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Επεξεργαστές Ήχου

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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.

319 €
36 Δόσεις 11,01€ / μήνα
Κατόπιν Παραγγελίας

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.

1.535 €
36 Δόσεις 52,99€ / μήνα
Κατόπιν Παραγγελίας

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.

1.535 €
36 Δόσεις 52,99€ / μήνα
Κατόπιν Παραγγελίας

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.

2.330 €
36 Δόσεις 80,44€ / μήνα
Κατόπιν Παραγγελίας

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

1.629 €
36 Δόσεις 56,24€ / μήνα
Κατόπιν Παραγγελίας

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.

122 €
36 Δόσεις 4,21€ / μήνα
Διαθέσιμο στην αποθήκη

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

3.300 €
12 Άτοκες Δόσεις 275,00€ / μήνα
Κατόπιν Παραγγελίας

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

3.690 €
12 Άτοκες Δόσεις 307,50€ / μήνα
Κατόπιν Παραγγελίας

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

6.099 €
36 Δόσεις 210,56€ / μήνα
Κατόπιν Παραγγελίας

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

4.598 €
12 Άτοκες Δόσεις 383,17€ / μήνα
4-10 ημέρες

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

5.099 €
36 Δόσεις 176,04€ / μήνα
Κατόπιν Παραγγελίας

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

5.099 €
12 Άτοκες Δόσεις 424,92€ / μήνα
Κατόπιν Παραγγελίας

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

866 €
36 Δόσεις 29,90€ / μήνα
Κατόπιν Παραγγελίας

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

1.850 €
36 Δόσεις 63,87€ / μήνα
Κατόπιν Παραγγελίας

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

3.799 €
36 Δόσεις 131,15€ / μήνα
Κατόπιν Παραγγελίας

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

2.399 €
36 Δόσεις 82,82€ / μήνα
Κατόπιν Παραγγελίας

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

2.899 €
36 Δόσεις 100,08€ / μήνα
Κατόπιν Παραγγελίας

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)

2.699 €
36 Δόσεις 93,18€ / μήνα
Κατόπιν Παραγγελίας

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.

1.412 €
12 Άτοκες Δόσεις 117,67€ / μήνα
Κατόπιν Παραγγελίας

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

1.590 €
12 Άτοκες Δόσεις 132,50€ / μήνα
Κατόπιν Παραγγελίας

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

3.661 €
12 Άτοκες Δόσεις 305,08€ / μήνα
Κατόπιν Παραγγελίας

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  

235 €
36 Δόσεις 8,11€ / μήνα
Κατόπιν Παραγγελίας

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

150 ,52 €
36 Δόσεις 5,20€ / μήνα
Κατόπιν Παραγγελίας

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)

175 €
36 Δόσεις 6,04€ / μήνα
Κατόπιν Παραγγελίας

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:

739 €
12 Άτοκες Δόσεις 61,58€ / μήνα
Άμεσα Διαθέσιμο
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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

3.195 €
Άτοκες Δόσεις 532,50€ / μήνα
Κατόπιν Παραγγελίας

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.

3.285 €
12 Άτοκες Δόσεις 273,75€ / μήνα
Κατόπιν Παραγγελίας

  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

1.847 €
12 Άτοκες Δόσεις 153,92€ / μήνα
Κατόπιν Παραγγελίας

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

1.999 €
36 Δόσεις 69,01€ / μήνα
Κατόπιν Παραγγελίας

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

485 €
12 Άτοκες Δόσεις 40,42€ / μήνα
Κατόπιν Παραγγελίας

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.

