz στο low shelf). 2-PoleHigh Και Low Pass Φίλτρα Προκειμένου να διατηρηθούν οι πολύ χαμηλές και οι εξαιρετικά υψηλές συχνότητες υπό έλεγχο, έχουν προστεθεί επιπλέον φίλτρα υψηλής και χαμηλής διέλευσης σε διπλούς ομόκεντρους περιστροφικούς διακόπτες, στα 12dB / οκτάβα. 5 επιλογές συχνότητας και OFF είναι διαθέσιμες σε κάθε μία (10, 12, 18, 22 και 30 Khz στο low-pass και 160, 82, 47, 20 και 15 Hz στο high-pass). Εδώ Είναι Που η Μαγεία Ζεί. Το Symph EQ θα είναι ένα φοβερό εργαλείο όπως έχει περιγραφεί παραπάνω, αλλά μετατρέπεται σε αριστούργημα με τις ακόλουθες 3 προσθήκες: Διαθέτει τους ίδιους αποκλειστικούς μετασχηματιστές εισόδου Carnhill made in Oxford που υπάρχουν στο Successor. Οι έξοδοι οδηγούνται από ενισχυτές εξόδου Class-A 73 τύπου, κατασκευασμένοι με τους ίδιους μετασχηματιστές εξόδου Carnhill St´Ives όπως η υπόλοιπη οικογένεια προϊόντων μας. Το πιο σημαντικό και, εδώ είναι που το Symph EQ λάμπει πραγματικά, έχει ενσωματωμένες δυνατότητες Mid Side (M / S). Το Ασυναγώνιστο M/S Equalizing. Τίποτα δεν πλησιάζει στο M / S equalizing σε ένα μιξ. Επιτρέπει στον χρήστη να επεξεργάζεται ανεξάρτητα το κέντρο και τις πλευρές. Τα οφέλη μιας τέτοιας επεξεργασίας είναι δύσκολο να τα πιστέψουμε. Μπορείτε να βελτιώσετε τη μίξη σας χωρίς να κάνετε τα φωνητικά σας να ακούγονται σκληρά ή ακόμα και να “σφίξετε” το περιεχόμενο των μπάσων της στερεοφωνικής εικόνας χωρίς να κάνετε τον ήχο μπάσου ή της μπότας αδύναμο! Αυτά είναι μερικά μόνο παραδείγματα της ισχύος του Symph EQ M / S! Η απόκριση του Side high pass φίλτρου έχει γίνει ελλειπτική όπως είναι στους κόπτες δίσκου βινυλίου για ακριβή απόκριση συχνότητας. Με Το Symph Eq Προσαρμοσμένους μετασχηματιστές εισόδου Carnhill Oxford και προσαρμοσμένους μετασχηματιστές εξόδου Carnhill St Ives, και οι δύο αποκλειστικά κατασκευασμένοι για την Heritage Audio. Σταδιο εξόδου high-end, 73-style Class-A. Όλα τα χειριστήρια χρησιμοποιούν περιστροφικούς διακόπτες υψηλής ποιότητας ακριβείας 0,5dB. Η επεξεργασία Mid-side επιτρέπει την ακριβή διαχείριση των κεντρικών μπάσων και τις δυναμικές πηγές υψηλής ενίσχυσης χωρίς να επηρεάζει τις κεντρικές πηγές, όπως φωνητικά, snare κ.λπ. Stereo και M/S εισόδους και εξόδους, όλες balanced και ground free (συμβατές με unbalanced) επιχρυσωμένα XLRs. ON, M/S ή stereo λειτουργία και ξεχωριστό hard BYPASS για κάθε κανάλι. Κατασκευάζεται εξ ολοκλήρου στην Ευρωπαϊκή Ένωση

The CX2310 stereo 2-way/mono 3-way crossover provides amazing-accurate audio frequency separation, thanks to its state-of-the-art circuitry, superior-grade components, ultra low-noise op amps and balanced I/O connectivity. Additionally, the CX2310 features an independently-adjustable Subwoofer Output, effectively providing an extra low-frequency band a control range from 10 - 235 Hz. By using 1% metal film resistors, along with other extremely tight-tolerance components, the CX2310 is able to guarantee surgically-precise frequency selection with incredibly-low thermal noise. Put simply, the easy-to-use SUPER-X PRO CX2310 is one of the best-sounding crossovers in its class! Sound Quality When a sound system is properly tuned, it becomes powerful, balanced and efficient. Bass content is punchy and tight, with vocals and instruments that are rich, crisp and well defined. The CX2310 crossover’s accurate signal processing protects critical loudspeaker components and improves overall system efficiency. All Input and Output connections are balanced/unbalanced XLR and feature 25 Hz Low Cut filters for low-frequency driver protection – plus Mute and Phase Invert switches, making troubleshooting even a large system – virtually effortless! What’s a Crossover? Chances are if you’re reading this, you already know what a crossover is – and you know that you need one. But if you are new to multi-way PA systems, here's a brief overview. Loudspeakers (which we call transducers) convert electrical signals into sound waves. And no matter how well a transducer is designed or made, it simply cannot reproduce the entire audio spectrum all by itself. Low-frequency sounds tend to push a transducer to the maximum, making it impossible for that same transducer to reproduce the treble content with the sound quality it deserves. (Try singing high falsetto next time you’re bench-pressing your limit!) That's why high-quality sound systems use multiple speakers (woofers and tweeters) to spread out the work. While the woofer (usually the larger transducer) does all the heavy lifting, the tweeter can easily handle the high-frequency content. Three and four-way systems distribute the work even more, allowing the individual transducers to reproduce the frequency range for which they were designed. It is the crossover’s function to divide these tasks between the various amplifiers and transducers. Divide and Conquer The CX2310 provides two modes of operation: 2-way stereo, for Left and Right Lows (woofers) and Highs (tweeters); and 3-way mono, for Lows, Mids and Highs. In either mode, there is an additional output provided for a mono Subwoofer, with its own Frequency and Level controls. This extra feature effectively turns the CX2310 into a stereo 2-way + mono 1-way, or a mono 4-way frequency crossover. The Subwoofer Output is presented in mono, since people perceive extremely-low bass frequencies as being omnidirectional. For your convenience, the CX2310’s front panel features an elegant and easy-to-read LED matrix, so you can see at a glance which operating mode has been selected – and which controls are currently active.

