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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.
The API 512v is a mic / line / instrument preamp, world famous for its ability to provide a low noise (-129 EIN) and unusually good sounding front end for all types of audio applications. Sonically, it delivers the instantly recognizable API sound at an affordable price, and in the scalable API 500 Series format. Offering an impressive 65 dB of gain, the 512v includes front panel Variable Output control, switchable 3:1 output transformer selection, phantom power, switchable polarity, -20 dB pad, and Mic or Instrument/Line selector. The front panel Combo-style XLR and 1/4 inch connector combined with rear panel mic access allows for additional flexibility when installed into an API lunchbox®, API's 10 position 500V vertical rack, or into an API console.The API 512v remains faithful to the circuit designs of API's founder Saul Walker. Artfully combining those circuits with API's proprietary transformers and the incomparable 2520 op-amp, the 512v is a highly musical and rich-sounding analog mic pre, equally at home in commercial recording spaces as it is in smaller home studios. Fully featured and still hand assembled, the 512v exhibits the reliability, long life, and uniformity which are characteristic of all API products. SpecificationsMic Preamp with 65 dB of gainVariable Output Level Control3:1 Output Transformer Tap SelectionFront and Back Panel Mic Input AccessLine/Instrument Preamp with 45 dB of gainFront Panel Combo-style XLR + 1/4 inch Line/Instrument InputLED VU meter for Gain Level indication20 dB pad switch, applies to mic/line/instrument48v Phantom switchable powerTraditional API fully discrete circuit design with 2520 Op AmpFeatures API's unique Five Year Warranty
Το Dangerous 2-Bus παρουσιάστηκε το 1999 και δημιούργησε μόνο του μια νέα κατηγορία αυτή των summing mixers που βοηθούν τον ήχο των DAW να αποκτήσουν κάτι απο την μαγεία της μίξης σε αναλογική κονσόλα.Με ανασχεδιασμένο κύκλωμα το νέο 2-BUS+ προσφέρει αξεπέραστη στερεοφωνική εικόνα, σφικτό ήχο και μεγάλη δυναμική περιοχή.Ταυτόχρονα στη νέα σχεδίαση περιλαμβάνονται 3 κυκλώματα με 3 διαφορετικούς ήχους που μπορεί κάποιος να προσθέσει στο σήμα και να έχει έτσι μια παλλέτα με διαφορετικές αρμονικές, ανάλογα το κομμάτι και το στύλ μουσικής.Το Paralimit είναι ένα FET-style limiter και το X-Former είναι ένα ζευγάρι απο Cinemag output transformers που οδηγούνται απο ένα ειδικά σχεδιασμένο κύκλωμα. Εύκολο στη χρήση και με δυνατότητα σχεδόν απεριόριστων συνδιασμων ήχου, σχεδιασμένο απο τον θρυλικό Chris Muth το 2-BUS+ είναι άλλο ένα προιόν Dangerous που απευθύνεται σε όσους αναζητούν πάντα τον καλύτερο ήχο για τις παραγωγές τους.Επίσης είναι σημαντικό να ξέρουμε πως μπορεί να έχουμε πολλά πετυχημένα emulation για επεξεργαστές ήχου σε ψηφιακό domain αλλά το analog summing παραμένει αδύνατο να γίνει emulation ψηφιακά.Χαρακτηριστικά:16 channels of the world’s best active analog summing, that even surpasses the original.Three distinctive analog color options: Harmonics, Paralimit and X-Former.Effortless routing and blending of analog color circuits via elegant user interface.Switchable stereo analog insert for easy outboard gear integration.Massive sounds, sacrificing no detail.Crystal clear sonic imaging and three-dimensionality.Endless headroom for modern digital signal levels.Stepped output gain control for exact recalls.Both XLR and D-Sub input connectivity.Audiophile-grade components throughout.
Dangerous has been building award-winning, standard-setting converters since 2002 when the Dangerous Monitor’s onboard digital-to-analog converter (DAC) swiftly became the industry reference. We’ve been asked over the years to build a stand alone DAC, and they’re finally here in the Convert series. Eager to embrace the opportunity to develop a new and better DAC, we designed the Convert series converters from the ground up, utilizing cutting-edge digital technology coupled to a Chris Muth designed analog circuit that delivers our signature sound: open, articulate and powerful from top to bottom. Loaded with innovative and useful features accessed from an intuitive front panel, the Convert-2 tops an elite class of dedicated stereo digital-to-analog converters in both sound and ease of use. The Convert-2 goes beyond transparency – you won't just hear everything, you’ll hear it beautifully.Specifications:Signal to Noise Ratio A-weighted, 20Hz to 20KHz: < 114dBSignal to Noise Ratio unweighted, 20Hz to 20KHz: < 113dBDynamic Range A-weighted, 20Hz to 20KHz: < 114dBDynamic Range unweighted, 20Hz to 20KHz: < 113dBJitter: 16ps (100Hz to 40KHz), 18ps (100Hz to 1MHz)Crosstalk rejection: > 114dBu 1kHzReplacement Fuses: USA 2 amp slo-blow for 120V Europe 1 amp slo-blow for 240VTHD+N:THD+N, 1kHz, unweighted, 20Hz to 20kHz, +4dBu out: < 94.5dB (0.00188%)THD+N, 1kHz, unweighted, 20Hz to 20kHz, +22dBu out: < 106.5dB (0.00048%)Frequency Response 96KHz sample rate:DC to 20KHz: +0, -0.25dBDC to 30KHz: +0, -0.5dBDC to 40KHz: +0, -1.0dB
If you're looking for an easy way to network your 1248, 16A, 8M or other AVB-ready MOTU gear, then this MOTU AVB Switch is just what you need. With a single MOTU AVB Switch, you can easily network up to five AVB-compatible devices (including additional switches), to create a vast network of high-quality, high-definition audio for studio or live use. Network-wide clock and sync offer nanosecond-level accuracy, so each of the AVB Switch's five 1-Gigabit Ethernet ports offer near-zero latency via Cat 5e or Cat 6 cable over distances up to 328'. What's more, there's an additional port for connecting to standard Ethernet or a wireless router, in case you want to control your MOTU AVB-equipped devices via your iOS device.Features:Industry standard IEEE 802.1 Audio Video Bridging (AVB) Ethernet switchAutomatic device discovery and bandwidth management with AVB devices makes setup easyUses standard CAT-5e or CAT-6 Ethernet cables for runs up to 100 meters1-Gigabit operation supports high audio channel counts with extremely low latencyMaintains quality of audio and video streams, regardless of other network trafficNetwork-wide clock and sync provides pinpoint accuracy down to the nanosecondBridging port provides compatibility with standard Ethernet for internet and Wi-Fi
Manley designed the Core reference channel strip so that you can hit record and focus on your performance, not your signal chain. It sports the quality, performance, and flexibility their VOXBOX is known for, at a price that makes it accessible to any serious artist or engineer. You get a world-class Manley mic pre, followed by a 3:1 ELOP style compressor for effortless dynamic control. Engineers at Athens Mastering are ecstatic over the active Baxandall EQ, and a fast attack FET brickwall limiter at the end of the chain protects your converters from accidental clipping. Even if you plug right in without tweaking a single knob, you're sure to get an amazing sound.Manley Core Reference Channel Strip Features:Easy to use and awesome-sounding channel strip based on the award-winning VOXBOXClass A tube mic preamplifier with Manley's hand-wound transformersDirect input uses the same circuit as the Manley SLAM! for fantastic direct-instrument recordingsELOP compressor with 3:1 ratio tames any signal transparentlyBaxandall EQ with low/high shelving and sweepable mid for flexible sonic sculptingFast attack FET brickwall limiter ensures you don't clip your converters during recordingFlexible metering can display input, output, and compressor gain reduction levels
Simple:Hit your choice of buttons and twist the threshold for radio-ready results Smart Dyn Dual Slope Detection: Automatically limits peaks while stealthily compressing the average.Auto Attack/Release: Replace "guess" with "yes" for rapid-fire results. Transparent:Performs like an automated fader: No more drawing vocal rides.True Stereo Dual Detector: Traditional linking shares one detector, often resulting in a narrower stereo image.Immaculate VCA: Virtually no distortion, even with 20dB of gain reduction. Powerful:Internal sidechain circuitry houses the audiophile soul of the compressor:Bass Cut: Tightens the track without sacrificing the low end.Sibilance Boost: Shave sibilance and shrill histrionics with zero post-compression hangover.