610 €
12 Άτοκες Δόσεις 50,83€ / μήνα
Κατόπιν Παραγγελίας

  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  

990 €
24 Άτοκες Δόσεις 41,25€ / μήνα
Κατόπιν Παραγγελίας

Απο τις αρχές του 1990 το Manley ELOP stereo electro-optical limiter  ήταν ενα απο τα θρυλικά μηχανήματα compressor που έβρισκες σε όλα τα στούντιο και σε χιλιάδες δισκογραφικές δουλειές. Ειδικά για χρήση σε φωνές θεωρείτο απο τους καλύτερους δυναμικούς επεξεργαστές   που κατασκευάστηκαν ποτέ.Πως μπορείς να βελτιώσεις ένα τέτοιο μηχάνημα και ταυτόχρονα να το προσφέρεις σε καλύτερη τιμή ?Κατ’ αρχάς η Manley πρόσθεσε τώρα ένα νέο compression rate 3:1 έτσι ώστε να μπορεί να χρησιμοποιηθεί και σε stereo bus εφαρμογές . Με νέα αρχιτεκτονική αλλά διατηρώντας όλα τα χαρακτηριστικά και την εμπειρία απο την αρχική σχεδίαση, με χρήση του νέου λαμπάτου line amplifier  αλλά και του  White Follower στο στάδιο εξόδου και με εκπληκτική ποιότητα κατασκευής και χρήση  νέου τροφοδοτικού, το νέο ELOP + περιλαμβάνει  όλα αυτά για τα οποία αγαπήθηκε το παλαιό με πολλές νέες δυνατότητες !Features:10:1 Limiter and 3:1 Compressor ratiosAll-tube audio path uses 5751 and 6922 dual triodesBalanced Manley IRON® transformer-coupled XLR InputsXLR impedance-balanced outputsBYPASS switches and AUTOMUTE with warm-up delayLarge illuminated VU meters read Gain Reduction or Output levelsSTEREO LINKSide-Chain High-Pass FilterUniversal internal power supply operates worldwide 90-250V~AC 50/60Hz

2.795 €
36 Άτοκες Δόσεις 77,64€ / μήνα
Κατόπιν Παραγγελίας

Ο Μanley Nu Mu είναι ένας νέος compressor που προσφέρει τις καλύτερες ηχητικές ιδιότητες συνδιάζοντας λαμπάτο κύκλωμα σε συνδιασμό με transistor. Ενσωματώνει το all-tube, T-bar-mod από το  φημισμένο Variable Mu και συνεχίζει την εξαιρετικής ποιότητας αλυσίδα ήχου του. Θα εντυπωσιαστείτε απο τα αποτελέσματα - γλυκός ήχος, ζεστός με πολλές δυναμικές. Το καινοτόμο κύκλωμα HIP είναι ενσωματωμένο στον Manley, ενισχύοντας την λεπτομέρεια σε χαμηλές στάθμες χωρίς να επιρεάζει τις αρμονικές του ήχου. Χειροποίητα κατασκευασμένο στο εργοστάσιο της Manley, στην California, ο Nu Mu  προσφέρει απίστευτα υψηλη ποιότητα ήχου, ποιότητα κατασκευής, απόδοση και εξαιρετική αξία. Ακριβώς ότι θα περιμένατε απο την Manley.Ιδιότητες:Hybrid tube/solid-state compressor/limiterDual channel (stereo linkable)Features Manley's IRON input transformers4 hand-selected and matched 6BA6 vacuum tubesBalanced XLR I/OHIP circuit elevates softer dynamics without crushing louder onesLighted VU meters, switchable between Gain Reduction and Output LevelCustom, internal, universal high-voltage switched-mode power supply, for worldwide operation Χαρακτηριστικά:Type: Tube/solid state (4 x 6BA6 vacuum tubes)Number of Channels:    2Controls: Threshold, Attack, Recovery, OutputRatio: 1.5:1, 4:1 to 20:1Side Chain Inserts:  2 x 1/4" TRSInputs:  2 x XLROutputs:  2 x XLRRack Spaces:  2UHeight:  3.5"Depth:  7"Width;  19"Weight:  8.5 lbs.Manufacturer Part Number:  NuMu​​

