MENU
Αναζήτηση
Filters
8X192 AD/DA is a hi-performance mastering quality converter which offers PCM A/D and D/A conversion for all sampling rates from 44.1k to 192k. Optional DSD firmware provides DSD (standard 64x) and hi-speed 128x DSD.Additionally to analog-digital-analog conversion 8X192 features the following:Digital format conversion between AES and any of two optional DIO Cards installedTrue precision mastering grade 1dB per step stepped attenuatorAnalog mix buss assignable to 4 pairs of stereo channels or 8 mono channelsAdditional to 8 analog outputs, 2 XLR outputs which can be assigned to any pair of channels or Mix Buss outputHi-current (500mA), hi-speed, low distortion transparent headphone amplifierOrder one Mytek 8X192 AD/DA converter and get for FREE one of the following interfaces ADAT, USB2 , FIREWIRE, PRO TOOLS
Το Acousonics Athens Room Kit BASIC είναι το προτεινόμενο, βασικό πακέτο ακουστικής βελτίωσης , για μικρά δωμάτια και μικρά home studio. Πριλαμβάνει 10 τεμάχια Isofon Absorber καθώς και 2 μπασοπαγίδες.ISOfon BT.Ο συνδιασμός απόσβεσης γύρω απο τα ηχεία και την θέση ακρόασης καθώς και η χρήση των 2 μπασοπαγίδων στις γωνίες επιφέρει αμέσως πολύ σημαντική βελτίωση στα ηχητικά χαρακτηρηστικά ενός δωματίου δημιουργώντας ένα μικρό μοντέλο Lede Room. Το Acousonics Isofon -BT είναι ένα ακουστικό πλαίσιο γωνιακού τύπου, από αφρώδη εύκαμπτη πολυουρεθάνη, με ανάγλυφη σχεδίαση, η οποία απορροφά αποτελεσματικά την ενέργεια του ήχου και μειώνει το χρόνο αντήχησης. Η προσθήκη των κοιλοτήτων (όπως στους συντονιστές Helmholtz) μεγιστοποιεί την απορρόφησης του ήχου. Το Polyfon-ΒΤ μπορεί να τοποθετηθεί στις γωνίες ενός δωματίου ή να αναρτηθεί από την οροφή. Είναι ιδιαίτερα χρήσιμο για την αντιμετώπιση των χαμηλών ακουστικών συχνοτήτων, που είναι πιο έντονες στις γωνίες των τοίχων και οροφήςΤο Acousonics ISOfon Absorber είναι ένα πρωτοποριακό ακουστικό πλαίσιο που συνδυάζει χαρακτηριστικά μέγιστης Ηχοαπορρόφησης και ταυτόχρονα διαθέτει διάχυση του ήχου. Αποτελείται από ηχοαπορροφητική βάση και την προαιρετική Διαχυτική Μεμβράνη (DM).Η βασική μορφή του ISOfon Absorber αποτελείται από πλάκες από αφρώδη πολυουρεθάνη ημίκλειστου κυψελίδων, διαστάσεων 60x60cm με συνολικό πάχος 55mm, με μια ειδικά διαμορφωμένη επιφάνεια για μεγαλύτερη ηχοαπορρόφηση με εντυπωσιακό πρωτοποριακό σχεδιασμό.Η εγκατάσταση στον τοίχο και στην οροφή μπορεί να γίνει εύκολα με κατάλληλη κόλλα ή με τη χρήση ενός σωλήνα προσαρμοσμένο στην ειδικά διαμορφωμένη κοιλότητα στο πίσω πλευρά αυτού.