The all new Sling-Shock is a revolutionary departure from traditional shock mount designs. We've done away with the rubberized parts and elastic cords, producing a durable shock mount that gives superior isolation from vibrations. In the Royer tradition, the Sling-Shock is hand-built in our Burbank, CA facility using only the finest materials.Our proprietary system of non-resonant nylon cable and damped steel springs acts to isolate the microphone from vibrations induced from the microphone stand. These vibrations can appear as rumble and/or low-grade noises which create disturbances across the bandwidth, from low end thumps to harmonic disturbances at different frequencies. The Sling-Shock's superior vibration-reduction capabilities and lack of self-resonance allow engineers to capture performances free of vibration-related interference across the bandwidth.The Sling-Shock RSM-SS1 is sized to fit Royer's 1-inch diameter R-121, R-122, R-122V, SF-1 and SF-12 ribbon microphones. Any cylindrical microphone measuring approximately one inch in diameter (+/- 1/8 inch) will work with the model RSM-SS1. Specifications:Superior isolation from vibration and shocksFelt-lined, scratch-free microphone chamber holds mic securelyNo rubberized parts to degrade or stretchFlexible for easy microphone positioningLifetime warranty
If you thought analog-to-digital converter innovation had taken a snooze, Dangerous Music is about to wake you up with five game-changing innovations. Packed into a single rack space with our next-generation conversion for the ultimate in musicality and transparency, the CONVERT-AD+ is the most advanced stereo analog-to-digital converter on the market. The CONVERT-AD+ has no fewer than five—five!—features previously never seen on an analog-to-digital converter before. Smart, useful, well-executed innovations put Dangerous Music on the map, and we continue that tradition into the 21st century with the CONVERT-AD+.Simple, elegant, intelligent. With the push of a button, you can switch between any two balanced line input sources. With zero fuss, you can instantly compare different mastering chains, test your mix against a reference, or to switch between recording and mixing mode—or use the inputs in any configuration you dream up. From the largest mix rooms, to elite mastering suites, to your home studio, the switchable inputs on the CONVERT-AD+ is about to make everyone’s life a lot easier.Do you dig pushing the A/D beyond 0 dBFS, into clipping, for specific sonics? Clip Guard will turn off the red light LED at your destination (i.e. DAW). Red indicates clipping on most meters, in actuality, the over indicator in the AD+ turns from green to yellow. Now “Mastered for iTunes” or the CD pressing plant will not reject your opus, since these red light overs will not appear. This is not a limiter. If you can hear clipping and engage clip guard, it will sound identical. It simply disables the clip LED in your DAW or destination device, but you will still be audibly clipping.Previously an oxymoron, musical transparency makes perfect sense now that Dangerous Music has pushed its products to the bleeding edge of today’s technology. We deliver an open, full-bodied sound free of unwanted artifacts (transparency) with a bold and big three-dimensional sound (musicality). The result is sound that you can trust and love.Among those who truly understand this hotly debated area of audio technology, the mantra with digital is implementation, implementation, implementation. How components are selected, tweaked and assembled according to a specific design, and then tuned for superior performance within that plan, is what sets a converter apart – for better or worse. The Dangerous Music CONVERT-AD+ has been developed by a team of experts with deep, up-to-the-minute knowledge of the best digital and analog converter technology available today. Our implementation has even managed to get the clock working better than it’s stated specs.JET is a patented clocking technology that Dangerous Music employs in order to reduce jitter to the point where it simply isn’t a factor impacting the sound of our converters. Whenever zeros and ones are flying by at incredible speeds, a solid clock and balanced data stream management system is of the utmost importance to articulate, musical, 3D impact. Do not shy away from using the CONVERT-AD+ as your studio’s master clock, a choice more and more engineers are making since becoming “converts.”Features:Selectable Calibration Level cycles through three calibration levels for compatibility with other devicesToggle between two discrete, selectable stereo inputs with two switchable stereo input pathsClip Guard will turn off the red light LED at your destination (i.e. DAW)Premium custom crafted digital meter with Normal and Peak Hold modes provides precise visual feedbackZoom view lets you view only the top 10dB of your signal level, for a finer, magnified resolutionWord Clock with three Modes: Internal, External and MasterX-FORMER insert button engages some of Chris Muth’s sonic wizardry via a pair of customized HAMMOND™ transformersEMPHASIS shelving EQ/Compressor induces 2nd order harmonic distortion to blend in a bit of mid warmth and sparkleUSB connection for Mac/PC
The MANLEY GOLD REFERENCE MULTI-PATTERN MICROPHONE are a statement, quite simply, of the finest microphones that money can buy in the pursuit of truly accurate musical recordings. The Gold Reference Series employ our own design of large capsules (1.25 inch overall, 1 inch diaphragm diameter) which are executed to precise tolerances made possible by modern micro-milling machinery available today in California. The capsule rings and back-plates are milled from solid brass. The gold diaphragm film comes from Germany and is tensioned using proprietary techniques by David Josephson ensuring capsule-to-capsule constancy, combined with the speed, "air", and superb ultra-high frequency response you have only dreamt about. The all-tube electronics in the MANLEY REFERENCE SERIES MICROPHONES are built around two triodes in cascade forming an entire gain-block. We have recently switched to a dual-triode 12AT7 tube, easily obtainable and replaceable, mounted in a ceramic socket. (We originally used 6072A until it became impossible to find quiet ones out of the NOS dreck left on the market, then we used 12AX7 for awhile.) The output is coupled through a MANLEY output transformer of unparalleled quality and substantial physical size employing nickel laminations with "hum bucking" bi-filar windings, encased in mu-metal. The polar pattern control is continuously variable between the OMNI, CARDIOID, and FIGURE 8 positions vastly increasing this mic’s versatility. The Gold Mics make it possible to exactly tailor the proximity effect to achieve the desired character. We have chosen a very open weave stainless-steel grille for the capsule window which allows all the highs to reach the capsule unimpaired letting the engineer choose if, when, and how much pop screen is appropriate. As a result, the Reference Gold reaches to the furthest extremes of highs and lows with gorgeous natural acoustic smoothness. Some engineers tell us it sometimes "hears" more than they do! A locking 6-pin XLR connector for the 30 foot power supply cable carries the stringently filtered B+ and regulated heater voltages from the separate dedicated power supply. The audio signal exits the PSU via a traditional 3-pin XLR jack. The microphone body is machined from brass providing excellent shielding properties, polished to a high lustre, then plated with 24 karat gold for an impressive finish, inspiring confidence in artists and producers. Our proprietary precision suspension system is provided with each REFERENCE MICROPHONE (the capsule itself is mounted onto a neoprene-rubber shock-mount.) Because the entire working "guts" of the microphone may be removed for service in one piece from the housing, it is envisioned that the microphone need not be removed from the suspension. We also provide a very useful swivel of our own design with every REFERENCE MICROPHONE; its T-bar handle and locking clutch action require no tools to adjust. And no MANLEY microphone would be complete without a genuine leather capsule protector which slips (and ties) onto the end of the microphone to protect the capsule when not in use. Specifications: All Tube design using 12AT7 dual triode. (Previous versions used 6072 or 12AX7.) -10dB switchable PAD Sensitivity: 17mV/Pa Noise: typically -120 dB EIN Max SPL: 150dB Actual output impedance 200 Ohms Weight: 2.25 lbs (mic) Weight: 2.5 lbs (PSU) Size: 4.5" x 9.7" x 4.5" (mic) Size: 5" x 8.2" x 3.4" (PSU) Shipping weight: 15 lbs Selected matched pairs available Outboard Power Supply is factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage. Operating Mains Voltage changeable with power transformer re-wiring via internal jumpers and fuse value change. Mains Voltage Frequency: 50~ 60Hz Mains Fuse: 250mA @ 100~120V; 125mA @ 220~240V operation Power Consumption: 70mA @ 120V = 8.4 Watts
The PRE-73 DLX is a one-channel vintage style microphone-, line- and instrument preamplifier.The signal path uses only discrete components like resistors, capacitors and transistors. The line and microphone input and the line output are transformer balanced, using three different transformers, each one optimized for its purpose.This is the way audio components were built before integrated circuits became available. 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.The circuit used in the PRE-73 DLX is similar to the preamp section in the classical 1073 module with a corresponding sound character that is warm, punchy, sweet and musical. These classic characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres.The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.The PRE-73 DLX has a number of improvement and new features compared to the PRE-73 MKII:- Tantalum capacitors in the signal path.- Selectable 1073-style high pass filter, 50Hz, 80Hz, 160Hz and 300Hz.- Output Attenuator -7, -14, -21 and -28 dB (located after the output transformer) allows overdriving the output stage and the output transformer for added character by lowering the output signal to a suitable level.- The circuit board is prepared for Carnhill Mic and Line transformer and high pass inductor.- The Insert jack can be switched in/out from the front panel. An internal jumper can select that the Insert jack always has an output signal.- Switchable 600 ohm Output Termination and Ground Lift on the back panel.- Selectable Active or Passive DI input and selectable input impedance in active mode, Hi Z or 100 kohm, by internal jumpers.- The DI can signal can be selected to pass or bypass the mic input transformer by internal jumpers.- Relays are used to control internal switching for DI input, Phantom power, Mic Low Z, Insert and Phase for shorter circuit board signal paths. The relays are controlled by front panel switches.- Revised gain switch for added headroom.- Circuit board star grounding scheme.- Revised power supply with separate regulators for the audio circuits and relay and LED circuits.