2.955 €
36 Άτοκες Δόσεις 82,08€ / μήνα
Κατόπιν Παραγγελίας

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

3.674 €
12 Άτοκες Δόσεις 306,17€ / μήνα
Κατόπιν Παραγγελίας

   Ο Άρχοντας του Χρονισμού Το Master Clock CC1 V2  της GrimmAudioφέρνει την απίστευτη σταθερότητα χρονισμού του Αναλογικοψηφιακού μετατροπέα AD1 στο σύστημά σας. Το CC1 V2 δέχεται σήμα Word Clock και διανέμει υπερυψηλής ποιότητας Word Clock σε κάθε συσκευή σας. Εναλλακτικά, το CC1 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 CC1 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. «Η ακρίβεια και η σταθερότητα ενός ρολογιού είναι δύο πολύ διαφορετικά πράγματα.» Οι εκτεταμένες έρευνες της Grimm Audio πάνω στη συσχέτιση των κυμάνσεων χρονισμού στις ψηφιακές συνδέσεις (jitter) και την υποκειμενική αντίληψη της ηχητικής ποιότητας, οδήγησαν στο συμπέρασμα ότι η επιρροή του jitter είναι πολύ μεγαλύτερη αλλά και πολύ διαφορετική απ’ όσο ο πολύς κόσμος νομίζει. Έτσι, η έμφαση δόθηκε όχι στο να επιτευχθεί απλά και μόνο ένα εντυπωσιακό και «μαρκετινίστικο» νούμερο «πολύ χαμηλού jitter» όσο στο να επιτευχθεί η μεγαλύτερη δυνατή σταθερότητα στο ρολόι. Βλέπετε, το Marketing τείνει να αποτιμά την απόδοση ενός κυκλώματος clockingμε ένα «ξερό» «όσο μικρότερο τόσο το καλύτερο» νούμερο σε ppm (parts per million – μέρη ανά εκατομμύριο) ή picosecond (1 picosecond = 1 τρισεκατομμυριοστό του δευτερολέπτου). Εξ’ ου και ο ισχυρισμός ότι τα Ατομικά Ρολόγια είναι ό,τι καλύτερο για Audio λόγω της εξαιρετικής τους ακρίβειας. Τα ατομικά ρολόγια είναι όντως αυτό που λέμε «ακριβή». Ορισμένα «χάνουν» μόνο ένα δευτερόλεπτο ανά 100 χρόνια (περίπου 3 δισεκατομμύρια δευτερόλεπτα): μια μέση ακρίβεια της τάξης των 0,3 parts per billion ή 0.0003 ppm. Άλλωστε, αυτός είναι και ο σκοπός για τον οποίο σχεδιάστηκαν. Άραγε το παραπάνω γεγονός σημαίνει ότι ένα τέτοιο ρολόι έχει απόκλιση ένα τρίτο του δισεκατομμυριοστού του δευτερολέπτου ΚΑΘΕ δευτερόλεπτο; Καθόλου. Αν ένα ρολόι «χτυπήσει» ένα χιλιοστό του δευτερολέπτου αργότερα κατά τη διάρκεια ενός δευτερολέπτου, και ένα χιλιοστό του δευτερολέπτου νωρίτερα κατά τη διάρκεια του επόμενου δευτερολέπτου, τότε βασικά είναι πάλι «σωστό». Από τη στιγμή που αυτά τα «μικρολαθάκια» δε συσσωρεύονται προϊόντος του χρόνου το ρολόι μας παραμένει «ακριβές». Δε μπορούμε όμως να ισχυριστούμε ότι είναι «σταθερό». Από την άλλη, ένα ρολόι που «χάνει» ένα δευτερόλεπτο ανά μία μέρα, μπορεί παρ’όλα αυτά να καταφέρνει να «τεμαχίζει» ΚΑΘΕ δευτερόλεπτο σε μικροσκοπικά «κομματάκια» που είναι όμως απολύτως ίσα. Βλέπετε, η ακρίβεια και η σταθερότητα είναι δύο πολύ διαφορετικά πράγματα. «Χάρη σε ένα δραστικά ανασχεδιασμένο διακριτό κύκλωμα κρυσταλλικού ταλαντωτή, η σταθερότητα χρονισμού του CC1 ξεπερνά ακόμα και αυτή των τελειότερων οργάνων μέτρησης.» Η έρευνα της Grimm Audio αποκάλυψε μια εκπληκτική ποικιλία από προηγουμένως υποτιμημένους παράγοντες που επηρεάζουν τη σταθερότητα ενός κυκλώματος clocking, όπως ο θόρυβος από το τροφοδοτικό, ο θόρυβος του κυκλώματος ελέγχου του ταλαντωτή, και η πολύ χαμηλού επιπέδου συνακρόαση (crosstalk). Το αποτέλεσμα είναι ότι χάρη σε ένα δραστικά ανασχεδιασμένο διακριτό κύκλωμα κρυσταλλικού ταλαντωτή, η σταθερότητα χρονισμού του CC1 ξεπερνά ακόμα και αυτή των τελειότερων οργάνων μέτρησης. Για να συγχρονιστεί σε μια εξωτερική αναφορά, το CC1 κάνει χρήση ενός PLL (Phase Locked Loop – Βρόχος Κλειδώματος Φάσης) ο οποίος προσφέρει ένα εκπληκτικό ποσοστό απόρριψης κυμάνσεων χρονισμού (jitter) το οποίο φτάνει τα 90 dB στα 10Hz και βελτιώνεται με αυξανόμενη τη συχνότητα  με ρυθμό 60 dB/dec. Το CC1 προσφέρει τους βασικούς ρυθμούς δειγματοληψίας των 44.1kHzκαι 48kHz και τα πολλαπλάσιά τους επί 1/2/4 σε ξεχωριστά επιλεγόμενες ομάδες, ενώ επιπλέον παρέχει και έναν AES/EBU reclocker για να «καθαρίζει» το ψηφιακό feed σε έναν DAC. Όπως όλα τα προϊόντα της Grimm Audio, το CC1 ξεχωρίζει για την κομψότητα του σχεδιασμού και την ποιότητα της κατασκευής του. Χαρακτηριστικά: ultra-low jitter clock source generate and slave to word clock s/pdif reclocking sample rates from 44.1kHz up to 192kHz two independent sample rate groups   

