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Shure Beta 98 AD/C Miniature Condenser Microphone - includes special clip for snare and toms, cardioid, warm natural sound with nice high tone, 20Hz-20kHz, requires 11-52V phantom power, 4-pole TQG connection. Includes A98D drum clip, windscreen, bag, 4.5m cable (TA3F to TA4F) and RPM626 phantom adapter, optional clips available for other applications.
Shure Beta 98 Amp/C Miniature Condenser Microphone - designed especially for drums and percussion, cardioid, warm natural sound with nice highs, 20Hz-20kHz, 11-52V phantom power, internal phantom adapter. Includes A57M clip, bag and windscreen.
The Shure Beta 27 is a large diaphragm condenser microphone. Developed for discerning live sound professionals, the Beta 27 accurately targets sources like acoustic, wind and electric instruments for concise, accurate sound with a minimum of bleed.The Shure Beta 27’s super-cardioid polar pattern and smooth flat frequency response is designed to provide excellent off-axis rejection for natural sound reproduction and optimal control in professional live sound reinforcement applications. The tight polar pattern also ensures high gain-before-feedback and maximum isolation from other sound sources. The Beta 27 features a -15dB switchable attenuator that handles extremely high SPLs with ease and makes the Beta 27 the optimal choice for electric instruments, such as guitar and bass amplifiers, drum and percussion overheads, piano and horn applications.The Shure Beta 27 Features:Superior transient response from a low-mass, externally-biased, ultra-thin 24 karat gold-layered Mylar diaphragmReduction of unwanted low frequency noise and proximity effect for consistent, extended low-end through a 3-position switchable low-frequency filterReduction of wind and breath noise by an internal pop filter with three separate mesh layersPremium electronic components and gold-plated internal and external connectors
Triple High-Definition MicroDrivers. Featuring Triple High-Definition MicroDrivers, the SE535 utilizes dedicated tweeter and dual woofers to deliver spacious sound with rich bass. A detachable cable with wire-form fit enables easy replacement, both extending the life of your investment and providing a secure, comfortable fit. Sound Isolating sleeves in multiple sizes provide up to 37 dB of isolation, and a wide assortment of accessories offer premium customization. Product Overview:Spacious Sound with Rich BassSound Isolating DesignSpeaker Type: Triple High-Definition MicroDrivers2-Year Limited Warranty (see warranty information)Included Premium Fit KitAvailable in clear or metallic bronze The choice for discriminating professionals and audiophiles, the SE535 utilizes Triple High-Definition MicroDrivers for incredibly spacious sound with rich bass. Evolved from personal monitor technology road-tested by pro musicians and fine-tuned by Shure engineers, SE535 earphones deliver an unparalleled listening experience allowing you to hear the details of your music like never before. Details:Sensitivity: 119 dB SPL/mWFrequency Range: 18Hz – 19kHzCable Style: 64" Detachable (at ear) with wireform fitColors: Available in Clear or Metallic Bronze
Dual High-Definition MicroDrivers. Featuring Dual High-Definition MicroDrivers, the SE425 uses a dedicated tweeter and woofer for an accurate and balanced sound. Detachable cable with formable wire enables easy replacement and secure, comfortable fit. Sound Isolating sleeves in multiple sizes provide up to 37 dB of isolation. Product Overview:Accurate and Balanced SoundSound Isolating DesignSpeaker Type: Dual High-Definition MicroDrivers2-Year Limited Warranty (see warranty information)Included Fit KitAvailable in clear or metallic silver Designed for the demanding audio specifications of live performance, the SE425 is engineered to provide reference quality audio. Hear all the details of your music with Dual High-Definition MicroDrivers that deliver an incredibly accurate and balanced listening experience. Details:Sensitivity: 109 dB SPL/mWlmpedance: 22 ΩFrequency Range: 20Hz – 19kHzCable Style: 64" Detachable (at ear) with wireform fitColors: Available in Clear or Metallic Silver
Shure SRH1840, open reference recording and high end HiFi Headphone. Dynamic, Neodym, 65 ohms rated impedance, 1000mW maximum input, frequency range: 10 - 30.000 Hz, 96dB/V sensitivity, 2,1m removeable jack cable with 3.5mm stereo mini-plug. 1/4" screw-on adapter, weight: 260g (without cable),incl. earpads,case,cable.
Avalon V5 Silver, 1 channel pre-amp, high-voltage design, Pure Class A, multi-purpose instrument, line and microphone pre-re-amplifier, low noise, high-gain, Pure Class A, microphone preamplifier with dual impedance ideal for ribbon-dynamic and high level condenser microphones, 10 meg.Ohms instrument DI input with zero impedance loading. Ideal for sensistive acoustic pickups together with a +36dB maximum input capability, transformer isolated REAMPING output offers multiple input-output configuarations with ALL inputs available, including polarity reverse, PASSIVE TONE selector allows ten contours (six from the U5 tone bank) including two passive high pass filters and two vocal-instrument enhanced passive AIR-LIFT low frequency curves. Additional features include a passive low pass hiss & buzz filter, a wide range, professional analog VU meter with expanded scale -30dB to +18dB with twin peak LED’s for fast signal capture, Color: Silver.