As a stage box or audio interface for your DAW, the MOTU Stage-B16 combines ample I/O with ultra-low latency and networking capabilities via AVB Ethernet connectivity. Built-in DSP means you can add modeled analog EQ, vintage compression, and outstanding reverb to inputs and outputs, while mixing up to 48 channels and 12 stereo buses. You get 16 stellar mic preamps, and you can link multiple Stage-B16s via Ethernet if you need more I/O. For studio recording on your Mac or with your iOS device, connect via USB 2.0 for high-quality audio recording up to 192kHz.Audio Video Bridging over Ethernet (AVB) is a way to transmit digital audio and video over an Ethernet cable and allows you to network devices together for better system management and higher capacity. You can connect the MOTU Stage-B16 directly to the Ethernet port on your Mac computer, or you can connect it to a network switch like MOTU's AVB Switch so that any device on the network can access it. Basically, AVB allows for high channel counts, ultra-low latency, and network audio over a simple Ethernet cable.Like all MOTU equipment, the Stage-B16 is reassuringly rugged for reliable performance on the road. Connect your mics and stage monitors, then run a single Ethernet cable to your Mac or your MOTU AVB Switch. You'll have control over all functionality from any computer, iOS, or Android device that can access the network, no matter where you are in the venue.Features:16 x 8 digital mixer, stage box, and AVB/USB audio interfaceBuilt-in DSP for EQ, compression, and reverb on all inputs and outputsEthernet connectivity offers ultra-low latency, even with 100m cable runsA smart way to add more audio channels to your AVB networkMultiple units can be daisy-chained for higher channel countsStellar sound quality with up to 192kHz resolutionPowerful mixer with up to 48 channels and 12 stereo busesCan be used as an iOS audio interface via USB (requires Camera Connection Kit)Built ruggedly to withstand stage useControl all functionality with the web-based app from any computer or device connected to the network
The Acousonics Mic Barrier - mobile absorber/diffuser, reduces unwanted room reflections, designed for vocals and instruments, suitable for studio sessions and live performances, fits most standard microphone stands.
Acousonics MS Pad is an anti vibration Foam Pad (FP), for near field monitor speakers. It is produced by high quality, flame retardant, dark grey, polyurethane foam.It consists of two elements, the base part and the upper wedge.No metal parts in its construction are included to avoid undesired resonance.This specially design foam pad, improves the sound from the monitors, by preventing the transmission of acoustic energy from speakers to the underlying desk. They improve specially the middle range resolution, increase the low frequency definition, eliminate also the resonance effectsand increase the clarity.Technical SpecificationsAcousonics MS Pad packing is composed by 4 pad sets2 for every monitorEach set consists by a base part and a wedge part, so that can be easily be adoptable in a lot type of monitors (heavy/large or vertical/horizontal applications)For small monitors, may be sufficient the use of only one piece. The combinations of the base part and the upper wedge, allows five speaker positioning anglesWith the base and the wedge in standard position, it will be provided a level surface (0°) that is parallel to the supporting surface. Alternatively, the wedge can be removed to provide a ±4° inclination, according to which way the base pad is resting.In addition, with the base and the wedge positioned upside down, it will be provide a ±8° inclination.
Professional headphones 580. High level sound quality. Built-in active Bass Amplifier. Adjustable volume control. Soft ear cushion headphones. Adjustable headband.Specifications:Type: dynamicImpedance: 32ΩSensibility: 105dB±3Frequency response: 20Hz-20kHzMax input power : 200mWCable length: approx 3mPlug: Jack stéréo Ø 3,5 + adaptateur Ø 6,3mm