2.745 €
24 Άτοκες Δόσεις 114,38€ / μήνα
Κατόπιν Παραγγελίας

Ο νέος δυναμικός επεξεργαστής της Grace Design με τοπολογία opto, ένα ιδανικό συμπλήρωμα στην υπόλοιπη σειρά των προϊόντων Grace. Ο m102 μπορεί να προσφέρει από "απαλό" δυναμικό έλεγχο, μέχρι ακραία χρωματισμένο ήχο, παραμένοντας πάντα μουσικός και εύκολος στη χρήση. Κάθε track μπορεί να επωφεληθεί από την επεξεργασία του, χωρίς να χάσει την ηχητική του ουσία. Στην καρδιά του compressor υπάρχει ένα opto feedback κύκλωμα, προσεκτικά επιλεγμένο για μεγάλο εύρος δυναμικού ελέγχου, υψηλή πιστότητα και μέγιστη απόδοση σε κάθε υλικό. Τόσο ο m102, όσο και ο m502 είναι μονάδες με πλήρη δυνατότητα ρύθμισης του in/out, attack, release, ratio και threshold. O m102 έχει balanced εισόδους και εξόδους σε μορφή παράλληλων XLR και TRS, μαζί με ένα ακόμα TRS για sidechaining ή stereo link.O m102 έρχεται σε μορφή 1U half-rack.Απλό και γνήσιο opto-feedback design για ιδανικό έλεγχο δυναμικών χωρίς artifactsΑπό ανεπαίσθητο έλεγχο μέχρι βαρύ compression, η μουσική ταυτότητα της πηγής παραμένει ακέραιαΠλήρες σετ ελέγχου: Input, Output, Threshold, Ratio, Attack, ReleaseΕυδιάκριτα LED για gain reductionLED για είσοδο σήματος και προειδοποίηση clipDual balanced είσοδοι / έξοδοιΑκριβές ηχητικό μονοπάτιΥψηλή ποιότητα κατασκευής, με ανοξείδωτη πρόσοψη χαραγμένη με laserΕνσωματωμένο τροφοδοτικό