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

Ένας χειροποίητος signal router / switcher από την Dangerous Music που επιτρέπει σύνδεση συσκευών σε έξι insert loops και parallel loops με ευκολία χρήσης και απόλυτη ηχητική πιστότητα.Συνδέστε όλα τα μηχανήματά σας στο Liaison για να έχετε τον απόλυτο έλεγχο, ρυθμίζοντας patches, κάνοντας συγκρίσεις διαφορετικών routing κτλ. Το Liaison μπορεί να σώζει τις συνδεσμολογίες σαν presets για μελλοντική ανάκληση και χρήση, ενώ τα ρελέ true-bypass που περιλαμβάνει, επιτρέπουν την εύκολη αφαίρεση οποιουδήποτε επεξεργαστή από την αλυσίδα, ακόμα και αν ο ίδιος δεν έχει διακόπτη bypass.Τα εξαρτήματα του Liaison είναι mastering-grade και οι διακόπτες είναι γρήγοροι, σιωπηλοί και ουδέτεροι, για πραγματικές A-B συγκρίσεις χωρίς καθυστερήσεις και ανεπιθύμητους "χρωματισμούς".Χαρακτηριστικά: 6 stereo insert loops, assignable to 2 stereo bussesευέλικτο parallel processing loopστιγμιαίο routing / switching / flip / audition / matrixδυνατότητα recallσυνδυάζεται ιδανικά με το dangerous master  Frequency Response (Passive Section)  +0, -0.1dB from 10Hz to 100kHzFrequency Response (Active Section) +0, -0.1dB 10Hz-100kHzMaximum level > +28dBuNoise floor < -94.5dBu 22Hz-22kHz bandwidthTHD+N < 0.002%IMD < 0.003%Crosstalk rejection (Passive Section) > 124dBCrosstalk rejection (Active Section) > 113dBInput Impedance: 20K OhmsOutput Impedance: 20 Ohms

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

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

Mastering 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 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

Compact and competent. The Track One is a fully equipped channel strip for fast and reliable voice and instrument recording, meeting the highest demands on sound and reliability. Mic/Instr./Line Preamp The Track One is equipped with two preamps: a microphone preamp with 48V phantom power and a separate instrument preamp. Both are tuned to a sound-neutral, open and transparent characteristic. The low-cut filter can be used for both preamps. De-Esser The Auto-Dynamic De-Esser unobtrusively and effectively removes disturbing S-sounds by detecting only the “S-frequencies” and reducing them by phase cancellation. The Auto-Threshold control maintains constant processing even if the distance between the singer and the microphone varies. Operation is reduced to just one knob that sets the desired S-reduction. Kompressor / Limiter The compressor is also extremely easy to operate via a controller; its strength lies in its unobtrusive, musical operation. The compressor/limiter section has excellent noise and distortion data. Equalizer mit Air Band For Track One, an EQ section has been designed specifically for processing voices and acoustic and electronic instruments. The Air Band filter works on the basis of a coil/condenser filter. Output & Metering The variable Output helps adjusting the gain to optimally drive following equipment. In the display the output level, S-Reduction activity, signal presence and overload as well as the compressor’s gain reduction are shown. Specifications: Analog inputs & output; XLR & TRS Jack (balanced) Maximum input gain (Line): 28 dBu Maximum input gain (Instrument): 12 dBu Input impedance (Line): 12 kΩ Input impedance (Instrument): 1 MΩ Output impedance: 50 Ω Frequency range (-3 dB): 10 Hz – 180 kHz Noise (A-weighted, Mic Preamp, 20 dB Gain): -97.5 dBu Noise (A-weighted, Mic Preamp, 40 dB Gain): -91.0 dBu Noise (A-weighted, Mic Preamp, 62 dB Gain): -67 dBu E.I.N. (150 Ω): -129 dBu Noise (A-weighted, Line/Instr Preamp, 7 dB Gain): -98.4 dBu Noise (A-weighted, Line/Instr Preamp, 20 dB Gain): -95.8 dBu Noise (A-weighted, Line/Instr Preamp, 42 dB Gain): -77.2 dBu Common mode rejection (1 kHz): 80 dB Dynamic range: 115 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): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 315 mA Fuse for 115 V: T 630 mA Power consumption: max. 20 W Dimensions & Weight W x H x D (width x height x depth): 482 x 44 x 300 mm Unit weight: 4.15 kg Shipping weight (incl. packaging): 7 kg

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

Bettermaker Mastering Equalizer for those who seek outstading EQ quality with the convinience of fast and precise recall and automation. MEQ offers 100% signal path,  Passive as well as parametric filters, Highpass filter with changable slope and resonanse, Stereo/Dual mono/MS operation and a metering section with EQ curve representation. All this with mastering grade sound and patentedrecall with a speed of a native plugin.    Mastering Equalizer:  100% analog audio signal path  USB connectivity with MAC/PC  all parameters are digitally controlled via touchscreen and/or DAW (with dedicated plugin)  399 presets with unique names, total recall, A/B comparison  5-inch capacitive touchscreen with backlight, four encoders with push-button action for ease of control  stereo, dual-mono and mid/side operation modes with focus function  stereo 12 or 24dB/oct high-pass filter with adjustable cutoff frequency (10Hz – 240 Hz; extended to 6Hz with the resonance enabled)  four stereo parametric filters with 15dB boost/cut range, variable Q (0.2 – 7):  EQ1: 22Hz – 470Hz (bell/shelf)  EQ2: 90Hz – 2kHz (bell)  EQ3: 480Hz – 10kHz (bell)  EQ4: 1kHz – 23kHz (bell/shelf)  stereo passive equalizer with extended hi-boost section (air bands: 20 and 28 kHz)  stereo, 12dB/oct low-pass filter with adjustable cutoff frequency (2 – 38 kHz)  adjustable output level (+/- 10dB)  Frequency Search, Gain Lock, Note and Auto-Q functions  on-board measurement of PEAK/RMS levels and RTA analyzer  on-screen live representation of the equalization curve Digital Section: The sound of the Mastering Equalizer is of course based on the quality of its analog filters, precisely matched capacitors and inductors. But all the control and user interactions are performed in the digital domain. This allows us to incorporate options and possibilities not found in any standard analog equalizers: Save and recall presets from on-board memory (400 slots available) Instant reset of all parameters Rapid, precise and repeatable adjustments Precisely linked stereo operation with the ease of a single control DAW automation and recall of all available parameters   The digital section of the Mastering Equalizer is based around high speed, 32-bit micro-controller, with dedicated firmware programmed into its memory (with the possibility of updating the firmware via USB connection). It controls the parameters af all analog filters, watches over the user interface, presets management, audio measurement, USB connectivity and other Mastering Equalizer functions. Front panel and LCD touchscreen: The front panel of the Mastering Equalizer is build around big LCD touchscreen, that allows you to control almost all functions available in the device. It will show you live representation of the EQ curve and allow you to adjust filter gain and frequency with the touch and drag of your finger (check unique Frequency Search function!). Apart from that, you can also monitor input/output levels, access the FFT real time analyzer or store and recall presets using on-screen QWERTY keyboard. DAW integration: The Bettermaker Mastering Equalizer can communicate with your DAW via USB connection. The unit appear as a HID device and can be managed via Bettermaker Mastering Equalizer Plugin. Technical specification (all filters enabled, set flat):  Frequency response 20Hz to 20kHz (+/- 0.2 dB)  Dynamic range: 102dB (+23dBu, 22kHz BW)  THD+N: 0.03% @ +4 dBu, 0.06% @ +18 dBu, 20 kHz BW  CMRR: max 85 dB @ 3 kHz, min 52 dB @ 20Hz, 20 kHz BW  Crosstalk: min -100 dB @ 30Hz, max -65 dB @ 20kHz, +18 dBu, 20 kHz BW  balanced stereo input (XLR), 23dBu max input level (THD < 0.2%)  balanced stereo output (XLR), 23dBu max output level (THD < 0.2%)  Operating Level: +4dBu  Input impedance (differential): 48kΩ (for balanced signal)  Output Impedance: 50Ω + 50Ω (electronically balanced)  2U enclosure, 230mm deep  115/230V switch  advanced linear power supply with toroidal AC mains transformer  Maximum power consumption: 20W  Shipping weight: 5.5 kg