The SF-2 ribbon microphone is a phantom powered version of our original SF-1 ribbon microphone. Designed primarily for classical applications and acoustic instruments, the SF-2 combines high-quality audio performance with our exclusive active electronics for ribbon microphones. The SF-2's output of -38 dB puts its sensitivity on par with that of phantom powered condenser microphones, allowing it to be used with a wide variety of mic pre's regardless of gain characteristics. The unique electronics and custom designed FET's used in the SF-2 deliver ultra-quiet operation, with self-noise of lower than 18 dB.The SF-2's magnet/pole piece transducer structure gives a wide, uniform frequency response with no substantial peaks or dips, and the 1.8-micron ribbon element delivers superb transient response. Frequency response is excellent regardless of the angle of sound striking the ribbon and off-axis coloration is negligible.Gain Our Active Series ribbon mics are as sensitive as phantom powered condenser microphones, allowing you to use virtually any mic preamplifier or board pre. Conventional ribbon microphones are 15 to 30 dB less sensitive than condenser mics, necessitating the use of high-quality, high-gain microphone preamplifiers when recording quieter sound sources like acoustic instruments, vocals, room ambiance, etc. The SF-2 contains a fully balanced, discrete head amplifier system which utilizes a specially wound toroidal transformer and ultra-low noise FET's to deliver a sensitivity of -38 dB. Even with extremely quiet sound sources, you'll have enough level to drive any recording medium.The SF-2's electronics create no additional self-noise. All of the SF-2's higher output comes from its large, specially wound toroidal transformer which provides an additional 14 dB of 'free gain.' The phantom powered system operates at less than unity, adding no noise of its own.Impedance Matching The electronics in the SF-2 provide a perfect load to the ribbon element at all times, allowing the microphone to deliver 100% of its full sonic potential regardless of the input characteristics of the following mic-pre. Due to its low-impedance output, SF-2's can be used on extremely long cable runs with minimal signal loss.A proper impedance match is critical to the performance of ribbon microphones. Impedance mismatching loads a ribbon element improperly, resulting in loss of low end and body, lower sensitivity, and an overall diminished performance. With our Active Series ribbon mics, the ribbon element sees a perfect impedance at all times regardless of the preamp you choose, so its performance is never compromised by the effects of improper loading. In addition, the ribbon element cannot be damaged by phantom power, electrical glitches or miswired cables.The SF-2 Story Twenty prototype SF-2's circulated in major studios and scoring stages for years before the microphone's release. They were extremely well received in classical circles, where they excel on choir, piano, woodwinds, strings and many other applications. They were also well received in studios focusing more on acoustic instruments, singer/songwriters, etc. We couldn't get most of the prototypes back...Packaging The SF-2 ships in an aluminum presentation case with an SFS-2 shock mount, mic sock, documentation and manual.The optional SF-2 Deluxe packaging includes a beautiful Padauk wood presentation case, a Royer-made 20' microphone cable, a premium RSM-24 shock mount, documentation and manual, all packaged in an aluminum carrying/storage case. TECHNICAL DATAElectrodynamic pressure gradient with activeelectronics.Polar Pattern: Figure-8Generating Element: 1.8-micron aluminum ribbonFrequency Range: 30 HZ - 15,000 HZ +/-2dbSensitivity: -38 dBv Ref 1 Volt per PascalOutput Impedance: 200 Ohms @ 1khzRated Load Impedance: > 1500 OhmsMaximum SPL: > 130 dB SPLOutput Connector: Male XLR 3 pin (Pin 2 Hot)Power Requirements: 48-Volt PhantomSupply Current: 4 mAHigh grade neodymium magnet assemblyStainless steel internal baffle and dampenerWeight: 448 grams (15.8 oz.)Dimensions: 142 mm x 39mm (base) x 25mm (top)Finish: Matte black Polar PatternFrequency Response
The class-A circuit used in the EQ-73 MKII is similar to the eq section in the classical 1073 module, without the high pass filter. Additional frequencies have been added and the mid frequency band uses two inductors, the higher value of the second one is used for the two lowest frequencies, 160 Hz and 240 Hz, to achieve a suitable response. The sound character is warm, punchy, sweet and musical. These classic characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.The EQ-73 MKII has stepped frequency controls that offers a wide selection of frequencies from 20 Hz to 24 kHz. The Low and High frequency bands are shelving and the mid frequency band is of the bell type. The control range is +/-15 dB for the two lower bands and +/- 18dB for the high frequency band. There are separate bypass switches for all three bands.The EQ-73 MKII has IC-based balanced connections for self contained operation. It can also be used together with one of our PRE-73 models that has an Insert or with other units that has a low level insert jack. Combining a PRE-73 and an EQ-73, and using a UNITE rack kit to mount them together, one will get a 19-inch 1073-style unit at a low cost and with a great sound!
The MANLEY VARIABLE MU® LIMITER COMPRESSOR has been our best selling product for many years. It is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. "Mu" is tube-speak for gain, and Variable Mu® is our registered trademark for this limiter compressor. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. How’s it work? The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that.The COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression. See the gain reduction curves here!You might notice that the Variable Mu® Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that’s what our Variable Mu® Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: “It’s like pouring a bowl of sweet cream over the mix.” Mmmmmm. Yummy. Give your music a big hug.Specifications: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 switchStepped switch INPUT attenuator as of 10/2011. (older units use Silent dual-ganged potentiometer)RECOVERY 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
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
The COMP-54 is a one-channel vintage style Compressor. The signal path uses only discrete components like resistors, capacitors and transistors. The line input and output are transformer balanced and the unit also has a third interstage transformer.This is the way audio components were built before integrated circuits became available. IC´s are small and cheap and they are widely used in most modern designs. It is clear though that audio components built with modern technology doesn´t always provide the best perceived sound quality or character that the modern user desires. On the contrary, the subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern units. This is the reason why so many vintage audio components are cloned and produced again and also why the vintage originals are often very expensive on the second hand market.The class-A circuit used in the COMP-54 is similar to the one in the classic 2254 compressor that was designed in 1969. It quickly became a legend due to it´s totally unique sound character that is warm, smooth, sweet and musical. These characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.The COMP-54 uses a diode bridge as the gain control element, a method that is revered for its smooth way of operation. Some of the most sought after vintage compressor designs, like the 2254, 2264, 33609, Siemens™ and EMI™ used the same basic design.The controls in the COMP-54 are very flexible covering broad ranges of Ratio, Attack and Release times, including two Auto positions. All controls except the Gain make-up one are stepped for easy resetting and stereo matching.There are three selectable sidechain high pass filter frequencies available to handle special situations.The Bypass switch is a true bypass where a relay switches the complete circuitry in or out. The IN/OUT switch makes it possible to switch the compression on and off while retaining the coloring from the transformers and the electronic circuitry.The meter can show output level or gain reduction. It is also possible to link two units for stereo operation.