The Manley Nu Mu gives you the best sonic qualities of both tube and transistor compressors. Manley spec'd the Nu Mu with the all-tube, T-Bar-modded front end of their fabled Variable Mu and followed it with a state-of-the-art solid-state audio chain. At Sweetwater, we're quite impressed by the results - silky smooth, fat, and punchy! Manley's innovative HIP circuit is onboard, enhancing low-level detail without taking a toll on dramatic transients. Handcrafted in the company's Chino, California, factory, the Nu Mu delivers superior sonics, performance, build quality, and value - exactly what you'd expect from Manley.Advanced dynamics control is yours with the Manley Nu Mu!Manley Nu Mu Features:Hybrid tube/solid-state compressor/limiterDual channel (stereo linkable)Features Manley's IRON input transformers4 hand-selected and matched 6BA6 vacuum tubesBalanced XLR I/OHIP circuit elevates softer dynamics without crushing louder onesLighted VU meters, switchable between Gain Reduction and Output LevelCustom, internal, universal high-voltage switched-mode power supply, for worldwide operation SpecificationsType: Tube/solid state (4 x 6BA6 vacuum tubes)Number of Channels: 2Controls: Threshold, Attack, Recovery, OutputRatio: 1.5:1, 4:1 to 20:1Side Chain Inserts: 2 x 1/4" TRSInputs: 2 x XLROutputs: 2 x XLRRack Spaces: 2UHeight: 3.5"Depth: 7"Width; 19"Weight: 8.5 lbs.Manufacturer Part Number: NuMu
Inspired by some of the most important recordings in music history, Blue Microphones is proud to announce that we've given our customers an easy solution to replicate the fabled '3-mic' drum mic'ing technique that professional engineers have used for years.The Blue Drum Kit Kit consists of the award-winning Mouse and two amazing and stereo matched pair of Dragonfly microphones. These three microphones complete the sonic spectrum needed in producing a full-bodied, live recording session for the most discerning drummer and engineer.Includes:Flight caseThe ShockTwo S2 Shocks
The MOTU 112D is an incredibly flexible device. A digital audio interface, router, format converter, and stand-alone mixer - all in a roadworthy, rackmount 1U chassis, the 112D connects to your host computer through ultra-fast Thunderbolt technology, AVB Ethernet, or class compliant, high-speed USB 2.0 (with USB 3.0 and iOS compatibility). The 112D rocks 24 channels of AES/EBU digital I/O, 24 channels of ADAT optical digital I/O and 64 channels of MADI - that's a whopping total of 112 simultaneous digital I/O channels! Freely route anything, anywhere - all with near-zero latency. Whether you work your audio magic in the studio or onstage, you owe it to yourself to check out the MOTU 112D.112 simultaneous digital I/O channelsProdigious router and converterBig-console-style mixingRule your networkYou read that right. And all channels can be active simultaneously. Check it out: 64 channels of MADI - the 112D operates as a near-zero latency 64-channel MADI-to-AVB converter with flexible routing and splitting to/from your AVB network. Cool, but the plot thickens, with 24 channels of AES/EBU and ADAT up to 96kHz: three 8-channel banks (on D-sub) of AES/EBU at all sample rates up to 96kHz. Then there's ADAT optical, with three 8-channel banks at rates up to 48kHz and six banks (24 channels) of ADAT at 2x sample rates.With the MOTU 112D, you can route any input to any (or multiple) outputs - again, with vanishingly low latency. Freely route all 112 audio channels to and from your Mac or PC over Thunderbolt, or to/from any devices on the AVB network. So, we see that the 112D is indeed a prodigious router, but it's also a rockin' format converter that lets you convert any format to any other. Compatible formats include AES/EBU, optical, MADI, AVB, and computer audio (Thunderbolt or USB). MOTU endowed the 112D with robust DSP that offers you big-console-style mixing with 48 channels, 12 stereo busses, and 32-bit floating-point effects processing that includes modeled analog EQ, vintage-style compression, and classic reverbs. You can even use the 112D as a stand-alone mixer and control the whole shebang from its innovative web app running on your tablet, smart phone, or laptop. Connect a second MOTU AVB interface (such as a 1248, 8M, 16A or another 112D) to the 112D with a simple Ethernet cable. You can add more I/O with the optional MOTU AVB Switch. Build your AVB audio network with multiple switches and sub-millisecond latency, even over lengthy cable runs. Stream hundreds of channels among the devices and computers on the network. In the studio or onstage, the 112D gives you flexible digital routing/conversion, state-of-the-art performance, and rock-solid reliability. You need it.Features:112 simultaneous digital audio channels: 24 channels of AES/EBU I/O24 channels of ADAT optical I/O64 channels of MADI I/OUniversal computer connectivity: ThunderboltAVB EthernetAudio-class-compliant high-speed USB 2.0 (USB 3.0/iOS compatible)On-board 32-bit floating point DSP with big-console-style mixing and effectsFlexible 48-input digital mixer with 12 stereo busses and DSP effectsWeb app control of DSP, mixing, device settings, and network audio routingDiscovery app and web app software works alongside your host audio softwareWeb app control from laptop, tablet, or smart phone connected to your LAN by wire or Wi-FiFlexible system expansion and audio networking with ultra-low network latency