Bettermaker Bus Compressor is for those who seek high quality stereo VCA compression with the convenience of fast and precise recall and automation. The bus compressor offers 100% analog signal path, Dry/Wet mix, sidechain with HPF, with hardware insert and preview function,  adjustable THD saturation and more.. All this with high analog quality and patented recall with a speed of a native plugin.  Bus Compressor:  advanced analog stereo VCA compressor with PEAK/RMS detection  all parameters are digitally controlled via front panel and/or DAW (with dedicated plugin)  dry/wet MIX control for parallel compression  sidechain high pass filter with hardware insert and preview function  adjustable THD for harmonically rich sound  on-board measurement of PEAK/RMS levels  100% analog audio signal path  total recall and A/B comparison from your favourite DAW  LED matrix display and six encoders with push-button action for ease of control  USB connectivity with MAC/PC   Digital Section: The sound of the Compressor is of course based on the quality of its analog audio path. But all the control and user interactions are performed in the digital domain. This allows us to incorporate options and possibilities not found in any standard analog compressors:  recall last unit state after reboot  Instant reset of all parameters  Rapid, precise and repeatable adjustments  Precisely linked stereo operation with the ease of a single control  DAW automation and recall of all available parameters   The digital section of the Bus Compressor is based around high speed, 32-bit micro-controller, with dedicated firmware programmed into its memory (with the possibility of updating the firmware via USB connection). It's responsible for controlling the VCA, the user interface, presets management, audio measurement, USB connectivity and other Bus Compressor functions.   The use of separate ground planes for analog and digital section results in perfect noise isolation between these two worlds. High quality switching power supply, designed by Bettermaker, was used to provide low hoise, hum free power to all analog and digital components. Front panel: The front panel of the Bus Compressor is build around eye-catching LED matrix display, that allows you to monitor almost all functions available on the device, as well as input/output levels and amount of gain reduction applied by the compressor. Technical specification:  Frequency response 10Hz to 22kHz (+/- 0.2 dB)  Dynamic range: 106dB (+23dBu, 22kHz BW)  S/N ratio: 87dB (A-weighted, +4dBu, 22kHz BW, unity gain)  Crosstalk: -83dB @ 1kHz, +18dBu, channel-to-channel  CMRR: max 85 dB @ 3 kHz, min 52 dB @ 20Hz, 20 kHz BW  THD: 2nd: < 0.06%, 3rd: < 0.01%; 4th: < 0.006%; (+4 dBu, 20-20 kHz, unity gain, THD and CLIP disabled)  balanced stereo input (XLR), 23dBu max input level (THD < 0.2%)  balanced stereo output (XLR), 23dBu max output level (THD < 0.2% into >2kohm)  Input impedance (differential): 48kΩ (for balanced signal)  Output Impedance: 50Ω + 50Ω (electronically balanced)  2U enclosure, 230mm deep (Mastering Compressor)  1U enclosure, 230mm deep (Bus Compressor)  universal 100 – 240V power supply designed by Bettermaker  Maximum power consumption: 25W  Shipping weight: 5.5 kg (Mastering Compressor), 5 kg (Bus Compressor) Threshold: -35dB / +5dB (40dB range) Attack: 0.1 – 60 ms Release: 10 – 2000 ms Ratio: 1.5, 2, 4, 6, 10:1 Knee: 20dB Output: -5dB to +15dB Sidechain HPF: off – 370Hz Sidechain Feed: Forward Sidechain Type: PEAK/RMS