The SRH240A Headphones from Shure provide excellent sound reproduction and comfort.With 40 mm neodymium dynamic drivers optimized for general listening and monitoring, the SRH240A Headphones reproduce deep bass with clear mids and highs.Impedance, power handling and sensitivity are all calibrated for connection to most consumer and professional audio devices. Includes threaded 1/4" (6.3 mm) nickel-plated adapter.NEW:Re-engineered headband & earcup construction provide a more ergonomic, comfortable fit.Transducer typeDynamic neodymium magnet Driver size40 mm Sensitivity (1kHz)107 dB/mW Impedance (1kHz)38 Ω Max. input power (1kHz)500 mW Frequency range20 Hz - 20 kHzNet weight (without cable)0.63 lbs (238 g) Length of cable6.56 ft (2 meters)Type of cableAttached straight oxygen-free copper PlugNickel-plated 1/8" (3.5 mm) stereo mini jack
Κεφαλή ΜΜ(κινητού μαγνήτη)Προδιαγραφές:Output voltage at 1000 Hz, 5cm/sec.5 mVChannel balance at 1 kHz1 dBChannel separation at 1 kHz26 dBChannel separation at 15 kHz15 dBFrequency range at - 3dB20-29.000 HzFrequency response20-20.000 + 2 / - 0 dBTracking ability at 315Hz at recommended tracking force80 µmCompliance, dynamic, lateral22 µm/mNStylus typeNude Fine LineStylus tip radiusr/R 8/40 µmTracking force range1,4-1,7g (14-17 mN)Tracking force, recommended1,5 g (15 mN)Tracking angle20°Internal impedance, DC resistance1,2 kOhmInternal inductance630 mHRecommended load resistance47 kOhmRecommended load capacitance150-300 pFCartridge colour, body/stylusBlack/BronzeCartridge weight 7,2 g
With the 2M Red you will hear the music come to life on its own terms. It is like taking a step into music itself. This is our entry-level cartridge in the series, but what an entry.Featues:The 2M Red features a tipped Elliptical diamond and split pole pins with a copper wire. The engine provides an increased output of 5.5 mV and an optimized sound reproduction and a high level of sonic accuracy. Designed for easy mounting of the cartridge, and for the weight and size to fit the most common turntables on the market today. The 2M Series provides excellent compatibility when used in an assortment of playback systems and with a wide variety of phono preamps. 2M Red delivers an open, dynamic sound with a slight touch of warmth.
Beatlab support arm.
The PRE-573 MKII is a one width module for the api 500 format that has the sound and the features that made the PRE-73 so successful and a few additional ones. The circuit still uses the preamp and output section from the classic 1073-module, adapted to work in the api rack format. It has a total gain range from -10 to +80 dB. The 20 – 70 dB range is handled by a turn switch and there is a separate toggle switch to select an additional 5 or 10 dB gain. The input can be configured to accept line level signals by another switch, the gain is then lowered by about 30 dB and the input impedance increased to about 10 kohm.The input impedance of the mic input mode can be switched between 1200 and 300 ohm. Phantom power and phase reverse is also selectable by front panel switches. An added feature, using the same circuit as in the PRE-73 DLX, is the active DI-input with a high input impedance of about 1,5 Mohm. The output signal from the active DI circuit passes through the input transformer for some extra character.The DI-input is very flexible since it can be changed to a purely passive one by a front panel switch. The DI input is then exactly the same as in the PRE-73 MKIII where the signal is feed directly into the second gain stage, bypassing the transformer and with an input impedance of about 100 kohm.These two DI-options makes it possible to get different tones from electric instruments and the passive DI input mode is more suited for injecting active units like sound modules. A new feature is the switchable AIR mode that adds a boost above 10 kHz that peaks at 6 dB around 30 kHz. A simple but effective signal and overload indicator is offered by a single LED that starts glowing red at about +4 dBu and then increases its intensity up to the maximum output level.The PRE-573 MKII has a dedicated insert connector at the back allowing it to interface with other GAP 500 modules. The insert can be activated by removing a jumper connector at the back of the module.The EQ-573 consists of the inductor based high pass filter section and the 3-band eq section from the classic 1073 module with some added frequencies. These two modules together will offer a fully fledged 1073-module in a compact format at a very low cost.There is a second jumper at the back of the module that selects 600 ohm termination on the output. The standard mode is termination on, since it gives the flattest response when the PRE-573 MKII is used with modern line inputs that typically has an input impedance of 10 kohm or more. The user can chose to remove the jumper and deactivate the termination resistor, this will increase the level above 10 kHz and create a peak in the response for an even more pronounced “Air” effect. The output is transformer balanced and fully floating and can drive a 600 ohm load up to level of about 28 dBu.
The Chandler Limited TG2 is a recreation of the rare EMI TG12428 pre amp used in EMI/Abbey Road recording and mastering consoles used in the late 60's and early 70's. The sound was used on many famous recordings done at Abbey Road including The Beatles "Abbey Road" and Pink Floyd "Dark Side of the Moon." The amplifiers were also used in many EMI circuits of the time. Our version was remade from original design notes and circuit board drawings, provided by Abbey Road and EMI to ensure extreme authenticity!