Channel strip... it doesn’t roll off the tongue or smack of a high fidelity recording device.Maybe thats why its taken us so long to build one. But we got over it. All labels aside, our new m103 is a powerful tracking tool for virtually any recording scenario. It starts with our tried and true m101 transformerless microphone preamplifier circuity.Headroom, detail, clarity, musicality – its all there. Complete with our exclusive ribbon mic mode, a 75Hz HPF and 48V phantom. The 3 band EQ section is built around single stage parallel tuning architecture, which minimizes circuitry and delivers natural, musical tonal shaping at all frequencies.Controls include a fully parametric mid, with shelving and peak modes on the high and low bands.The compressor circuit is based on an optical attenuator - the purest, high fidelity gain control mechanism available.It provides gentle limiting to fairly heavy compression, while remaining nuetral and transparent.The perfect way to zip it all up and send it downstream - clean, intact and alive. Comprehensive I/O options allow the mic pre and EQ/COMP sections to be accessed independently of each other, and the order of the EQ/COMP is switchable. The compressor controls can be linked for stereo applications, and 10 segment gain reduction and output meters make monitoring signal status simple. So there it is, we’ve done it.The m103 - a channel strip by name, a powerful tool by design.Stay tuned for complete details.
Golden Age Unite is a 1U rack, for 2 Pre 73 or various combinations of Pre 73,Pre 73 DLX, EQ 73 and Comp 54
The lineage of the 5500 circuit can be traced back to the original 550 equalizer designed by Saul Walker, the founder of Automated Processes Inc. The 550 was designed as a console equalizer which, due to the architecture of the recording console, uses an unbalanced input. Because the ergonomics of a console dictate that the controls take up little space, sometimes the number of included functions can be limited. The 5500 is specifically designed to address these limitations. It has a balanced input, a true straight-wire bypass, an integrated power supply with noiseless muting, and a range control that expands it versatility to mastering applications. Like all API products, the 5500 contains no integrated circuits in its signal path. The gain comes from two hand-built 2520 operational amplifiers in each channel. The balanced input is handled by a 2510 discrete operational amplifier, which is similar to the 2520, but without the high current output stage. Besides being a key component of the API sound, the 2520 coupled with the API 2503 output transformer is capable of delivering +30dBm before clipping. With this much headroom, it is unlikely that the 5500 can be driven to distortion unless perhaps another API unit is driving the input! FEATUREClassic 550B Equalizer Design2 Range Switches Individually Alter Gain StepsUseable as a 550B, 550D or 550MPeak/Shelf Switch on HI & Lo bandsTrue Hardwire BypassBalanced IN and OUT on XLRUnbalanced Input on 1/4"EQ In/Out Switch
The API Model 500-6B Lunchbox is a six position rack designed to accept all API standard 5.25" X 1.5" modules. This allows an engineer the flexibility to bring along specialized EQ effects to any situation: 550A, 550B or 560. The Lunchbox is self-powered, with a rear panel selected AC voltage switch, and a removable power cord. The input/output jacks are XLR. The Lunchbox comes standard with a +48 volt internal phantom power supply, bussed to pin 15 for interface with the API 512C. API makes several modules for the 500-6B, such as the 512C mic preamp, the 525 compressor, the 560 Graphic EQ, and the 550B four band EQ. Combinations of these modules make perfect stereo recording packages (two 512C's and two 550B's) or vocalist's box, (one 512C, two EQ's and one 525 compressor). FeaturesHolds 6 API standard modules48 Volt internal phantom power supplySelf-Powered, 100 to 250 Volts, 47 to 63 Hz, SwitchableRubber feet & carrying handle for portabilityRugged steel chassisPerfect for remote recording of Vocalist and InstrumentsOther uses for the versatile Lunchbox include:Multitrack Recording of Acoustic and Electronic Audio Sources.Sound Reinforcement Systems and Recording Live to Multitrack formats.Multiple facility projects where portability is a plus.Broadcast and Audio for Video Production.Custom Channel Input Strips.
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. FEATURESReissue of API's original 525 from the early 70'sPeak detecting "feedback" compressor/limiterVariable Threshold and Output levelsUnique "Ceiling" control combines key functionsVU meter for monitoring gain reduction4 Switchable release modesDe-Ess functionTraditional API fully discrete circuit designHardwire bypass
RUBICON VOKAL is the ultimate centre loudspeaker. Striking an elegant balance between size and performance, the RUBICON VOKAL is powerful enough to match the RUBICON 8, and still compact enough to fit in most living rooms.The two 6½” low-loss wood fibre woofers deliver a clear and well defined mid-range together with the hybrid tweeter module. It also uses the same soft dome diaphragm and many of the same SMC technologies as used in the EPICON series.The cabinet size helps the RUBICON VOKAL reproduce even the lowest bass frequencies from the gripping action on the screen or stunning musical performances.And like the rest of the RUBICON range, it features gold-plated bi-wiring terminals.The RUBICON VOKAL fits into every RUBICON surround system and can be combined with e.g. a pair of RUBICON 5, a pair of RUBICON 2 and a SUB or a pair of RUBICON 6, a pair of RUBICON LCR and a DALI SUB. In general, we recommend the SUB M-10 D for a RUBICON surround setup. WOOD FIBRE CONESUsing a wood fibre cone gives the in-house build woofer a light, rigid and randomly uneven membrane. Making it easy to move ensures even piston like movements and reduces the possibility of surface resonance greatly.CABINET CONSTRUCTIONDividing the mid-range and basse drivers into separated chambers enables us to individually tune every driver to its specific frequency range to maximise the woofer output.HYBRID TWEETER MODULEThe hybrid tweeter module is a DALI trademark and for the RUBICON series, it is build in Denmark. The hybrid tweeter module, combines the dome tweeter with the ribbon tweeter for an amazing rendering of the high frequencies.SMC MAGNET SYSTEMWith a pole piece constructed entirely from SMC, surrounded by a slitted copper cap, and enclosed within a large ferrite magnet, the effect of the SMC is focused and maximised, and reduces distortion as never heard before. Specifications :Frequency Range (+/-3 dB) [Hz] : 49 - 34.000Sensitivity (2,83 V/1 m) [dB] : 89.5Nominal Impedance [ohms] : 4Maximum SPL [dB] : 111Recommended Amplifier Power [W] : 40 - 200Crossover Frequency [Hz] : 2,700 / 14,000Crossover Principle : 2 + ½-wayHybrid tweeter module, Super high freq. driver, Quantity : 1 x 17 x 45 mmHybrid tweeter module, Super high freq. driver, Diaphragm type : Ribbon Hybrid tweeter module, High frequency driver, Quantity : 1 x 29 mmHybrid tweeter module, High frequency driver Diaphragm type : Soft Textile Dome Low frequency driver, Quantity : 2 x 6½"Low frequency driver, Diaphragm type : Wood Fibre Cone Enclosure type : Bass Reflex Bass Reflex Tuning Frequency [Hz] : 36.5Connection Input : Bi-Wiring Magnetic Shielding : NoRecommended Placement : Centre / Soundbar Shelf or stand Recommended Distance From Wall [cm] : 5 - 100Dimensions With Base (HxWxD) [mm] : 197 x 581 x 400Weight [kg] : 13.8Accessories Included : Manual Micro Fibre Cloth Rubber Bumpers