Bettermaker Mastering Compressor is for those who seek mastering grade compression with the convenience of fast and precise recall and automation. Mastering Compressor offers 100% analog signal path, high class VCA compression with, 3 different compression modes, sidechain with HPF, parametric and LPF section with hardware insert and preview function, Stereo/Dual mono/MS operation, adjustable THD saturation and more.. All this with mastering grade sound and patented recall with a speed of a native plugin.  Mastering Compressor:  advanced analog VCA compressor with PEAK or RMS detection and switchable forward/backward feed  all parameters are digitally controlled via front panel and/or DAW (with dedicated plugin)  stereo, dual-mono and mid/side operation modes with with focus and sidechain preview function  our famous BM, SG and DX modes  adjustable 15 – 30 Hz high pass filter at the compressor input  dry/wet MIX control for parallel compression  HPF, LPF and fully configurable parametric filter in sidechain with option of hardware insert  adjustable drive (for odd/even clipper) and THD function for harmonically rich sound  Range Setting – limit the maximum amount of gain reduction!  on-board measurement of PEAK/RMS levels  100% analog audio signal path  total recall and A/B comparison  five inch capacitive touchscreen with backlight  USB connectivity with MAC/PC Digital Section: The sound of the Compressor is of course based on the quality of its analog audio path. But all the control and user interactions are performed in the digital domain. This allows us to incorporate options and possibilities not found in any standard analog compressors:  Save and recall presets from on-board memory (400 slots available)  Instant reset of all parameters  Rapid, precise and repeatable adjustments  Precisely linked stereo operation with the ease of a single control  DAW automation and recall of all available parameters   The digital section of the Mastering Compressor is based around high speed, 32-bit micro-controller, with dedicated firmware programmed into its memory (with the possibility of updating the firmware via USB connection). It's responsible for controlling the VCA, the user interface, presets management, audio measurement, USB connectivity and other Mastering Compressor functions.   The use of separate ground planes for analog and digital section results in perfect noise isolation between these two worlds. High quality switching power supply, designed by Bettermaker, was used to provide low hoise, hum free power to all analog and digital components. Front panel and LCD touchscreen: The front panel of the Mastering Compressor is build around big LCD touchscreen, that allows you to control almost all functions available in the device. Apart from that, you can also monitor input/output levels, amount of gain reduction applied by the compressor or store and recall presets using on-screen QWERTY keyboard. DAW integration: The Bettermaker Mastering Compressor can communicate with your DAW via USB connection. The unit appear as a HID device and can be managed via Bettermaker Mastering Compressor Plugin. Technical specification:  Frequency response 10Hz to 22kHz (+/- 0.2 dB)  Dynamic range: 106dB (+23dBu, 22kHz BW)  S/N ratio: 87dB (A-weighted, +4dBu, 22kHz BW, unity gain)  Crosstalk: -83dB @ 1kHz, +18dBu, channel-to-channel  CMRR: max 85 dB @ 3 kHz, min 52 dB @ 20Hz, 20 kHz BW  THD: 2nd: < 0.06%, 3rd: < 0.01%; 4th: < 0.006%; (+4 dBu, 20-20 kHz, unity gain, THD and CLIP disabled)  balanced stereo input (XLR), 23dBu max input level (THD < 0.2%)  balanced stereo output (XLR), 23dBu max output level (THD < 0.2% into >2kohm)  Input impedance (differential): 48kΩ (for balanced signal)  Output Impedance: 50Ω + 50Ω (electronically balanced)  2U enclosure, 230mm deep (Mastering Compressor)  1U enclosure, 230mm deep (Bus Compressor)  universal 100 – 240V power supply designed by Bettermaker  Maximum power consumptin: 25W  Shipping weight: 5.5 kg (Mastering Compressor), 5 kg (Bus Compressor) Threshold: -35dB / +5dB (40dB range) Attack: 0.1 – 250 ms Release: 10 – 2000 ms Ratio: Variable 0.7:1 – 10:1 Knee: Variable 0 – 20dB Output: -5dB to +15dB Width (in M/S): -8dB to +8dB Range: Variable 0.1dB – 20dB / off HPF24: Off/15/20/25/30 Hz THD + DRIVE: off/odd/even Sidechain HPF: off – 370Hz Sidechain LPF: 2k – 18k / off SC MF gain: +/- 15dB SC MF freq: 0.5 – 10kHz SC MF Q: 0.2 – 8 Sidechain Feed: Forward/Backward Sidechain Type: RMS/PEAK

When you need premium sound quality limiting and convince of fast and precise recall and automation. The mastering limiter offers, 100% analog signal path, plugin recall and automation within your project, frequency dependent saturation, MS processing, enhanced metering section and a large LED touchscreen minimising clutter on your main studio screen. Get analog mastering sound quality results, fast and spare your recall time. Mastering Limiter: The sound of the limiter is of course based on the quality of its hardware design. But all the control and user interactions are performed in the digital domain. This allows us to incorporate options and possibilities not found in any standard analog limiter:  Save and recall presets  Instant reset of all parameters  Rapid, precise and repeatable adjustments  Precisely linked stereo operation with the ease of a single control  DAW automation  Comprehensive metering operations based on high quality A/D conversion and DSP Great care and thought went into the development and implementation of the analog section of the Bettermaker Mastering Limiter. High quality capacitors and low noise op-amps are used in the analog path. Relays were used, whenever creating the shortest path for the audio signal was necessary. The analog section consist of high quality input/output buffers capable of passing thru high level audio signals (up to +23dBu, balanced, THD < 0.1%) All these modules are controlled by the digital section of the Mastering Limiter, so no mechanical switches or knobs are required to adjust any of the parameters. Digital Section: The digital section of the Mastering Limiter is based around two high speed, 32- bit micro-controllers, with dedicated firmware programmed into their memory (with the possibility of updating the firmware via USB connection). One of them is responsible for controlling the VCA limiter, when the other watches over the user interface, presets management, audio measurement, USB connectivity and other Mastering Limiter functions. The use of separate ground planes for analog and digital section results in perfect noise isolation between these two worlds. The linear power supply was used instead the switching one to improve the sonic qualities even further. The front panel of the Mastering Limiter is build around big LCD touchscreen, that allows you to control almost all functions available in the device. Apart from that, you can also monitor input/output levels, amount of gain reduction (and clipping) applied by the limiter, perform advanced measurements (FFT, LUFS, K-metering), use on-screen QWERTY keyboard for  naming your presets and more. You can even display fully configurable, analog style VU meters! ​ Main features: The Limiter has 3 functionalities that are essential to make a perfect master. All of them are recallable by the internal memory and a plugin that also handles automation.Analog Mastering Limiter:  100% analog signal path  intelligent and manual release  variable mix between limiting and clipping possibility to turn off the clipping section, so you can clip with you favorite AD or other. Color, for giving that special flavor to your mix:  Two color modules introducing different saturation that can be used simultaneously  Color 1 with Majority of odd harmonics  Color 2 with Majority of even harmonics  Both color sections can be internally EQed so for example you can present more odd harmonics in the low end to give the mix more bite and sweeten the highs with the even harmonics at the top end. Metering: Metering, an additional screen in your studio. As it’s a touchscreen it also utilizes control functions of the Mastering Limiter. You can view your favourite set of stats.  Input, output and reduction  Analog style meters (VU, PPM, RMS, Peak with peak hold functionality)  LUFS (Short term, Integral, Loudness Range, view in time)  K metering  30 Band FFT analyzer  Goniometer  Correlation meter  Two points of measurement, the output of the Limiter or the plugin  and more… DAW integration: The Bettermaker Mastering Limiter can communicate with your DAW via USB connection. The unit appear as a HID device and can be managed via Bettermaker Mastering Limiter Plugin. Technical specification: Maximum input level: +21,5 dBu (balanced) Maximum output level: +23 dBu (THD < 0.1%) Operating Level: +4dBu Maximum gain reduction: 20 dB Makeup gain: automatic Attack time: 0.1 – 250ms Release time: 0.01 – 1.3s + IREL (intelligent release) Input impedance (differential): 48kΩ (for balanced signal) Output Impedance: 50Ω + 50Ω (electronically balanced) Frequency response 5Hz to 30kHz; +/- 0.1dB Dynamic Range: 106dB (+21dBu, 22kHz BW) THD+N: CMRR: max 80 dB @ 3 kHz, min 55 dB @ 50Hz, 20 kHz BW Crosstalk: min -90 dB @ 1KHz, max -55 dB @ 30Hz, +18 dBu, 20 kHz BW Maximum power consumption: 30W (uses 630mA slow blow fuse)