Korg Monotron Duo, Analog Ribbon Synthesizer, two analogue VCO΄s, Cross-Modulation circuit, from the Korg Mono/Poly, original Analog Filter circuit from the MS-10/MS-20, Ribbon controller, aux input (stereo mini-jack), headphone output (stereo mini-jack). Power supply: 2x AAA alkaline. Dimensions: 120 x 72 x 28mm. Weight: 95g.
Tascam iXJ2, for iOS Devices with 30-pin Dock Connector, Preamp Mic/Line for IOs-Units, AD/DA Converter 44.1 kHz/16-Bit.Inputs: 1/8" Mini-Jack Stereo (unbalanced), Input select switch (A/B/STereo), Selectable mono summing, build-in Limiter, Input Gain adjustable for left and right Channel.Separate input level indicators, Nominaler Input Level: -66 dBV up to -10 dBV, max. Input Level: +6 dBV, Frequency Range: 20 Hz - 20 kHz, Power Supply via Dock-Connector, compatible with iPhone 4S, iPhone 4, iPad (3. Generation), iPad 2, iPad (1. Generation), iPod touch (4. Generation).Ffree 2-Track Recording App as Download on Apple AppStore available. Dimensions: 60 x 47 x 17 mm (WxHxD).Weight: 30g.
High-quality mic/instrument preamp for Apple iPhone, iPad and iPod, for recording, guitar/bass/vocal training or karaoke, Balanced/unbalanced combo input connector (XLR/TS), Switchable phantom power for condenser microphones, Level control on mic input, Headphone output, Connection with Apple device via 4-pin mini plug (analogue), No battery required when used as instrument preamp, Two AA batteries required for mic preamp and phantom power, Tascam 2-track recording app can be downloaded from AppStore at no charge, dimensions: 106 x 40 x 45 mm, weight: 87 gr. - compatible with: iPhone3, iPhone3GS, iPhone4, iPod Touch 1G,2G,3G, iPad1G and 2G
The class-AB equalizer circuit used in the EQ-81 MKII is similar to the eq section in the classic 1081 module, without the high and low pass filters. 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-81 MKII has stepped frequency controls that offers a wide selection of frequencies from 33 Hz to 15 kHz. The BASS and TREBLE frequency bands are switchable between shelving and bell and the MID frequency bands is of the bell type with a switchable Hi Q setting. The control range is +/- 18dB. All four bands can be set in an off mode. The EQ-81 MKII can be used either as a standalone EQ or connected to the insert jack of one of the Golden Age Project preamps. Combining one of our PRE-73 preamp´s and an EQ-81 MKII and using a UNITE rack kit to mount them together, one will get a 19-inch 1081-style unit at a low cost and with a great sound!
SLAM! stands for "Stereo Limiter And Micpre" and it pretty much describes what it will do to most VU meters. We had to put a switch on this limiter to drop its internal VU meters down 3 & 6dB to keep the poor little needles from bending– it'll get LOUD fast (hence the exclamation mark). And on top of being an amazing pair of (actually four) Limiters, and Class A tube mic preamps, it also has masters degrees in DI, AtoD and DtoA, VU and PPM but that was too much for an acronym.When it comes to classic gear, especially classic limiters, we can all agree numbers like LA2s, 1176s, 2264s, and others come to mind. What if all those sounds were to be found in one stereo tube unit. Interested? We combined our favorite Electro-Optical circuit (ELOP®) with a damn fast FET based brick-wall limiter reminiscent of some cool classics. And we added a sidechain filter that can remove low frequencies that makes it more useful for a variety of tasks, while retaining that easy, "it just works" quality that has made it a favorite for vocals everywhere. The FET-based limiter has different desirable characteristics that both optimise the signal for digital recording, due to the brick-wall capability, and let you dial in how clean or crunchy, or punchy, and how loud and proud you want it. Manley is excited to announce the SLAM! Specifications:Input Tubes: 2 x 12AT7A NOS GE specially selected by Manley Labs for lo-noise and stable biasOutput Tubes: 2 x 6414W NOS USA dual triodesI/O: MANLEY transformer coupled Balanced Inputs and OutputsMicpre: Selectable 48V phantom power and PHASE REVERSEGain: 60dB max Micpre, 43dB max DI, 20dB max Limiter GainInput Impedance: 2000Ω Micpre, 1MegΩ DIFET Limiter: Attack: approx. 100μS; Release: 10mS to 2Sec; Ratio: better than 20:1ELOP Limiter: Attack: approx. 10mS for 6dB GR; Release: 2.5 Sec; Ratio: 10:1Frequency Response: 5Hz to 60KHzMaximum Output: +32dBm, +30dBm (into 1KΩ load)THD+N:
Introducing Hammer 88, a premium, no-compromise keyboard controller, ideal for professional, semi-pro players or students seeking the realistic grand piano feel to use with virtual instruments or sound modules. At the heart of Hammer 88 are 88 velocity-sensitive, fully-weighted hammer-action keys that are guaranteed to faithfully capture every subtle nuance of your performance, while providing the unmatched response of a traditional grand piano—classic feel fused with the unrivalled sonic capabilities of virtual instruments. It’s the perfect combination for performers and producers to experience their plugin collection like never before.ExpressivePut expression center-stage with Hammer 88, thanks to a core range of controls, thoughtfully positioned to complement and enhance your performance. With a unity-locking pitch wheel and a separate modulation wheel, add portamento and glissando effects, or map the Mod-Wheel to any assignable parameter in your virtual instrument collection to reshape and evolve your sound on the fly. With the dedicated Master Volume Fader, you can instantly control the intensity of your performance or MIDI map this to any compatible parameter in your DAW or virtual instrument collection for expanded, hands-on control. Use the assignable Up and Down buttons to select different programs, effects, MMC messages, jump between octaves and more. Add some pedal-based performance articulation using the three dedicated inputs for Sustain, Expression and Soft. With Hammer 88’s performance-centric feature-set, expressing yourself has never been so easy!Outboard ControlDon’t limit yourself to your computer-based virtual instruments! Take control of your studio equipment with Hammer 88. With its conveniently-located 5-pin MIDI Output, you can send all MIDI information to any compatible peripheral device, including hardware synthesisers, sound modules and drum machines. With Hammer 88, it’s easy get the most out of your external sound generators. This is a controller designed from the ground up to place you firmly in the driver’s seat.Seamless IntegrationAn instrument shouldn’t limit your creativity, it should enhance it! Hammer 88 is USB-powered, class-compliant and supports USB-MIDI connectivity for rapid, hassle-free setup that lets you focus on what’s important—your performance. Plus for iOS enthusiasts, Hammer 88 supports seamless connectivity with the Apple iPad Camera Connection Kit (sold separately), enabling you to perform and compose with audio apps on your iPad and other iOS devices.
USB MIDI-Keyboard with 25 Keys sami weighted with Aftertouch, DAW- and Plug-in-Control, 8 backlit Drum-Pads, 1 Fader 55mm, 9 Buttons, 8 Control Dial , 6 Transport-Buttons, Pitch- and Modulation-Wheel, 2 Octav-Switches, Arpeggiator-, Beat-Roll- and Clip-Launch-Buttons, LCD-Display, USB-Connection, Expression- and Sustain-Pedal-Connection, MIDI I/O, Automap-Control-Software, invl. Xcite+ Software Pack incl. Ableton Live Lite.
USB MIDI-Keyboard with 49 Keys sami weighted with Aftertouch, DAW- and Plug-in-Control, 8 backlit Drum-Pads, 9 Fader 55mm, 9 Buttons, 8 Control Dial , 6 Transport-Buttons, Pitch- and Modulation-Wheel, 2 Octav-Switches, Arpeggiator-, Beat-Roll- and Clip-Launch-Buttons, LCD-Display, USB-Connection, Expression- and Sustain-Pedal-Connection, MIDI I/O, Automap-Control-Software, invl. Xcite+ Software Pack incl. Ableton Live Lite
Impulse is a range of professional USB/MIDI controllers. They each have a precision keyboard and a full control surface powered by a brand new version of Novation's Automap control software - Automap 4 (which makes getting hands-on with your DAW/plug-ins fast and simple). Impulse also has 8 back-lit drum pads which can warp arpeggios, roll beats and launch Live clips.Features:61 Note Precision semi-weighted keyboard with aftertouch.Eight rotary encoders, full transport control, nine assignable buttons and 55mm faders Eight drum pads with multi-colour LED backlights and multi-mode operation. Large LCD with actively updating readout. Robust and rugged hardware design. USB powered, with expression and sustain pedal inputs and MIDI input & output. Comes with Xcite+ Pack: Novation’s new Automap 4, Ableton Live Lite, Novation Bass Station and 1.5GB of Loopmasters/Mike The Drummer samples.
Reloop's compact headphones as deep black MK2 edition. The RH-2350 PRO MK2 are the ideal headphones for DJs who are on the road a lot. In spite of its marginal weight and small cups, the 2350 pushes a superb 102 dB out of its 40 mm large dynamic drivers that are the big secret to its power. Light, loud, and with a modern design.