760 €
12 Άτοκες Δόσεις 63,33€ / μήνα
Κατόπιν Παραγγελίας

Ο νέος δυναμικός επεξεργαστής της Grace Design με τοπολογία opto, ένα ιδανικό συμπλήρωμα στην υπόλοιπη σειρά των προϊόντων Grace. Ο m102 μπορεί να προσφέρει από "απαλό" δυναμικό έλεγχο, μέχρι ακραία χρωματισμένο ήχο, παραμένοντας πάντα μουσικός και εύκολος στη χρήση. Κάθε track μπορεί να επωφεληθεί από την επεξεργασία του, χωρίς να χάσει την ηχητική του ουσία. Στην καρδιά του compressor υπάρχει ένα opto feedback κύκλωμα, προσεκτικά επιλεγμένο για μεγάλο εύρος δυναμικού ελέγχου, υψηλή πιστότητα και μέγιστη απόδοση σε κάθε υλικό. Τόσο ο m102, όσο και ο m502 είναι μονάδες με πλήρη δυνατότητα ρύθμισης του in/out, attack, release, ratio και threshold. O m502 έρχεται σε μορφή API 500-series rack.Απλό και γνήσιο opto-feedback design για ιδανικό έλεγχο δυναμικών χωρίς artifactsΑπό ανεπαίσθητο έλεγχο μέχρι βαρύ compression, η μουσική ταυτότητα της πηγής παραμένει ακέραιαΠλήρες σετ ελέγχου: Input, Output, Threshold, Ratio, Attack, ReleaseΕυδιάκριτα LED για gain reductionLED για είσοδο σήματος και προειδοποίηση clipΔυνατότητα σύνδεσης stereo linkΕίσοδοι sdechain και Radial Workhorse BussfeedΑκριβές ηχητικό μονοπάτιΥψηλή ποιότητα κατασκευής, με ανοξείδωτη πρόσοψη χαραγμένη με laser

795 €
12 Άτοκες Δόσεις 66,25€ / μήνα
Κατόπιν Παραγγελίας

Μονοκάναλο equalizer εμπνευσμένο από το κλασικό Neve 1073, με ζεστό και μουσικό ήχο σε πολύ προσιτή τιμή.Το EQ-73 αποτελεί ουσιαστικά το eq section του Neve 1073 χωρίς το φίλτρο high-pass, ενώ έχουν προστεθεί περισσότερες συχνότητες οι οποίες λειτουργούν με ρυθμίσεις stepped στα πρότυπα της vintage μονάδας για καλύτερη δυνατότητα ανάκλησης των ρυθμίσεων. Συνολικά, το εύρος των ρυθμίσεων είναι από 20Hz εως 24kHz με κέρδος +/-15dB για τις δύο χαμηλότερες μπάντες και +/-18dB για την υψηλή μπάντα.Συνδυάζοντας το Pre-73, το EQ-73 και ένα Unite Rack, έχετε την αυθεντική μονάδα Neve σε ασυναγώνιστη τιμή!Χαρακτηριστικά: Vintage Style electronicsΡύθμιση stepped για την επιλογή συχνοτήτωνΜεγάλο εύρος επιλογής από 20Hz ως 24kHzΕύρος ελέγχου -/+18dBΧωριστοί διακόπτες bypass για κάθε μπάνταΣχεδιασμένο για να χρησιμοποιείται με το insert jack του Pre-73TRS in/out jack, 18dBu nominal levelΕξωτερική τροφοδοσίαΚλασικός ήχος, ιδανικός για κάθε μουσικό στυλΣυμπαγής, ανθεκτική κατασκευή