RUBICON VOKAL is the ultimate centre loudspeaker. Striking an elegant balance between size and performance, the RUBICON VOKAL is powerful enough to match the RUBICON 8, and still compact enough to fit in most living rooms.The two 6½” low-loss wood fibre woofers deliver a clear and well defined mid-range together with the hybrid tweeter module. It also uses the same soft dome diaphragm and many of the same SMC technologies as used in the EPICON series.The cabinet size helps the RUBICON VOKAL reproduce even the lowest bass frequencies from the gripping action on the screen or stunning musical performances.And like the rest of the RUBICON range, it features gold-plated bi-wiring terminals.The RUBICON VOKAL fits into every RUBICON surround system and can be combined with e.g. a pair of RUBICON 5, a pair of RUBICON 2 and a SUB or a pair of RUBICON 6, a pair of RUBICON LCR and a DALI SUB. In general, we recommend the SUB M-10 D for a RUBICON surround setup. WOOD FIBRE CONESUsing a wood fibre cone gives the in-house build woofer a light, rigid and randomly uneven membrane. Making it easy to move ensures even piston like movements and reduces the possibility of surface resonance greatly.CABINET CONSTRUCTIONDividing the mid-range and basse drivers into separated chambers enables us to individually tune every driver to its specific frequency range to maximise the woofer output.HYBRID TWEETER MODULEThe hybrid tweeter module is a DALI trademark and for the RUBICON series, it is build in Denmark. The hybrid tweeter module, combines the dome tweeter with the ribbon tweeter for an amazing rendering of the high frequencies.SMC MAGNET SYSTEMWith a pole piece constructed entirely from SMC, surrounded by a slitted copper cap, and enclosed within a large ferrite magnet, the effect of the SMC is focused and maximised, and reduces distortion as never heard before. Specifications :Frequency Range (+/-3 dB) [Hz] : 49 - 34.000Sensitivity (2,83 V/1 m) [dB] : 89.5Nominal Impedance [ohms] : 4Maximum SPL [dB] : 111Recommended Amplifier Power [W] : 40 - 200Crossover Frequency [Hz] : 2,700 / 14,000Crossover Principle : 2 + ½-wayHybrid tweeter module, Super high freq. driver, Quantity : 1 x 17 x 45 mmHybrid tweeter module, Super high freq. driver, Diaphragm type : Ribbon Hybrid tweeter module, High frequency driver, Quantity : 1 x 29 mmHybrid tweeter module, High frequency driver Diaphragm type : Soft Textile Dome Low frequency driver, Quantity : 2 x 6½"Low frequency driver, Diaphragm type : Wood Fibre Cone Enclosure type : Bass Reflex Bass Reflex Tuning Frequency [Hz] : 36.5Connection Input : Bi-Wiring Magnetic Shielding : NoRecommended Placement : Centre / Soundbar Shelf or stand Recommended Distance From Wall [cm] : 5 - 100Dimensions With Base (HxWxD) [mm] : 197 x 581 x 400Weight [kg] : 13.8Accessories Included : Manual Micro Fibre Cloth Rubber Bumpers
The SF-24 has all of the outstanding stereophonic capability and sonic performance of our award winning SF-12 stereo ribbon microphone, with the addition of condenser-level output and impedance matching circuitry. Designed to work with phantom power, the SF-24 makes preamplifier mismatches and gain-related noise a thing of the past.
With its strong, sophisticated design and re-engineered tonearm with auto lift and playback stop, the Denon DP-400 plays cherished albums faithful to the original recording. Rediscover your passion for vinyl with the Denon DP-400 Hi-Fi turntable with with auto speed sensor for precise sound reproduction. Strong construction and elegant design blends seamlessly into the existing Denon Design Series. The S-Shape curved tonearm lifts automatically and stops the platter when vinyl reaches the end of playback. Weighted, belt-driven platter supports 33 1/3 rpm, 45 rpm or 78 rpm records with precision that’s faithful to the original recording. Integrated phono equalizer creates an open, enveloping sound stage for your cherished albums with detailed, accurate reproduction. Includes MM cartridge. Exclusive, removable dust cover doubles as a display stand. Unique S-Shape curved tonearm design optimizing tracking angle at any point of the record to reduce harmonic distortion for clear audio reproduction Tonearm supports auto lift-up and playback stop when end of record is reached Built-in phono equalizer with on/off toggle lets you connect DP-400 to any amplifier or system with analog inputs or phono inputs Multi-speed selector (33-1/3 rpm, 45 rpm, 78 rpm) to play the widest array of vinyl records Engineered with a more than 100-year Denon legacy in audio excellence — trust this high-quality and durable turntable to deliver the ultimate audio experience Includes high quality MM cartridge for precise sound out-of-the-box within minutes Exclusive, removable dust cover with included base eliminates fixed-cover vibrations and doubles as a display stand for your vinyl record covers Supports both MM (included) and MC cartridges — advanced flexibility that matches your audio preferences Weighted, belt-driven platter with auto speed sensor maintains accurate speed for precise sound reproduction Strong, weighted base and durable construction reduces external vibrations and improves audio performance Part of the Denon Design Series — elegant, modern design fits beautifully in the home SPECIALLY ENGINEERED S-SHAPE TONEARM Features a carefully engineered S-Shape curved tonearm with optimized tracking angle at any point of the record, auto-lift at records end and playback stop. When the vinyl reaches the end of playback, the tonearm auto-lifts preserving the excellent condition of your album and the cartridge. S-Shape curved tonearm design also reduces harmonic distortion, ensuring a crystal clear sonic signal every time you listen. Easy Setup and Operation Takes minutes to unbox and quickly operate for novice and seasoned vinyl fans. Plug DP-400 into your favourite amplifier or system, including the Denon Design Series, and immediately begin reconnecting with your vinyl collection — it’s that easy. Exclusive, Removable Dual-purpose Dust Cover Removable dust cover features a modern design, elevating the overall aesthetic of DP-400 while eliminating vibration issues that affect music quality associated with attached covers. Doubling as a display stand for your album cover, place the dust cover upright on the included base and show it proudly to friends and family. Phono Equalizer Built-in phono equalizer creates an open, enveloping sound stage that enlivens your cherished vinyl collection while staying true to the original recording as the artist intended. Connect it directly to a mini component or integrated amp for seamless use. Cartridge Options Includes an MM cartridge for more precise listening and added musical detail. As a producer of the longest-selling cartridge in market, enjoy the Denon DP-400 turntable with confidence. If you prefer listening via an MC cartridge, easily swap out the existing MM cartridge to fit your audio preferences. Enjoy iconic Denon sound quality however you choose to listen. Weighted, Belt-driven Platter with Auto Sensor Integrated auto sensor accurately controls the platter, preventing unwanted speed fluctuations during playback — enjoy audio reproduction exactly as the artist intended. Compact Size At just 41 cm in width, DP-400 is constructed to fit seamlessly into your existing Hi-Fi system. Though compact in size, it still delivers the powerful, detailed sound you expect from Denon. Sophisticated Design Series Aesthetic Blending seamlessly with the popular Denon Design Series, DP-400 features a sophisticated form factor and solid construction. Durable aluminum materials offer a modern aesthetic. Pair it with the rest of the Denon Design Series to complete your elegantly designed Hi-Fi system. 100+ Years of Firsts in Audio Technology Founded in 1910, Denon has a deep heritage of "firsts" in audio technology — from Japan's first audio electronics manufacturer, to producing the world's first commercial CDs. This focused investment in audio R&D ensures you get the latest technology and highest quality with every listening experience.