Θρυλική αναλογική μονάδα φίλτρου / distortion με τεράστια συχνοτική περιοχή, παραμόρφωση σε στυλ λάμπας, envelopes και πολλές επιλογές modulation / routing.Χαρακτηριστικά:Ανεξάρτητα φίλτρα Lowpass, Bandpass και Highpass με ρυθμιζόμενο resonance, cutoff και θετικό/αρνητικό ADSRΠαράλληλη ή σειριακή τοπολογίαΤο δεύτερο φίλτρο έχει διακόπτη 6 octave και μπορεί να συγχρονιστεί με το πρώτοADSR generator με έξοδο που μπορεί να χρησιμοποιηθεί σε modular συστήματαΕίσοδος FM για τα φίλτρα, εσωτερική ή εξωτερική, LFO ή CVVCA overdrive με AR generatorΕίσοδος Ring Modulation, εσωτερική ή εξωτερική, LFO ή CV
The Korg MR-2000S Studio Recorder - designed from the ground up to bring that same 1-Bit sonic performance home for use in any studio environment.The Korg MR-2000S adds a number of new features to meet the requirements of the most demanding studio, yet retains a sleek, single rack-space profile.All of KorgΆs MR Series recorders feature the 1-Bit/2.8224 MHz format used in creating the SACD (Super Audio Compact Disc). The MR-2000S goes above and beyond this industry standard to provide 1-Bit/5.6448 MHz recording. At such accelerated sampling rates, the entire sound stage is faithfully captured, even during the softest passages.The MR-2000S uses the highest-quality components available - the CS4398 Digital to Analog Converter from Cirrus Logic and the Burr-Brown PCM4202 Analog to Digital Converter from Texas Instruments Corporation - minimizing any possible degradation of the audio signal.In addition to the aforementioned 2.8 MHz and 5.6 MHz 1-Bit formats (DSDIFF, WSD and DSF formats are supported), the MR2000S is ready to record in any of the current 16-Bit and 24-Bit formats (from 44.1 kHz up to 192 kHz) directly, in BWF (Broadcast WAV) format.The XLR analog inputs feature a selectable -12dB, -14dB -16 dB, -18dB or -20 dB reference level, insuring the proper level match with nearly any audio source. XLR analog outputs are also provided. In addition, the Korg MR-2000S is equipped with analog RCA style inputs and outputs for maximum flexibility.On the digital side, coaxial S/P DIF digital I/O provides smooth integration into any 16-Bit or 24-Bit digital studio environment – from the music workshop to the broadcast studio. The MR-2000S also provides word clock I/O for reliable digital synchronization between various digital audio equipment or even between two MR-2000S Studio Recorders.Even at the highest resolution (1-Bit/5.6 MHz), the 80 GB internal hard drive provides a generous 14 hours of stereo recording time.The included AudioGate software let you transform the data into multiple format masters. Adjust the left/right balance, enter locate points numerically from the keyboard, and link individual mono files into a single stereo song. Support for importing new file formats - AAC, Apple Lossless, WMA and even MP3 – has been added as well.Korg MR-2000S main features include:2 tracks simultaneous playback/2 tracks simultaneous recordingRecording formats: -PCM audio format: BWF (extension .wav) 44.1 kHz @ 16/24 bit, 48 kHz @ 16/24 bit, 88.2 kHz @ 24 bit, 96 kHz @ 24 bit,176.4 kHz @ 24 bit, 192 kHz @ 24 bit-1-bit audio format: 2.8 MHz @ 1-bit, 5.6 MHz @ 1-bit, DSDIFF format (extension .dff), DSF (extension .dsf), WSD (extension .wsd)Maximum approximately: 120 hours at 44.1 kHz/16 bit, 14.5 hours at 5.6 MHz/1- bit (for 80 Gbyte hard disk), Maximum continuous recording 6 hoursConnect to computer via USB 2.0, usable as FAT32 USB external driveDisplay: 160 x 104 pixel, LCD with backlightLevel meter: – 54 dB...+ 3 dB, L and R each provide, 23-step LED + peak LEDS/N: 103 dB (typical) @ IHF-ATHD+N: 0.005% (typical), 20 Hz ... 20 kHzDimensions/Weight: 482mm(W) x 220mm(D) x 45mm(H) / 2.8kgKorg MR-2000S system requirements for the AudioGate Software:Win XP Home Edition/Professional Edition Service Pack 1 or later, Microsoft Windows Vista, CPU: Intel Pentium III /1 GHz or better, RAM: 256 MB or more, A USB port that meets the operating requirements of Microsoft Windows XP/VistaMac OS X 10.3.9 or later, CPU: Apple G4/800 MHz or better, Intel Mac is supported, RAM: 256 MB or more, a USB port that meets the operating requirements of Mac OS X
Roland Octapad SPD-30, 8 Built-in Pads, Packed with new percussion sounds from around the world, plus 30 types of multi-effects,The latest pad-sensing technology developed for V-Drums provides even and accurate pad triggering with excellent isolation between pads, Four dual-trigger inputs plus hi-hat controller for adding pads to create a mini kit, or for accepting triggers from acoustic drums, Phrase Loop function inspires your creativity; record your playing in real time and overdub up to three layers, USB connectivity for MIDI and memory storage, Large backlit LCD and pad indicator lights for easy operation onstage or in any environment, Rugged, road-worthy design, Wide: 21-5/16 inches, Depth: 10-3/4 inches, Height: 3-1/2 inches, Weight: 8 lbs. 7 oz.