300 ,1 €
12 Άτοκες Δόσεις 25,01€ / μήνα
Κατόπιν Παραγγελίας
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Το The Channel Strip της API είναι ένα ολοκληρωμένο μηχάνημα στηριγμένο στη σειρά 500 σε αντίθεση με το API 7600 που στηρίζεται στη σειρά 200. Περιλαμβάνει προενισχυτή,κομπρέσσορα,equalizer και output level control, με εκτεταμένη απόκριση συχνότητας, πολλαπλά balanced insert points και mute.Το channel strip συμπεριλαμβάνει τα καλύτερα χαρακτηριστικά μιας πολύ ποιοτικής μεγάλης κονσόλας σΆ ένα rack. Είναι η καλύτερη επιλογή για οποιονδήποτε ψάχνει για τον χαρακτηριστικό ήχοΟ προενισχυτής είναι ο φημισμένος 512c, ο οποίος δέχεται -πέρα από μικρόφωνα- και line και instrument level σήματα. Ο κομπρέσσορας είναι ο 527, ο οποίος δίνει πλήρη έλεγχο για Threshold, Attack, Release, και Ratio.Το πατενταρισμένο κύκλωμα THRUST® στον 527 δίνει το "in-your-face" punch ήχο για το οποίο έχει πολυβραβευτεί. Το equalizer είναι το πιο γνωστό της API όλων των εποχών, το 550Α three-band Equalizer με τις μουσικά προεπιλεγμένες συχνότητες και 12db boost ή cut.Οι μπάντες των ψηλών και των χαμηλών λειτουργούν και σαν shelving, ενώ το κουμπί "B.P. Filter" ενεργοποιεί ένα bandpass φίλτρο από 50 έως 15.000 Hz. Στην έξοδο του Channel Strip βρίσκεται ο 325 Line Driver.Κάθε επεξεργαστής του Channel Strip μπορεί να ενεργοποιηθεί ξεχωριστά, ενώ υπάρχει και η δυνατότητα με ένα κουμπί να μπει ο κομπρέσσορας στη σειρά μετά το equalizer. Επιπλέον χαρακτηριστικά συμπεριλαμβάνουν μία sidechain είσοδο και τον πασίγνωστο συνδυασμό μετασχηματιστών API 2520.         ΧΑΡΑΚΤΗΡΙΣΤΙΚΑAPI 512c Mic PreamplifierAPI 550A EqualizerAPI 527 CompressorAPI 325 Line DriverComplete patching facilities on rear panelTwo ten segment LED VU displaysOutput clips at +30dBm

3.550 €
12 Άτοκες Δόσεις 295,83€ / μήνα
Κατόπιν Παραγγελίας

Το Bricasti M10 είναι ένα remote control που μπορεί να ελέγξει μέχρι οκτώ  M7 και  M7M  έρχεται μαζί με σειριακό καλώδιο 10 μέτρων.            Bricasti M10 main features include:Custom milled solid aluminium casing and buttonsControls up to eight M7sConnetcs via RS422 cable - 10m providedSimple serial loop thur for connecting more than one M7sSame easy to read display as on the M7Same user interface as on the M7  