he BC1-THD provides smooth bus compression that applies for both mixing and tracking. Engineers call it “The Magic Glue” when the BC1-THD’s  transparent compression strengthens mixes without compromising clarity. The built-in blend control makes it easy to apply parallel compression by adjusting the blend of dry and compressed signal. A switchable sidechain filter can be applied which makes the BC1-THD less responsive to low frequency energy. The THD function adds more harmonics to the signal and the “grab” mode selects a harder threshold knee on all four ratio settings. Smooth and transparent compression will never go out of fashion. Frequency response: 20Hz to 20kHz less than -0,025dB Frequency response: 20Hz to 80kHz less than -0,3dB Blend control fully CW (dry) THD+N @ 0dBu: less than 0,0045% THD @ 0dBu: less than 0,001% THD+N @ +26dBu: less than 0,02% THD @ +26dBu: less than 0,02% Blend control fully CCW (straight) THD+N @ 0dBu: less than 0,00045% THD+N @ +26dBu: less than 0,0003% Input impedance: 20kohm Output impedance: 50ohm Max input level: +26dBu Max output level: +27dBu @ 600ohms load Features:  Threshold: -20dB to +20dB External sidechain: in/out Ratio: 1.5:1 / 2:1 / 4:1 / 10:1 / HP Filter: 80Hz, 150Hz, 220Hz, -6dB octave THD: adds more even harmonics Grab: selects a harder thres hold knee Attack: /0.1/0.3/0.6/1/3/6/10/30/60/120mS Release: 50mS/100mS/300mS/600mS/1.2S/Auto Gainreduction meter Make-up: 0 to +20dB Dry signal mute Blendcontrol: from dry to compressed Compression in/out External sidechain input: unbalanced TRS jacks Internal, regulated powersupply with a toroidal transformer 115 or 230V, selectable Specifications and components may be changed or updated without further notice.

The T-Komp has a unique design that offers a modern take on the old vari-mu ratio curve. The ratio is level-dependent and increases with the signal level, a feature that will give you numerous possibilities. To make the T-Komp more useful it has two ratio ranges. The first one goes up to 20:1, perfect for instrument tracking and smashing drums, etc., the second, 2:1, is a more narrow range which makes it more suitable for bus compression. The T-Komp can be selected between feed-forward mode for a punchy, modern response or feed-back mode with a smoother, more musical response. The RMS detector has five settings, four from fast to slow where number four, the slowest, is similar to the old 160VU. The fifth position is a program-dependent adaptive mode. Specifications Input impedance: 24kohm Output impedance: 50ohm Max in/output level: +26dBu Frequency response: 20Hz to 20kHz +/- 0,1dB Signal to noise ratio @ 0dBu: better than 94dB THD: level and compression dependent, mostly even harmonics Features: Threshold Make-up gain: 0 to +20dB Blend control: from dry to wet Timing fast medium fast medium slow slow (160VU) program dependent adaptive mode FB: selects feed-back mode HP filter: 150Hz, -6dB octave In: compression in/out 2:1: selects a more narrow ratio range Gain reduction meter Link switch 115v or 230v, selectable

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

Μulti-effect επεξεργαστής και looper για φωνή BOSS VE-5 RD. Χαρακτηριστικά: 50 προεπιλεγμένοι ήχοι Εφέ: Reverb, Delay, Double/Harmony, Dynamics, Pitch Correct και Tone/SFX και δυνατότητα ταυτόχρονης λειτουργίας.  Οθόνη backlit LCD  Μονοφωνικό Looper διάρκειας 38 Sec Συνδεσιμότητες: Είσοδος XLR / jack με Phantom power), Aux IN 3.5 mm jack, έξοδος XLR, έξοδος ακουστικών (PHONES/LINE -stereo jack), είσοδος για controller  Τροφοδοσία: Με επαναφορτιζόμενη μπαταρία Ni-MH (AA, HR6) ή αλκαλικές (AA, LR6) x 4, η με τροφοδοτικό AC (Boss PSA-230:- δεν περιλαμβάνεται) Χρώμα : Kόκκινο Διαστάσεις (Π x Υ x Β): 178 mm x 55 mm x 159 mm Βάρος: 700 g Περιλαμβάνεται: Σύνδεσμος για στήριξη σε βάση μικροφώνου  

Πετάλι BOSS VE-1 Χαρακτηριστικά: 7 διαφορετικά, μεμονωμένα ρυθμιζόμενα εφέ τύπου Echo Εφε Double tracking Λειτουργίες Enhance και Pitch Correct (συμπεριλαμβανομένου του εφε electronic voice'') Λειτουργία μνήμης USB Interface Εξοδος XLR Εξοδος Line Διαθέτει 48 V Phantom power

BOSS VE-2 Vocal Harmonist Πετάλι Χαρακτηριστικά: Αυτόματη ρύθμιση λειτουργίας αρμονικών που εντοπίζει τα ακόρντα σε μια κιθάρα και αναπαράγει άριστα τις μελωδίες ακόμα και σε αλλαγή ενός ημιτονίου του κομματιού. Η υβριδική ρύθμιση δημιουργεί αρμονίες βασιζόμενες στα ακόρντα κιθάρας και της ρύθμισης κλειδιού. 24 harmony types to choose from (12 one- and two-voice harmonies plus variations that provide even fuller sounds) Εύκολο dial up reverb και delay effect με  ένα πλήκτρο. Λειτουργία ρύθμισης δυναμικών για έλεγχο της φωνής και διόρθωση τονικότητας σε real time καθόλη τη διάρκεια που τραγουδας. Τρείς μνήμες για αποθήκευση ρυμίσεων. Λειτουργεί με 4 μπαταρίες τύπου AA-μεγέθους   η με τον PSA-series AC αντάπτορα ρεύματος. Είσοδος μικροφώνου XLR με phantom power (phantom power is available even when running on batteries) USB audio function for capturing processed vocal sounds into your computer Nominal Input Level MIC IN: -40 dBu (MicSens = Center) GUITAR IN: -10 dBu Input Impedance MIC IN: 4 k ohms GUITAR IN: 1 M ohm Nominal Output Level XLR OUT: -40 dBu PHONES/LINE OUT: -20 dBu GUITAR THRU: -10 dBu Output Impedance XLR OUT: 600 ohms PHONES/LINE OUT: 33 ohms Τύποι εφέ: HARMONY, ECHO, ENHANCE Number of Harmony Types 12 x 2(VARIATION)