The DL-103 is a living legend in audio product history. Denon collaborated with the Japan Broadcasting Corporation Technical Research Laboratories in 1963 to make this extremely reliable, high performance low-output phono cartridge. As the first moving coil cartridge, the DL-103 will always be the standard of reliability in every aspect, even the price. From quality inspectors at EMI and Decca, to recording studios, broadcasters, and music lovers around the world, the DL-103 is synonymous with great sound. The mark of the Denon is excellent tracking, as pops and ticks are pushed farther into the sonic background.Widely used in the past for broadcasting , the Denon DL-103 uses a high-quality nude, square shank meticulously mounted to Denon's own conical aluminum cantilever with a cross-shaped armature. This reduces mass such that rich tonal qualities are natural and convincing. This cartridge boasts independent moving coils, a flat frequency response, and a single-point suspension system.Specifications:Frequency response (Hz): 20-45,000Output@1khz, 50mm/sec: .3mVOutput impedance: 40 ohmsLoad impedance: 100ohmsChannel seperation at 1kHz: over 25dbChannel sensitivity: 1dB or lessTracking tip: 16.5 micron special round solid diamondCopliance: 5x10-6cm/dyne (100Hz)Tracking force- 2.3~2.7gCantilever: aluminum, conicalMass: 8.5g
The Shure PS-6 Popper Stopper is widely recognized throughout the recording and post-production communities as the leading tool in pop elimination technology. With a 6 inch (7.62cm) diameter, the highly durable four-layer screen stops plosive consonants such as "p" and "b", while the fully adjustable 14 inch (35.56cm) gooseneck and mic stand clamp ensure flexibility across any number of applications.
The Shure A25D is a break resistant microphone clip that securely mounts the SM58, SM57, SM87A, Beta 87A, Beta 87Cand all other microphones with 3/4-inch and larger handles to a standard microphone stand.
The MixDream is a cascadable, 16-in-2 analog outboard mixer in a 19“/2U format. Any DAW or digital console can be expanded with active analog stereo summing and insert functionality. MixDream advantages High-grade analog summing on just 2U rack space Sophisticated, active Class A/60V stages for analog summing in the quality of the best consoles 16 balanced inserts allow for integrated analog effects with individual and overall hard bypass relays Reduction of A/D conversions (14 A/D conversions can be spared with all inserts connected). All analog tracks can be summed before A/D conversion. Channel adjustments and automation (level, panorama etc.) remain controlled from the DAW so the user loses no digital efficiency Lower DAW processor utilization rates The most efficient possible re-sampling of individual tracks with latency free monitoring Surround capable (from up to 3 MixDream units) Channel capacity expandable through linked units Sensitive and transparent stereo expansion control Analog peak limiter for impressive loudness Master inserts and switchable output transformers from Lundahl Optimized signal pathes, all switching functions via relays Proprietary differential amplifiers for each input Discrete, exceptionally low-noise power supply
The EV-5 Expression Pedal is designed for use with keyboards or other Expression-compatible instruments and devices, providing a more dynamic performance. You can set the minimum volume to the level of your choice, thereby determining the maximum effect of the pedal.
Headphone amplifier rack mountable 4 regulated expenses for acoustic array.
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
The KSM137 is an end-address condenser microphone with a single cardioid polar pattern. Designed for studio use, yet rugged enough for live applications, the KSM137 can withstand extremely high sound pressure levels (SPL). Its low self-noise and extended frequency response make it ideal for recording musical instruments. Versatile, durable, and precise, the KSM137 is an outstanding microphone for instruments ranging from percussion to wind, strings to brass, and piano to guitar. A highly consistent cardioid polar pattern Ultra-thin, 2.5 micron, 24 karat gold-layered, low mass Mylar® diaphragm for superior transient response Class A, discrete, transformerless preamplifier for transparency, extremely fast transient response, no crossover distortion, and minimal harmonic and intermodulation distortion Premium electronic components, including gold-plated internal and external connectors Subsonic filter eliminates low frequency rumble (less than 17 Hz) caused by mechanical vibration Switchable 15 dB pad for handling extremely high sound pressure levels (SPLs) Three-position switchable pad (0 dB, 15 dB, and 25 dB) for handling extremely high sound pressure levels (SPLs) Three-position switchable low-frequency filter reduces background noise and counteracts proximity effect Performance Characteristics Extended frequency response Low self noise Exceptional reproduction of low-frequency sounds Can withstand high sound pressure levels (SPL) High output level No crossover distortion Uniform polar response Superior common mode rejection and suppression of radio frequency interference Applications Some typical applications for the KSM137 are listed below. Microphone use is a matter of personal taste and the KSM137 may be used for a variety of applications other than those listed. Acoustic instruments -- such as piano, guitar, drums, percussion, strings Wind instruments -- brass and woodwind Low frequency instruments -- such as double bass, electric bass, kick drum Overhead miking -- drums or percussion Ensembles -- choral or orchestral Room ambiance pick-up -- guitar amplifier or drums