2.328 €
12 Άτοκες Δόσεις 194,00€ / μήνα
Κατόπιν Παραγγελίας

Το Bricasti System 1 είναι η έκδοση mainframe μαζί με το remote control Μ10 για έλεγχο,  θεωρείται αυτή τη στιγμή το καλύτερο reverb σε παραγωγή. Στηριζόμενο σε κλασσικές πολύ δημοφιλείς υλοποιήσεις του παρελθόντος πηγαίνει το θέμα  της τεχνητής αντήχησης πολλά βήματα μπροστά. Προσφέρει το υψηλότερο επίπεδο μουσικότητας και ευκολίας ελέγχου που μπορεί να προσφέρει ενας επεξεργαστής, αποκλειστικά αφοσιωμένος στη δημιουργία reverberation.Bricasti M7M main features include:No fron panel displayDesinged to to be used with M10 Remote100 Unique reverb presetsRevolutionary new reverb algorithmTrue Stereo Reverb ProcessClassic and new Presets; Halls, Plates, Rooms, Chambers, Ambient Spaces12 Parametric Program Parameters100 User registersDual Dedicated Power SuppliesCustom design toroidal transfomer linear supply for analogHigh performace switching supply for digitalSeparate Digital and Analog modulesNon corrosive Stainless Steel chassis and top coverMilled anodzied aluminum front panel, knobs and button capsPostive feel 2 db stepped analog input level controlMIDI I/OHand Crafted in the USAAES 24 Bit Digital I/OAES single wire 192k supportedSelf-clocking to incoming sample rates 44.1k to 192k6 State of the art dual core Analog Devices DSPs< 20 Picoseconds JitterInput level adjustable in 2 dB stepsBalanced XLR analog I/O24-bit conversionDual D/AFully-balanced, DC-coupled analog input and output circuits The Bricasti M10 is a remote controller fo up to eight M7s, complete with 10m serial cable. The Bricasti M10 remote console is a dedicated hardware remote controller for use with the M7 stereo reverb processor. Folowing the same design criteria as the M7, the M10 casing is manufactured and milled from solid anodized aliminium, for an enduring design and long life.The Bricasti M10 remote is also designed to be simple to use, and easy to interface, utilizing a standard RS422 serial interface. In application it can be very useful when using more than one M7s or when there is a need to be more in the sweet spot when making adjustments in a large mixing environment.Bricasti M10 main features include:Custom milled solid aluminium casing and buttonsControls up to eight M7sConnetcs via RS422 cable - 10m providedSimple serial loop thur for connecting more than one M7sSame easy to read display as on the M7Same user interface as on the M7    

5.950 €
12 Άτοκες Δόσεις 495,83€ / μήνα
Κατόπιν Παραγγελίας

Discrete Compressor, Re-Issue. Originally released in the 70's, the API 525 is a "feedback" type compressor, such as the 1176 and 660, etc. An input (threshold) control and output (make-up gain) control are provided. An additional "Ceiling" fine tune function modifies threshold and make-up gain for precise changes in compression without changes in output. A compression/limit switch sets ratio at either 2:1 or 20:1. Attack time is as fast as 15u/s. Four auto release modes are offered via two switches, 0.1s, 0.5s, 1.5s, & 2.0s. A De-Ess function inserts an inverse vocal energy curve filter in the detector for effective sibilance/p-pop reduction. The 525 is an identical re-issue of one of the most popular API products ever.The API 525 is perhaps the most successful solid state feedback compressor in history. It delivers dynamics control behavior unlike VCA "feed forward" compressors so common today. A remarkable multi-function "ceiling" control can increase gain reduction (lower threshold) while simultaneously raising output level to match, so the user can alter dynamics "on the fly" without level changes. This re-issue design has been taken from the original blue prints and spec control drawings from the API archives.        FEATURESAudio circuit uses the 2510 and 2520 Discrete Op Amps with transformer outputContinuously variable detented Threshold controlContinuously variable detented Attack and Release controlsContinuously variable detented Ratio controlOutput Fader level control10 segment VU/Gain Reduction meter with selector switchOverload LED"Link" switch for multiple unit interdependent compression linking"New"/"Old" switch for feed-forward or feed-back compression"Hard"/"Soft" compression curve knee switchPatented "Thrust" switch for frequency dependent side chain control"IN" switch with hard relay bypass when in the "Out" position