O Warm Audio BUS-COMP είναι ένας αναλογικός δυκάναλος , στερεοφωνικός VCA κομπρέσορας βασισμένος στα κλασικά κυκλώματα που εξασφαλίζουν μεταξένιο "Smooth Tone" για δεκαετίες. Οι στερεοφωνικοί VCA κομπρέσορες είναι η κορυφαία επιλογή για τον έλεγχο της δυναμικής σε πολλές πηγές, ωστόσο έχουν γίνει ευρέως γνωστοί για το μαγικό τους άγγιγμα που δίνουν άλλο αέρα στα στερεοφωνικά mix. Το BUS-COMP θα αποδίδει καλά σε Stereo Mix , mix τυμπάνων, ακουστικές κιθάρες, πλήκτρα, πιάνο, ορχηστρικά όργανα, φωνητικά και μια σειρά άλλων πηγών. Το BUS-COMP έχει σχεδιαστεί κυρίως για στερεοφωνική χρήση, αλλά μπορεί να χρησιμοποιηθεί εξίσου με επιτυχία και σε μεμονωμένες πηγές. Οι VCA κομπρέσορες  αυτού του τύπου έχουν γίνει ευρέως γνωστοί για την ικανότητά τους να ελέγχουν δυναμικά χωρίς Gain, αλλά και για τον πρόσθετο τόνο και το βάθος που προσφέρουν στο σήμα που διέρχεται μέσω αυτών, ακόμα και όταν δεν συμπιέζουν.Μια ματιά στο εσωτερικόΗ επαναδημιουργία της θρυλικής τεχνολογίας συμπιεστών VCA αποτέλεσε το επίκεντρο του σχεδιασμού του BUS-COMP, όμως η προσθήκη επιλογών και βελτιώσεων ήταν εξίσου σημαντική, κατά την ανάπτυξή του. Ένα χαρακτηριστικό που είμαστε περήφανοι είναι η ικανότητα του BUS-COMP να μετατρέπει τους μετασχηματιστές CineMag που έχουν κατασκευαστεί στην Αμερική στη διαδρομή του σήματος, οδηγούμενη από πλήρως διακεκριμένους ενισχυτές. Με ένα πάτημα ενός διακόπτη του μπροστινού πάνελ, αυτοί οι  μετασχηματιστές made in USA παρεμβάλλονται στο σήμα παρέχοντας αυξημένο βάθος, τόνο και vibe!Premium ComponentsΌπως συμβαίνει με όλα τα προϊόντα που κατασκευάζουμε στην Warm Audio, το BUS-COMP σχεδιάστηκε με γνώμονα την τιμή. Με τις πιο αποτελεσματικές και σύγχρονες τεχνικές κατασκευής, είμαστε περήφανοι που προσφέρουμε στην αγορά αυτό το προϊόν υψηλής ποιότητας, τον κλασικό κομπρέσορα VCA.Περισσότερα στούντιο από ποτέ θα έχουν τώρα πρόσβαση σε αναλογικής ποιότητας VCA comp. Η επιθυμία μας είναι να ακουστούν όλοι οι μουσικοί με τον τρόπο που θέλουν να ακουστούν και αισθανόμαστε ότι το BUS-COMP είναι το τέλειο εργαλείο για να τελειοποιήσετε κάθε μίξη σας!Τεχνικές προδιαγραφές: VCA COMPRESSOR Επιλογή λειτουργίας με CINEMAG USA HI-PASS Filter : 30, 60, 105, 125, 185 HZ Εύκολη επιλογή A/B λειτουργίας για test Μπορεί να χρησιμοποιηθεί σε Stero και Mono πηγές Noice: + 29DBU, 20HZ - 20KHZ Dynamic Range:> 120DB Frequency Responce: 18HZ - 22KHZ THD + Noice, 20HZ - 20KHZ, + 20DBU Input:

Fully-equipped For home audio users who seek high-end sound quality suitable for archiving, AMÁRI is a reference grade AD/DA converter, that delivers 24-bit 384 kHz conversion and DSD128 support, an easy-to-use interface and trademark Antelope clocking. Unlike other audiophile converters AMÁRI has 2 headphone outputs with user-selectable output resistance, which works as headphone membrane weight compensation. MULTI DAC TOPOLOGY AMÁRI offers top of its class D/A converter performance by implementing an unique 8 × DAC architecture (4 × CS43198 chips per channel). This enhances the stereo image, expands depth perception and unveils all the musical details with its 138 dB dynamic range. Apart from the main DAC, the headphone outs feature dual DAC architecture for maximum performance, just like the main A/D converter – using one AK5578 chip per channel, boosting the dynamic range up to 128dB. 17 steps of Headphone Impedance Control AMÁRI’s 2 high-power stereo headphone outputs (on XLR connectors) feature individual volume controls (capped at 20dBu max), with digital trim and selectable output impedance – from -4.6 to 85.3 Ohm, available in 17 control steps. These options let you configure AMÁRI for ideal compatibility with your favorite headphones, matching their impedance for best performance. AMÁRI’s high-fidelity headphone driver chip offers fully differential input (per amplifier). It is a dual-amp design, optimized to eliminate possible temperature drifts and deliver differential signal quality. The headphone outs also feature dual DAC architecture for maximum performance. Mastering AD / DA Converter High-end conversion in 24-bit / 384 kHz for recording and playback 2 Headphone outputs (XLR / TRS combo jack) with separate volume control and adjustable output impedance from -4.6 to 85.3 ohms Supported playback formats: DSD64, DSD128 and DSD256 (DoP) A / D dynamic range: 128 dB (dual AK5578 ADC chips) D / A dynamic range: 138 dB (8x CS43198 DAC chips) Operation via touchscreen display Sync inputs for 10M Atomic Clock and Word Clock 2 Analogue inputs: XLR / TRS combo jack, RCA 2 Analogue outputs: XLR, TRS Stereo Digital Input / Output: AES / EBU, Toslink, S / PDIF USB 3.1 port (Gen 1) Software compatible with Windows 10 and Mac OS X 10.11 Dimensions: 310 x 253 x 91 mm Weight: 3.0 kg Includes external power supply and USB cable

The Thermionic Culture Kite is the highly requested all-valve stereo equalizer with ATTITUDE. The Kite carries attitude, EQ and the big fat sound of the Fat Bustard, but without the summing facility. This version is available fully balanced. Features include: All controls are stereo except O/P TRIM and are indented for easy recall;' HPF (High Pass Filter) operates at 20 & 40Hz with a 12dB/octave curve; BASS BOOST and BASS CUT both have 2 selectable operating frequencies,which can be used together for a Mid Cut effect; TOP SHELF is a broad Mid/Top Lift, a little like a Presence control. Also has 2 frequencies. AIR boosts the higher Top and will give an amazing clear yet warm sound, only available with out valve products; ATTITUDE is our own switch that adds those special 2nd harmonics only possible with valves! ; OUTPUT TRIM - Separate controls to adjust finely the 2 channels, also -6dB switches; XLR connectors, "semi floating" inputs and unbalanced outputs are employed; A transformer balanced version is available to order, in Purple.