The Shure SM81 is a high-quality, unidirectional condenser microphone designed for studio recording, broadcasting, and sound reinforcement. Its wide frequency response, low noise characteristics, and low RF susceptibility have made it a standard for applications involving acoustic instruments, especially guitar, piano, and cymbals. SM81-LC - With windscreen, no cable. Phantom power required. The SM81 is ruggedly constructed. It operates on phantom power and performs over a wide range of temperatures and humidity conditions. It is furnished with a swivel adapter, attenuator-switch lock, foam windscreen, and case for carrying and storage. Other accessories are available. 0 Hz to 20 kHz frequency response Flat response curve for accurate reproduction of sound sources Low noise and high output clipping level Low distortion over a wide range of load impedances Cardioid polar pattern, uniform with frequency and symmetric about axis, providing maximum rejection and minimum coloration of off-axis sounds Low RF susceptibility Selectable low-frequency response: flat, 6 or 18 dB/octave rolloff 0 dB/10 dB lockable attenuator switch Phantom powering (DIN 45 596 voltages of 12 to 48 Vdc) Rugged steel construction for durability Field-usable over wide range of temperature and humidity conditions
An embossed single-diaphragm, side-address, cardioid condenser microphone for highly critical studio recording and live sound productions. The Shure KSM32 offers an extended frequency response for an open, natural sounding reproduction of the original sound source. KSM32/CG - Charcoal Gray, with swivel mount and carrying case, phantom power required KSM32/SL - Champagne, with swivel mount, shock mount, aluminum case, phantom power required Class A, transformerless preamplifier circuitry eliminates cross-over distortion for improved linearity across the full frequency range. Embossed, high-compliance diaphragm provides extended low-frequency response. Ultra-thin, gold-layered, low-mass, Mylar® diaphragm for excellent transient response 15 dB attenuation switch for handling extremely high sound pressure levels (SPL) Switchable low-frequency filter provides greater flexibility to reduce background noise or to counteract proximity effect. Integrated three-stage pop protection grille reduces "pop" and other breath noise Internal shock mount reduces transmission of handling noise Replacement cartridge: RK374Performance Characteristics Extended frequency response Very low self-noise Exceptional low-frequency reproduction High output level High input SPL capability No cross-over distortion Extremely uniform polar response Superior common mode rejection and suppression of radio frequency interferenceApplicationsSome typical applications for the KSM32 are listed below. Microphone use, however, is a matter of personal taste. The KSM32 may be used for a variety of applications other than those listed. Voice -- solo, background, voice-over, broadcasting Acoustic instruments -- such as piano, guitar, drums, percussion, strings Wind instruments -- brass and woodwind Low frequency instruments -- such as double bass, electric bass, kick drum Overhead miking -- drums or percussion Ensembles -- choral or orchestral Room ambiance pick-up -- guitar amplifier or drums Both the acoustic environment and microphone placement have significant effects on the sound obtained when miking a source. You may need to experiment with these variables to achieve the best overall sound for each application.
NEW Wider mounting base capable of accommodating a larger range of microphone stands.The Shure Beta 52A is a high output dynamic microphone with a tailored frequency response designed specifically for kick drums and other bass instruments. It provides superb attack and "punch," and delivers studio quality sound even at extremely high sound pressure levels.The Beta 52A features a modified supercardioid pattern throughout its frequency range to insure high gain before feedback and excellent rejection of unwanted sound. A built-in dynamic locking stand adapter with an integral XLR connector simplifies installation, particularly if the microphone is to be placed inside a kick drum. The stand adapter keeps the microphone position fixed and resists slipping, even when subjected to sharp blows and strong vibrations. A hardened steel mesh grille protects the Beta 52A from the abuse and wear associated with touring. * Frequency response shaped specifically for kick drums and bass instruments * Built-in dynamic locking stand adapter with integral XLR connector simplifies setup, especially inside a kick drum * Studio quality performance, even at extremely high sound pressure levels * Supercardioid pattern for high gain before feedback and superior rejection of unwanted noise * Hardened steel mesh grille that resists wear and abuse * Advanced pneumatic shock mount system that minimizes transmission of mechanical noise and vibration * Neodymium magnet for high signal-to-noise ratio output * Low sensitivity to varying load impedance * Legendary Shure quality and reliabilityNEW Wider mounting base capable of accommodating a larger range of microphone stands.The Shure Beta 52A is a high output dynamic microphone with a tailored frequency response designed specifically for kick drums and other bass instruments. It provides superb attack and "punch," and delivers studio quality sound even at extremely high sound pressure levels.The Beta 52A features a modified supercardioid pattern throughout its frequency range to insure high gain before feedback and excellent rejection of unwanted sound. A built-in dynamic locking stand adapter with an integral XLR connector simplifies installation, particularly if the microphone is to be placed inside a kick drum. The stand adapter keeps the microphone position fixed and resists slipping, even when subjected to sharp blows and strong vibrations. A hardened steel mesh grille protects the Beta 52A from the abuse and wear associated with touring. * Frequency response shaped specifically for kick drums and bass instruments * Built-in dynamic locking stand adapter with integral XLR connector simplifies setup, especially inside a kick drum * Studio quality performance, even at extremely high sound pressure levels * Supercardioid pattern for high gain before feedback and superior rejection of unwanted noise * Hardened steel mesh grille that resists wear and abuse * Advanced pneumatic shock mount system that minimizes transmission of mechanical noise and vibration * Neodymium magnet for high signal-to-noise ratio output * Low sensitivity to varying load impedance * Legendary Shure quality and reliability