The DL-103R is an updated version of the classic DL-103. It provides improved sound by using 6N copper coils wound with precision to the cantilever shaft. Audio lovers will delight with detail that is brought out by this outstanding phono cartridge.Specifications:Principle Moving coil: (MC) typeOutput Voltage: 0.25 mV (1 kHz, 50 mm/s horizontal directionChannel Balance: 1 dB max. (1 kHz)Channel Separation: 25 dB min. (1 kHz)Electrical Impedance: 14 ohms ±20%Compliance: 5 x 10-3 m/NStylus: 0.2 mm square solid diamondTracking Force: 25 mN ±3 mN (2.5 g ±0.3 g)Frequency Response: 20 Hz to 45 kHzMass: 8.5 g
The HEOS Link is part of the HEOS wireless multi-room sound system that enables you to enjoy your favourite music anywhere and everywhere around your home. By utilising your existing wireless home network and the HEOS app on your iOS or Android device, you can explore, browse, and play music from your own music library, from online streaming music services, and from thousands of internet radio stations.With the HEOS Link, you can add HEOS multi-room audio to an existing music or home theatre audio system, and you can play different songs in different rooms or the same song in every room.The versatile HEOS Link features built-in dual band "N" wireless technology for quick and easy connection to your home network. In addition to the built-in wireless function, the HEOS Link is also equipped with an RJ-45 Ethernet port for hard wire connection to your LAN. The USB port lets you connect a portable USB drive, and you can also use the USB connection to charge your portable device.In addition to the stereo pre-amp outputs, there's also a sub output for connection to a powered subwoofer. Both coaxial and optical digital audio outputs are included for compatibility with the widest range of equipment, and the unit features an optical digital audio input. The HEOS Link is also equipped with a stereo line input (via RCA jacks) as well as an additional auxiliary input with a 3.5mm jack for direct connection to a portable player.As with our HEOS wireless speaker models, you'll be able to stream your favourite music tracks and control the HEOS Link with our HEOS App, which is available in both iOS and Android versions. With the HEOS App, you can choose to listen to music tracks on your smartphone, tablet or portable audio player. You also can listen to your choice of internet radio stations, and you can also listen to your favourite music streaming service.Our exclusive digital technology provides precise audio synchronisation (within microseconds) to ensure top audio fidelity and stereo imaging quality. The HEOS Link provides additional convenience for owners of Denon audio components or systems. Connect the included infrared emitter to the HEOS Link IR output and place it so that it's near the front panel of your Denon component. Or, if your Denon has a direct IR input jack, you can connect the HEOS Link via the supplied IR direct cable. Then, via the HEOS App, you can turn your Denon system on and select the appropriate input and enjoy your favourite music tracks. You can choose to listen to different songs in different rooms or play the same song in all rooms. There's also a 12V trigger output that lets you connect the HEOS Link to other devices or products that feature a 12V trigger input, such as motorized drapes or a drop-down motorized front projection screen.Specifications:NEW High Resolution Audio SupportNEW Bluetooth® IntegratedTurn any stereo system into a wireless zone.Play your favourite music from a range of streaming services as well as your smartphone, tablet, USB drives or other external device.Control your Denon receiver, integrated amplifier or mini system right from the HEOS app.
To get the maximum enjoyment out of your vinyl collection, check out the DL-110 phono cartridge. Its high output allows you to use it interchangeably with a moving magnet phono input. The DL-110 has a way of getting into the grooves and extracting the information contained therein with total authority.Specifications:Type: MC Weight: 4.8 Output impedance:160 ohmsFrequency range: 20 Hz - 45 Output voltage: 1.6 m
Designed by custom integration specialists for custom integration professionals, HEOS Drive HS2 is a unique 4 zone whole home audio distribution system with 8 channels of Class D amplification, all in a 2RU single chassis that features both Dolby Digital and Dolby Digital+ decoding with stereo downmixing.Rated at 60 watts per channel into each of the 8 channels (20Hz~20kHz, .05% THD, 8 ohms, All Channels Driven), 1 or 2 stereo amp pairs can be bridged for single channel high power output (130 watts), and the HEOS Drive HS2 features low impedance drive capability (4 ohms).Each zone features a stereo pair of pre-amp outputs, and each zone can be configured for stereo or mixed mono output. The matrix switching system features 2 optical digital inputs, 2 coaxial digital inputs and 4 analog stereo inputs, any of which can be assigned to any zone, and every zone features a dedicated USB port for connection to an external USB drive.Equipped to handle virtually any combination of speaker configurations, HEOS Drive HS2 features built-in DSP high pass/low pass filters - set any output to full range, subwoofer or satellite speaker modes, with adjustable crossover points.The speaker outputs feature 4-way binding posts that are compatible with banana plug terminations, and there are 4 12V trigger outputs. The chassis features quiet fan cooling for long term stability and operational reliability.Dual RJ-45 Ethernet LAN ports are provided, for connection to the network and sharing the internet connection with other devices, and HEOS Drive HS2 is 3rd party control compatible. HEOS Drive HS2 comes with removable feet and attachable rack ears, allowing rack or shelf placementSpecifications:Whole Home Amplified Multi-zone Audio (4 Heos Zones)8 Channels Class D Digital Amplification; 60 Wpc 8 Ohms; 4 Ohms Compatible; Bridge ModePre-amp Outputs For Each ZoneDual Rj-45 Ethernet Lan PortsStereo/mono Selectable OutputOnly 2ru High; Removable Rack Ears Included3rd Party ControllableTv-sound Grouping Allows You To Enjoy TV Sound Throughout The Heos EcosystemDolby Digital/dolby Digital+ Downmixing To Stereo
AH-D7200 is Denon’s new reference headphone, drawing on more than 50 years’ experience in headphone design and development. Over five decades we have refined our expertise in making fine-sounding headphones so comfortable you’ll just want to keep on listening. These premium headphones use our unique, Japanese-made FreeEdge drivers, which deliver a precise pistonic motion for ultra-accurate sound with minimal distortion. The drivers are mounted on vibration-reducing engineering resin baffles, fitted into self-damping real walnut housings designed to bring warmth and life to the sound. A detachable 7N-purity copper cable, made in Japan to Denon’s exacting specification, ensures the best possible signal transmission – it’s fitted with a durable machine-cut metal plug with an ornamental copper ring. The ear cups are suspended on a headband finished in real sheepskin leather, with ergonomically curved diecast aluminium hangers, while the memory foam ear-cushions are covered with an extremely soft artificial leather developed specifically for the AH-D7200. Every part of this no-compromise design is all about sound quality, comfort – and the ultimate listening experience.Features:Ultra-high-quality connectionUnique FreeEdge driver technologyReal wood Ear cupsLuxurious craftmanshipWearing comfortPerfect AdjustmentSpecifications:Type: Over-earAcoustic Principle: ClosedDrivers: 50 mm dynamicImpedance: 25 ΩFrequency Response: 5 Hz - 55 kHzSensitivity: 105 dB/mWCable: 3.0mConnector: 6.35 mmRemote: N/ANoise Cancelling: NoBluetooth: NoBattery: NoWeight: 385 gWarranty: 24 monthsPackage Contents: Detachable Audio Cable, Carrying Pouch