  Το TK-lizer 2 είναι ένας τύπος EQ τύπου Baxandall, μπορούμε να επιλέξουμε μεταξύ shelving ή peak, οι high και οι low freq περιοχές, πολύ χρήσιμο για τον συντονισμό των χαμηλών, μεσαίων και υψηλών περιοχών. Το TK-lizer 2 διαθέτει επίσης ενσωματωμένη λειτουργία M / S, η οποία σας επιτρέπει να επεξεργαστείτε ξεχωριστά τα mid και side σήματα σας. Μπορείτε επίσης να επηρεάσετε το πλάτος της στερεοφωνίας σας, χρησιμοποιώντας τα χειριστήρια στάθμης σε λειτουργία M / S.   Χαρακτηριστικά: 3 ζώνες Baxandall με χαμηλό Q. Υψηλές και χαμηλές ζώνες μπορούν να μετακινηθούν μεταξύ shelving ή peak filter. Φίλτρο High Pass με 12 συχνότητες. Όλα τα χειριστήρια εύκολη ανάκληση. Κύκλωμα M / S. Electronic Balanced για clean path.   Προδιαγραφές: THD + N + 4 dBu: 0,003% THD + N + 26 dBu: 0,0005% THD @ + 4dBu: 0,002% THD @ + 26dBu: 0,0005% Απόκριση συχνότητας: 20Hz-20kHz: +/- 0dB Απόκριση συχνότητας: 20Hz-80kHz: -0.2dB Μέγιστο input level: + 26dBu Μέγιστο output level before peak: + 27dBu Αναλογία σήματος προς θόρυβο @ 0dBu: 94dBu Δυναμικό εύρος: 120dB

New colours from the masters of analogue.Fusion is an all-analogue 2U stereo outboard processor created for the modern hybrid studio. Fusion introduces five completely new analogue colouration tools designed to bring the perfect combination of added tonal character, weight and space to your mix bus or stereo stems, with the detail, warmth and finesse that only real analogue circuits can provide.The SSL sonic legacy is built upon a much-emulated collection of analogue audio processing tools that have featured in generations of studio consoles; pristine mic pre’s, classic Channel EQ & Dynamics, the legendary Stereo Bus Compressor, the Listen Mic Compressor, and the unique SSL summing bus. Fusion takes SSL into a new era with the introduction of a suite of new analogue processing tools that offer exceptional tonal character and versatility. Fusion expands the processing palette for hybrid studio owners and is a superb partner for the SSL Stereo Bus Compressor.Fusion features five analogue processors that can be used discretely or combined:Vintage DriveVintage Drive - is a unique non-linear harmonic enhancement circuit that brings cohesion and strength to your mix. Drive and Density controls interact to produce harmonic saturation and soft compression derived from overloading an analogue circuit. It can be used lightly for subtle thickening saturation or driven hard for more extreme distortion.The Violet EQThe SSL Violet EQ - an all-new minimum phase-shift, two-band shelving EQ. The first new SSL analogue EQ circuit for more than 25 years draws on the SSL legacy of carefully selected frequencies and response curves to create a musical and intuitive EQ designed to quickly dial in low-end weight and high-end sheen. High and Low frequency circuits each offer four switched frequency points and +/-9dB attenuation.HF CompressorA new High Frequency Compressor delivers the distinctive sound of high frequency rounding in the analogue domain. A compressor that effects high frequencies only, optimised for smooth and transparent harshness reduction and a tape-like high-frequency roll off – great for taming brittle high frequency fizz.Stereo ImageA new Stereo Image enhancer provides a true analogue Mid-Side circuit that manipulates the Side signal, allowing for widening and spatial manipulation of the stereo field.TransformerA switched, custom-designed SSL Transformer circuit introduces subtle low-frequency saturation, alongside a high-frequency phase-shift. The result is a simultaneous thickening of the low-end and an added sparkle to the high-end.Expertly designed for today’s hybrid studioSSL has also always been known for clever connectivity and features that streamline and accelerate production workflow. Fusion fits right in with a collection of workflow enhancing features including: +/-12dB Input and Output Trim controls, an Input overload LED, large peak-hold metering, a front-end 3rd order High Pass Filter with three selectable cut off frequencies, and tri-colour status indicators for the Vintage Drive and HF Comp sections.A set of XLR connections can be used either as a Stereo Insert for stereo mix bus processing or switched to function as a Mid-Side (MS) circuit enabling separate compressors or EQ to be applied to the middle (centre) and sides of a stereo signal. In Stereo Insert mode the insert point can be switched to pre-Violet EQ, when in MS mode the insert can be switched to pre-Stereo Image controls. Input and Output connections are via XLR.Specifications:Includes 5 new circuits for signal processing and tone colouring in one deviceVintage Drive: Saturation for harmonic overtones and subtle compressionViolet EQ: Newly developed 2-band equalizer (shelving characteristic) with 4 selectable frequencies per band and +/- 9 dB strokeHigh Frequency Compressor: Frequency-selective compressor to round off the high-frequency range and control unwanted transientsStereo Image: Analogue M / S matrix for stereo broadeningTransformer: Switchable SSL transformer for subtle emphasis on bass and trebleSwitchable insertInput and output level controlsSwitchable high-pass filter with 3 frequenciesLevel meterBypass switch2 XLR inputs2 XLR outputsDimensions: 19" / 2 HE