1.345 €
12 Άτοκες Δόσεις 112,08€ / μήνα
Κατόπιν Παραγγελίας

Ένας από τους πιο δημοφιλείς compressors για mastering, που λειτουργεί εξολοκλήρου με λυχνίες. Ο Manley Vari-Mu ακούγεται σε χιλιάδες δίσκους των τελευταίων δεκαετιών και είναι πλέον αναπόσπαστο κομμάτι όλων των mastering studios.Το COMPRESS mode λειτουργεί με ratios που κυμαίνονται μεταξύ 1.5 και 1, ενώ το πιο δραστικό LIMIT mode αρχίζει από 4:1 και ανεβαίνει σε 20:1 καθώς μεγαλώνει το gain reduction. Επίσης, το knee γίνεται πιο ομαλό όσο εφαρμόζεται περισσότερο limiting.Χαρακτηριστικά:MANLEY input & output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHzBALANCED INPUTS & OUTPUTS (600 ohms)Fully differential ALL-TUBE circuitry using one each 5670, 5751, 7044 or 5687, & 12AL5 per channelIndependently regulated B+ and Heater suppliesHard-wire BYPASS switchSilent conductive plastic dual INPUT attenuatorRECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.Variable ATTACK: 25msec-70msecContinuously variable THRESHOLDLIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1)HP SC: High Pass Side Chain Filter -3dB @ 100HzLarge ILLUMINATED Sifam METERS (older units before serial number MSLC61642 shipped before 12/2003 use: 26V 1.2W FESTOON LAMPS; Manley's Part Number: VAR016B) Order spare bulbs using our parts order form. (newest units after serial number MSLC61642 shipped after 12/2003 use white LED lighting)STEREO LINK SWITCHSeveral units can be linked for Surround (custom order )Maximum gain: 35dBMax. output: +30dBu (26Vrms) 26dB Headroom

4.586 €
36 Άτοκες Δόσεις 127,39€ / μήνα
Κατόπιν Παραγγελίας

Το νέο m103 της Grace είναι ένα από τα καλύτερα channel strips ανεξαρτήτως τιμής για όλα τα είδη ηχογράφησης. Προσφέρει ένα προενισχυτή μικροφώνου, ένα ισοσταθμιστή και ένα compressor, όλα στη γνωστή ποιότητα της Grace. Το κανάλι ξεκινά με το γνωστό και δοκιμασμένο m101 με κύκλωμα transformerless microphone preamplifier. Δυναμική περιοχή, λεπτομέρεια, διαύγεια, μουσικότητα… όλα είναι εκεί, συν ρύθμιση για μικρόφωνο ταινίας ribbon, καθώς και φίλτρο  75Hz HPF και 48V phantom.Ο τομέας του EQ τριών περιοχών βασίζεται σε σχεδίαση  «single stage parallel tuning architecture» η οποία ελαχιστοποιεί τη διαδρομή του σήματος με αποτέλεσμα τη μουσικότητα στις τονικές ρυθμίσεις σε όλο το συχνοτικό φάσμα. Στα ρυθμιστικά ελέγχου περιλαμβάνεται πλήρης παραμετρικός έλεγχος στη μεσαία περιοχή και shelving ή peak φίλτρα στις χαμηλές και υψηλές περιοχές.Ο compressor βασίζεται σε οπτικό κύκλωμα, τον καθαρότερο, υψηλής πιστότητας μηχανισμό ελέγχου δυναμικών που υπάρχει. Παρέχει από ελαφρύ limiting έως και ακραίο compression παραμένοντας ουδέτερος και διαφανής.Αντίστοιχες είσοδοι επιτρέπουν την ανεξάρτητη πρόσβαση στο τμήμα προενίσχυσης και EQ/COMP, ενώ η σειρά EQ/COMP αντιστρέφεται με διακόπτη. Ο compressor μπορεί να συνδεθεί με άλλο m103 για stereo χρήση. Τι άλλο να ζητήσει κανείς ;;;     

1.794 €
12 Άτοκες Δόσεις 149,50€ / μήνα
Κατόπιν Παραγγελίας