With the Denon premium headphone collection, the AH-D5200 draws on over 50 years of headphone engineering and design. The proprietary 50mm FreeEdge drivers minimize distortion in the diaphragm to provide detailed, accurate sound. It is built for extended periods of use through the ergonomic construction, soft engineered leather and over-ear memory foam earpads. Authentic Zebrawood housing offers elegant styling, greatly reducing unwanted resonances offering rich, warm tones. The included detachable 3.5mm cable and ¼ inch (6.3mm) adapter lets you use the AH-D5200 with your portable music player or home Hi-Fi system.Features:50mm FreeEdge driver delivers high resolution audio with minimal distortion. Listen to music with incredible clarityBeautiful Zebrawood housing with inherent acoustic properties — provides sound dampening for more accurate sound reproductionSoft engineered leather provides comfort and design integrityErgonomic memory foam earpads for comfortable long-wearDurable metal diecast hangerEngineered with a more than 50-year Denon legacy of crafting premium headphones for audio-enthusiastsSpecifications:Type: Over-earAcoustic Principle: ClosedDrivers: 50mm DynamicImpedance: 24ΩFrequency Response: 5Hz - 40kHzSensitivity: 103dB/mWCable: 3.0mConnector: 3.5mmRemote: N/ANoise Cancelling: NoBluetooth: NoBattery: N/AWeight: 385 gWarranty: 24 MonthsPackage Contents: Detachable 3.5mm Audio Cable, ¼ inch (6.3mm) Adapter, Carrying Pouch, Safety Manual, Owner’s Manual
Features:Software Specifications:Includes Analog Lab software with 6500 synth soundsIncludes Ableton Live LiteIncludes Piano VHardware Specifications:49 key options available, each with high quality keybed with velocity and aftertouch16 RGB-backlit performance padsControl bank with 9 faders and 9 rotary knobsControl modular equipment with 4 CV/Gate outputs, controlling pitch, gate, and modulationSeamless integration with all Arturia software instrumentsPresets for multiple DAWs, with magnetic overlays for controlsHuge connectivity, including expression, sustain, CV/Gate, MIDI, USB and 3 assignable auxiliary pedal inputsPerfect Analog Lab integration:Select sounds, browse presets, switch parts, smart-assigned controls.Standalone or plug-in operation: VST, VST3, AU, AAX.Over 6500 TAE® powered preset sounds from Arturia’s award-winning V CollectionSelect sounds, browse presets, switch parts, smart-assigned controls.Standalone or plug-in operation: VST, VST3, AU, AAX.Over 6500 TAE® powered preset sounds from Arturia’s award-winning V CollectionAbleton Live Lite - record, layer, and edit your sounds to create a finished song.Piano V - Twelve different world-class pianos meticulously crafted using our critically acclaimed modeling technology.Compatible WITH ALL major Digital Audio Workstation: Pro Tools, Logic Pro X, FL Studio, Bitwig, Cubase, Ableton Live, Digital Performer, Studio ONE *Available IN Black OR WhiteSize & weightInstrument size : 31,2 x 11,7 x 2,1 inches (793 x 297 x 53 mm)
The compact and lightweight VX series is joined by a new 50W model, specialized for keyboard and featuring Nutube, the new vacuum tube. With a coaxial speaker that outputs clear sound even to the high-frequency range, and a bass reflex structure that reproduces rich low-frequency sound with ample power, this amp delivers high-quality sound from a compact and lightweight unit. The three-channel design provides an independent volume control for each channel, and CH3 also supports mic input. This amp can also function as a simple and easily transportable PA system. A full complement of input/output jacks is also provided, including an AUX IN jack, headphone jack, and a LINE OUT jack for connection to a PA system. This amp is also ideal for on-stage use as a monitor amp.Features:High 50W of output power from a revolutionary, lightweight, and compact unit.The warm vacuum tube sound of Nutube.Coaxial speaker delivers clear output extending to the high-frequency range.Bass reflex structure ensures ample output and rich low-frequency reproduction.Three-channel design, with independent volume controls.Three-band master EQ for flexibly controlling the sound.CH3 input can be switched between LINE/MIC, and provides a PHASE switch.A rich selection of input/output jacks includes AUX in, PHONES out, and LINE out.Specifications:Output power: Maximum approx. 50W RMSSpeaker: VOX Original 8” speaker with tweeter (2-way coaxial)Power supply: AC adapter (DC 19V)Current consumption: 3.42ADimensions (W x D x H): 354 mm × 208mm × 313mm / 13.94" × 8.19" × 12.32"Weight: 4.1 kg / 9.04 lbs.Included items: AC adapter (DC 19V), power cord
Semi-automatic turntable with electronical stop-function. Succeed from the „big brother“, the CS 550, it has the same massive wooden chassis (but in black colour only), motor unit and bearing. Approved configuration also on the tonearm – it ist he arm of the CS 505-4.Tonearm technology:Cardan bearing with massless stylus force set by a high-precision torsion spring. Rigid headshell made of carbon fiber with ½-inch fixing-holes. Adjustable tracking force and anti-skating. Viscosity damped tonearm lift.Chassis technology:Vibration damping solid wood chassis. Vibration damped aluminium platter with anti-static, thick felt mat.Drive technology:Belt driven by a precision flat belt. DC motor with electronic speed control. Special hardened 7mm axle. Cartridge Ortofon OM 10 is included.Specifications:Speed r/min.: 33/45Speed accuracy: 0,06%Rumple unweightet signal-to-noise ratio: 48dBRumple weighted signal-to-noise: 72dBCartridge system: Orotofon OM 10Frequency Response: 22 Hz - 22 kHzConnectors: 1 x RCA Stereo Socket, 1 x Ground SocketDimensions (BxHxT): 440x112x370 mmWeight: 6,7kgColour: BlackPower supply: 12 V DCCartridge Ortofon OM 10 is included.
Experience the same musical support as if a pro drummer were sitting in on your session. The KR-55 Pro gives you an easy way to enjoy jam sessions with the backing of real drum/percussion sounds. It provides a rich variety of input jacks, mixer functionality, effects, and equalizer, as well as a versatile recorder that can record to an SD card. The intuitive interface means that there’s no need for complex programming. Battery-powered operation allows complete mobility from desktop to street performances, or use in a variety of situations including live events in small spaces.Specifications:24 built-in drum/percussion styles that were recorded live using KORG’s proprietary “Real Groove Technology.”Each rhythm style includes a rich variety of patterns: two variations, basic, fill-in 1, fill-in 2, and ending.Use the chain function to create a rhythm structure for an entire song, and play it automatically.A rich array of input jacks includes one XLR mic input, two guitar/bass inputs, and a stereo AUX input, allowing multi-channel mixing.A high-quality reverb effect and equalizer are provided, giving you the freedom to shape your sound.You can perform along with a rhythm style, and record the combined result as an audio file on an SD card.Multi-track recording is supported, allowing you to produce more sophisticated tracks.The tuner function features a large meter for good visibility. You can also tune while hearing a guide tone.Acoustage technology delivers a spacious sound.The unit can be powered on six AA batteries, allowing up to seven hours of use.A separately sold foot switch lets you control the unit with your foot.