The COMP-3A is a one channel vintage style Compressor / Leveler. The signal path uses only discrete components like resistors, capacitors and transistors. The input and output is transformer balanced, using two different transformers, each one optimized for its purpose. This is the way audio components were built before integrated circuits became available.Integrated circuits are small and cheap and widely used in most modern designs. The drawback is that audio components built with modern technology doesn´t always provide the best perceived sound quality or the type of character that the modern user desires.The subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern units, a situation that is even more obvious now when music is recorded with clean-sounding digital audio equipment.This is the reason why so many vintage audio components are cloned and produced again and also why the vintage originals are often very expensive on the second hand market.The circuit used in the COMP-3A is based on a classic design that uses an electro-luminescent panel and a photoelectric cell to control gain. This gives the COMP-3A a unique, program dependent compression characteristics. In addition, the vintage style signal path adds a wonderful and musical character to the sound. The ease of use with only two main controls makes it very simple to achieve the desired sound. These attributes has made the original units a favourite of engineers and musicians worldwide.This classic sound is now available at a very affordable price point with the COMP-3A.FEATURESVintage style electronics. No integrated circuits in the signal path.Transformer balanced input and output. Can drive almost any load - balanced or unbalanced.Selectable output transformer loading resistors by an internal jumper, will affect the high end frequency response.Uses a classic T4-style electro-optical attenuator to control gain with program dependent attack and release times.Very simple to operate with only two main controls, Gain and Peak Reduction.HF control can make the side-chain circuit more sensitive to mid and high frequency content.A big meter selectable to show gain reduction or output level at two different reference levels.Hardwire bypass switch for easy comparisons.XLR and TRS input and output jacks for flexible connections.Link jack and switch for connecting to another unit for stereo operation.All external controls located on the front panel.External power supply to avoid interaction with the audio circuits and transformers.Compact 2RU half rack format. Two units can be mounted with our 19-inch rack kit, the UNITE BIG.A solid build quality that will last many years of normal use

The COMP-2A is a one channel vintage style Compressor / Leveler using vacuum tubes in the signal and side-chain path. The input and output is transformer balanced, using two different transformers, each one optimized for its purpose. This is the way audio components were built before transistors and integrated circuits became available.Integrated circuits are small and cheap and widely used in most modern designs. The drawback is that audio components built with modern technology doesn´t always provide the best perceived sound quality or the type of character that the modern user desires.The subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern units, a situation that is even more obvious now when music is recorded with clean-sounding digital audio equipment.This is the reason why so many vintage audio components are cloned and produced again and also why the vintage originals are often very expensive on the second hand market.The circuit used in the COMP-2A is based on a classic design that was originally produced in the early 1960s and it was initially intended for broadcast applications. It uses an electro-luminescent panel and a photoelectric cell to control gain. This gives it a unique, program dependent compression characteristic. In addition, the all tube signal path and the transformers adds a wonderful and musical character to the sound.The ease of use with only two main controls makes it very simple to achieve the desired sound. These attributes has made the original units a favourite of engineers and musicians worldwide. This classic sound is now available at a very affordable price point with the COMP-2A.Features:Vintage style all tube signal path. The tubes are fitted with grounded shields.Transformer balanced input and output. Can drive almost any load, balanced or unbalanced.Golden Age Project's version of the classic optical unit using a long life electroluminescent panel and two carefully matched Silonex NSL5910 photoresistors for T4B-style electro-optical gain control with program dependent attack and release times.Very simple to operate with only two main controls, Gain and Peak Reduction.HF control can make the side-chain circuit more sensitive to mid and high frequency content.Linear low noise regulated filament and high voltage power supply.A big meter selectable to show gain reduction or output level at two different reference levels.Hardwire bypass switch for easy comparisons.XLR and TRS input and output jacks for flexible connections.Link jack and switch for connecting to another unit for stereo operation.All external controls located on the front panel.Compact 2RU half rack format. Two units can be mounted with our 19-inch rack kit, the UNITE BIG.A solid build quality that will last many years of normal use.

  Ο Άρχοντας του ΧρονισμούΤο Master Clock CC2 της Grimm Audio φέρνει την απίστευτη σταθερότητα χρονισμού του Αναλογικοψηφιακού μετατροπέα AD1 στο σύστημά σας. Το CC2 δέχεται σήμα Word Clock και διανέμει υπερυψηλής ποιότητας Word Clock σε κάθε συσκευή σας. Εναλλακτικά, το CC2 μπορεί να επαναχρονίζει (reclocking) και να μειώνει (de-jittering) τις διακυμάνσεις χρονισμού (jitter) της ψηφιακής σύνδεσης s/pdif ανάμεσα στο CD transport ή media serverκαι στο DAC (με κάθε CC2 παρέχεται ένα σετ καλωδίων μετατροπής RCA- XLR). Τώρα κάθε studio ή high end σύστημα μπορεί να επωφεληθεί από μερικά από τα ξεχωριστά χαρακτηριστικά του AD1 όπως η απόλυτη μουσική ροή και η τονική σταθερότητα.Πολλοί άνθρωποι γνωρίζουν για τη σημασία του ταλαντωτή σε εξοπλισμό ψηφιακού ήχου. Παίζει σημαντικό ρόλο στην επίτευξη ποιοτικού ήχου. Ο ταλαντωτής κατευθύνει τη διαδικασία δειγματοληψίας στους μετατροπείς και μπορεί συνεπώς να θεωρηθεί ως αγωγός του όλου συστήματος. Χρησιμοποιώντας ένα εξωτερικό ρολόι συχνά βελτιώνει την ποιότητα μιας κάρτας ήχου. Αυτό σχετίζεται με την βραχυπρόθεσμη σταθερότητα του ρολογιού, με άλλα λόγια: το ποσό του jitter.Εάν θέλετε ο μετατροπέας σας να ακούγεται διαφανής , το κύκλωμα ταλαντωτή της Grimm θα είναι η πρώτη σας επιλογή. Έχει αντικειμενικά το χαμηλότερο jitter σε σχέση με οποιαδήποτε pro συσκευή clock στην αγορά.Είτε εργάζεστε σε ένα στούντιο ηχογράφησης, σε ένα mastering στούντιο ή μιξάρετε ζωντανό ήχο, το CC2  εγγυάται τη βέλτιστη ποιότητα ήχου. Οι πελάτες που χρησιμοποιούν το clock της Grimm Audio λένε οτι έχει "εξαιρετική λεπτομέρεια και απεικόνιση" και "μια χειροπιαστή αύξηση της φυσικότητας, την επέκτασης και της χωρικής κατανομής"  Με το CC2, η  κορυφαία ποιότητα  απόδοσηs μπορεί να γίνει κτήμα του καθενός.Όπως όλα τα προϊόντα της Grimm Audio, το CC2 ξεχωρίζει για την κομψότητα του σχεδιασμού και την ποιότητα της κατασκευής του. Χαρακτηριστικά:ultra-low jitter clock source2 word clock outputssample rates from 44.1kHz up to 192kHzsmall form factor for portabilityoptional 19" rack mount