A mechanical polar pattern switch for highly consistent cardioid and true omnidirectional polar patterns. Provides flexibility in a wide variety of recording applications Ultra-thin, 2.5 micron, 24 karat gold-layered, low mass Mylar® diaphragm for superior transient response Class A, discrete, transformerless preamplifier for transparency, extremely fast transient response, no crossover distortion, and minimal harmonic and intermodulation distortion Premium electronic components, including gold-plated internal and external connectors Subsonic filter eliminates low frequency rumble (less than 17 Hz) caused by mechanical vibration Three-position switchable pad (0 dB, 15 dB, and 25 dB) for handling extremely high sound pressure levels (SPLs) Three-position switchable low-frequency filter to reduce background noise and counteract proximity effect Performance Characteristics Extended frequency response Low self-noise Exceptional reproduction of low-frequency sounds Can withstand high sound pressure levels (SPL) High output level No crossover distortion Uniform polar response Superior common mode rejection and suppression of radio frequency interference Applications Some typical applications for the KSM141 are listed below. Microphone use, however, is a matter of personal taste. The KSM141 may be used for a variety of applications other than those listed. Acoustic instruments -- such as piano, guitar, drums, percussion, strings Wind instruments -- brass and woodwind Low frequency instruments -- such as double bass, electric bass, kick drum Overhead miking -- drums or percussion Ensembles -- choral or orchestral Room ambiance pick-up -- guitar amplifier or drums Both the acoustic environment and microphone placement strongly affect the sound obtained from miking a source. You may need to experiment with microphone placement and room treatments to achieve the best overall sound for each application.
SPL 's Gainstation 1 very compact design allows for free placing outside of a rack . Musicians can place the GainStation 1 easily on a rack or amplifier.To accommodate portability, the optionally available SPL GainBag ensures safe transport of the GainStation 1 and offers additional storage for cables and an average-sized microphone. For more permanent installations, up to four GainStation 1's can be rack-mounted in one optionally available 3-unit mounting frame. Features :Custom-designed and built, fully discrete, class A op-amps (no off-the-shelf stuff here). The GainStation's op-amps feature 60-Volt operating voltage twice as high as most common op-amps�for an incredible dynamic rangeAn extremely high amplifier slew rate of 200 V/microsecond, ensuring clean transmission of high-frequency signal portions and rapid transients with virtually no clippingAn almost entirely DC-coupled signal path, making signal-degenerating condensers unnecessary.An optimized layout guarantees the shortest possible signal paths, while generously proportioned grounding surfaces ensure low impedance and maximum shielding.All switching functions are handled by encapsulated relays with gold-plated contacts.All resistors are within 0.1% tolerance and were selected after extensive listening tests.A no-compromise power supply with extensive additional shielding and seven separately wound and regulated voltages. The power supply is of primary importance to audio quality; its importance should not be underestimated.A tube stage utilizing premium MKP foil condensers and a select 12 AX7 LPS tube for clear, dynamic audio.
Shure's innovative A56D Microphone Drum Mount sets a new standard for versatility. Compact in design, the A56D can be used in a multitude of positions for accurate microphone placement. Live, or in the studio, this universal clamp can be mounted virtually anywhere, including drum rims and racks, microphone stands, and cymbal stands. This reduces the stage clutter that is associated with traditional mic stand set-ups, while promoting greater placement accuracy.
The GoldMike Mark2 retains a hybrid solid state and tube construction to combine the best of both worlds.The transistor stage is composed of single transistors in a class A design. The circuitry is fully discrete, and each transistor is completely optimized for its specific task. You will not find any IC’s in this preamplifier stage because they cannot be optimized for this specific application to the degree we aimed for.This all new discrete class A transistor stage is a genuine innovation in the entire preamplifier market at this price level. Features : Frequency response ‹10Hz bis 90kHz (-3dB) THD+N (Input level -30dBu, 30dB Gain) 0,016% Noise (A-w., R=40Ohm, 30dB Gain) -91,2dBu Dynamic range (30dB Gain) 110dB E.I.N. 128dBu Max. output level (sym., XLR+Jack) +26,8dBu Slew rate solid state stage 200V/µs
The Shure Beta 91 is specifically designed for kick drums and other bass instruments. The Beta 91 combines superior "attack" and "punch" for studio quality sound, even at the extremely high sound pressure levels encountered inside a kick drum. Its boundary effect design produces a strong, solid low-end response that has been specifically tailored for heavy bass applications. The microphone's cardioid pattern provides outstanding gain-before-feedback and excellent rejection of unwanted sound, making the Beta 91 ideal for live concert applications. The low profile design of the Beta 91 eliminates the need for external mounting hardware - just throw it in your kick drum and play. FEATURES Frequency response shaped specifically for kick drums and other instruments Wide dynamic range for use in high SPL environments Low-profile design requires no external mounting hardware Detachable cable for easy storage Legendary Shure quality, ruggedness, and reliability