Replacement Earpads for DT100, DT102, DT108, DT109 Specifications:PairFor headphones and headsets from DT100 seriesBlackVelour
Volca mix is the long-awaited mixer for the volca series. The volca mix is a four-channel analogue performance mixer that lets you construct a live setup combining multiple volca units. Volume faders are easy to control, plus crisp-sounding LO/HI CUT filters, and a master chain that radically transforms the sound. In addition to the sync function found on all volcas, there are also DC output connectors that can supply power for up to three volca units. Numerous functions to facilitate your on-stage volca performances have been packed into a high-quality aluminum-paneled body, reminiscent of a high-end DJ mixer.Specifications:2 x Mono channel and 1x stereo channelChannel controls: Lo / Hi Cut, Send Level, Mute, Volume (to gain +6 dB)4-Channel analogue mix bus, mono mix send bus, stereo AUX in / return busMaster Effects: Analogue Stereo Width Expander (Stereo Width), Analogue Dynamic Range Compressor (Dynamic, Speed)Sync controllerIntegrated speaker3 x Line input 3.5mm mini jack stereoAUX input 3.5 mm mini jack stereoSend 3.5mm mini-jack stereoBalanced output 3.5 mm mini-jack stereo2 x line output RCA (L / R)Stereo headphone output 3.5mm mini-jackDimensions (W x H x D): 193 x 45 x 115 mmWeight: 350 gIncludes power supply, 3 x DC-DC cable and 3 x audio cable
The MV50 Series from VOX represents a truly innovative approach to guitar amplification. This little monster weighs in at only one pound but boasts a tremendous 50 Watts of power and produces serious guitar tone that rivals the sound of your favorite tube amp. Equipped with Nutube, the revolutionary new vacuum tube, the all-analog preamp circuit preserves the richness and warmth of your guitar’s natural sound, while an innovative Class D power amp provides enough volume for any environment.Specifications:50 WattsAnalog pre-amp featuring NutubeSpeaker & Line/Headphone Outputs
Designed with an emphasis on analog, VOX’s MV50 combines classic amplifier design with new and innovative production techniques to produce a miniature amplifier with truly monstrous sound. Boasting an incredible 50 watts of power, this one-pound package serves up serious guitar tone that’s reminiscent of your favorite old tube amps. With speaker & line/headphone outputs, the MV50 is perfect for the stage, at home, or in the studio for direct recording.The MV50 is equipped an all-analog pre-amp circuit that features Nutube, a revolutionary new vacuum tube that produces authentic tube tone at a fraction of the size. By taking advantage of this incredible new technology, VOX’s engineers were able to design a true, miniature tube amplifier.Beyond the inclusion of Nutube, the pre-amp circuit in the MV50 features a staggering number of analog components that effectively reproduce the dynamic character of a traditional tube amp. Paired with this innovative pre-amp circuit is a reliable and efficient Class D power amp that has been specifically designed for the MV50. From warm, natural cleans to dynamic overdrives, this power amp has been engineered to respond to the nuances of your guitar and, of course, your technique.Specifications:Input/Output Jacks: INPUT x 1, LINE/PHONES x 1, SPEAKER OUT x 1Preamp: Nutube 6P1Output Power：Max 50W RMS@4Ω, 25W RMS@8Ω, 12.5W RMS@16ΩPower Supply: AC adapter DC19VCurrent Consumption: 3.43ADimensions (W x D x H): 135mm x 100mm x 75mm/5.31” x 3.94” x 2.95”Weight: 540g/1.19 lbs.Included Items: AC adapter
The precise belt drive on the TURN2 ensures a consistent platter speed with minimal wow and flutter. The built-in, low-vibration DC motor is extremely quiet meaning the TURN2 can be ideally set up in listening environments or living rooms. The integrated motor control can be conveniently switched between 33 1/3 and 45 RPM using the speed selector switch, which is located underneath the chassis in keeping with the player’s minimal styling.Features:Belt-driven Hi-Fi turntableFactory fitted with Ortofon OM10 cartridgeNew straight tonearm design with optimal tracking performanceManual arm liftLow vibration DC motorIntegrated motor control with Speed-Switch for conveniently selecting two different speeds 33 / 45 rpmExternal DC power supplyDie-cast Aluminum Platter with chrome edgingAnti-Skating Wheel-SystemGold-plated, corrosion resistant connections (all cables detachable)Slim-line wooden Plinth with mat black finishConvenient power switch at the side bottomIncluded Accessories: Turntable Platter, Dust Cover, 2x Dustcover hinges, Balance Counter Weight, PHONO RCA Cable, DC power supply with international plugs, Felt Mat, Instruction Manual, Ortofon OM10 cartridge, headshellSpecifications:Material: aluminium die-castDiameter: 300mmWeight: 550gPower supply: DC 12V, 500mAPower Consumption: 6WDimensions: 420 (W) x 340 (D) x 121 (H) mm (incl. Dust cover)Weight: Approx. 4.6kgTurntable Section:Type: Belt-Driven Analogue Turntable SystemDrive: Belt driveMotor: DC MotorTurntable Speeds: 2 speeds (33 1/3, 45)Wow and flutter: 0.2% WRMSS/N Ratio: >65 dB (a-weight)Tonearm Section:Type: Static Balanced Straight TonearmEffective Length: 224mmOverhang: 19mmTracking Error Angle: 25°Tracking Force: 1.5gApplicable Cartridge Weight: 4~6gAnti-Skating Range: 0 – 3gTerminals:1x PHONO Out (gold-plated)1x GND Earth Terminal
Be ready for any situation requiring a shotgun mic—anything from using a boom pole to using a DSLR camera. Audio Scope Gear is a kit of accessories perfect for the gig bag. The kit contains five different mounting options for DSLR cameras (and other devices with hot-shoe mounts), and mounts for 5/8” x 27 threads (microphone stands and other mounting devices). Also included are 3/8” inserts for adapting to boom poles and other mounts that have 3/8” studs.Specifications:Shock mount for microphone diameters of 20.8~24mm with 5/8"x27 (15.88mm) threaded insert and 3/8" (9.53mm) threaded insert adapterHot-shoe adapter with 5/8"x27 studHot-shoe mount suspension clip for microphone diameters of 17~30mmHot-shoe shock mount for microphone diameters of 12~30mmSuspension clip for microphone diameters of 17~30mm with 5/8"x27 (15.88mm) threaded insert and 3/8" (9.53mm) threaded insert adapter
From 4K televisions to the latest smartphones and tablets, OLED screen technology is revered by the leaders of the tech industry for its superior visibility and appearance. Always the innovator, KORG is proud to declare a new chapter in the company’s rich tuner history with the AW-OTG & AW-OTB, the first ever tuners to incorporate OLED technology. These cutting-edge displays are clear, smooth and perfectly visible from any viewing angle. These new tuners provide class-leading precision and stunning visibility that will change the way players tune. Features:Cutting-edge OLED display technology provides an unprecedented degree of visibility.The guitar-specific AW-OTG features intuitive chord finder function.Bass-specific AW-OTB has been optimized to tune lower notes with more speed & accuracy and includes a tempo finder function.Ultra-high precision tuning with accuracy as great at ±0.1 cents. Optional STROBE feature further improves accuracy.Alternative tuning animations included to make tuning fun!Astoundingly long battery life using only one AAA battery.Firm and adjustable clip for maximum stability.Calibration, memory backup and auto-power-off functions.
The KORG KDM series is renowned for its powerful volume and its clearly-audible tone. We are proud to announce the latest model, the KDM-3 which features a fresh new appearance. Along with an attractive look that resembles a miniature mechanical metronome, it also contains a rich variety of beat patterns and metronome sounds. It's also packed with the convenient functions that you expect from a digital unit and will support your performance in situation, regardless of genre or instrument.
Direct boxes are an essential tool for any stage or studio. They make it easy to get clean, low-noise audio to a mixer no matter what instrument you are using. Available in four versatile models, our ultra-affordable DI's offer the Mackie sound quality that you expect with Built-Like-A-Tank™ construction for maximum reliability. From acoustic guitars to laptops, be ready for anything with MDB Series direct boxes.Features:Perfect for guitars, basses, and more for stage and studioHigh-impedance 1/4-inch input with Thru outputBalanced male XLR output connector with Ground LiftUltra-low noise and distortion-15dB pad ensures distortion-free performance when connecting to high-output sourcesBuilt-Like-A-Tank™ construction
What if you could juice your tracks with massive bass, shimmering air, and addictive warmth - without having to shell out a fortune? Well, now you can, with the Warm Audio EQP-WA. A Pultec-style 2U rackmount tube equalizer, the EQP-WA rocks the look and feel of the classic original that graced countless hits. But with its fully discrete circuitry and top-drawer components such as CineMag transformers and premium tubes, it also nails those elusive euphonic sonics that make your recordings come alive. Add luster and brilliance to your music, affordably, with the Warm Audio EQP-WA.the EQP-WA gives you: top-notch performance, in fact, and incredible value. The EQP-WA lets you shape your tracks with an exciting, vibey warmth that makes any vocal or instrument sound, well, gorgeous and sit proud in the mix. We dig the Warm Audio EQP-WA, and - especially considering its gentle price tag - we're confident you will, too! Specifications:With gain modification for level adjustments of two devicesCineMag input and output transformer - made in the USAPremium 12AX7 and 12AU7 tubesCineMag inductor EQ sectionThe EQ section can be set to bypass while the signal is still running through the tubes and transformers, thus keeping the "warmth" of the tubeTransformer balanced inputs and outputs (XLR and jack)Linear frequency response from 20 – 50,000 HzBoost and cut can be used simultaneously to allow phase effectsLow frequency boost - 20, 30, 60, 100, 200, 400, 800 Hz - 12 dBLow frequency cut - 20, 30, 60, 100, 200, 400, 800 Hz - 18 dBHigh frequency boost - 3, 4, 5, 8, 10, 12, 16 kHz - 18 dBHigh frequency cut - 3, 4, 5, 10, 20 kHz - 14 dB5 more additional frequency points than the EQP-1 A for greater versatilityIntegrated 115 / 230 V IEC power supply