The MOTU Monitor 8 gives you three-in-one functionality: monitor mixer, headphone amp, and audio interface - all with exceptional audio fidelity. Monitor 8 lets you mix 24 inputs, multichannel computer audio, and dozens of AVB audio network channels to eight stereo monitor groups. Monitor 8's extensive routing grid lets you effortlessly patch inputs to outputs, or splits your inputs to multiple destinations. You can use Monitor 8 as a standalone mixer and control everything from its web app running on your iPad, iPhone, tablet, smartphone, or laptop. Connect another MOTU AVB interface with a simple Ethernet cable. Read on to discover the many cool ways you can use the wonderfully innovative MOTU Monitor 8!Eight stereo output groups, extensive connectivityOperates standalone or as an interfaceMix and match, build your networkMonitor 8 sports eight stereo output groups: Main, Aux, and Monitor Groups A through F. The XLR Main Outs and balanced 1/4" Aux Outs can feed primary and secondary studio monitors or PA speakers. You can then set up six additional, independent monitor groups - each with multiple mirrored outputs that include front and rear panel 1/4" headphone outputs, a summed 1/4" Mono Output, and on groups A-D, balanced stereo 1/4" outputs. In total, monitor mixes can be sent to 12 sets of headphones, six stage monitors, four stereo in-ear modules (or other stereo line-level destinations), and two sets of powered speakers. If that's not enough, two banks of ADAT optical input let you connect digital mixers, optical expanders, or other gear (16 channels at 44.1/48kHz or 8 channels at 88.2/96kHz). MOTU designed Monitor 8 to have the versatility your modern audio production methods require. You can use it without a computer, as a standalone mixer and headphone amp, but it also makes a superb AVB (Audio Video Bridging) or USB 2.0 interface that is USB 3.0 and iOS compatible. Beefy DSP gives you large-format console-style mixing with 48 channels, 12 stereo busses, and 32-bit floating point effects processing, including modeled analog equalization, vintage-style compression, and classic reverb. For standalone mixing, you can control Monitor 8 via Wi-Fi from web app software running in your browser on your iPad, iPhone, tablet, smartphone, or laptop. And for multi-user control of Monitor 8's multiple mix busses, you can even run it on several devices concurrently.You can mix and match Monitor 8 with other MOTU AVB interfaces (such as the 1248, 8M, 16A, 24Ai or 24Ao) using readily-available, inexpensive Cat-5e cables. They all have complementary I/O configurations that make it easy for you to build a customized, state-of-the-art AVB audio network system. Add more I/O with the MOTU AVB Switch (available separately). Build an AVB audio network with multiple switches and sub-millisecond latency - even over long cable runs. Stream hundreds of channels among devices and computers on your network. Onstage or in the studio, Monitor 8 delivers truly amazing sound quality and rock-solid, cutting-edge performance.Features:24 x 16 x 8 monitor mixer6-channel headphone ampUSB/AVB audio interfaceSuperb audio quality24 inputs and 8 stereo bus outputsTwo banks of ADAT opticalSix monitor groups with flexible outputsUniversal connectivityLarge-format console-style mixingOn-board 32-bit floating point DSPSystem expansion via Cat-5e cablesAVB audio networkingFlexible matrix routing and splittingStandalone mixing with wireless controlIncludes AudioDesk workstation software for Mac and WindowsWeb app control from your laptop, tablet, or smartphoneSupports multi-user, concurrent-device control
So we were all a bit blown away when the groundbreaking MOTU 8M hybrid audio interface came out, and we're sure you'll feel the same way, when you get a look at what it's got going on under the hood. For starters, the 8M include eight magnificently clear MOTU preamps onboard, which each sport V-Limit protection to ensure clipping doesn't ruin your sound. And each of the 8M's combo inputs accommodate balanced line-level and unbalanced instrument-level signal as well, so you can comfortably hook up all of your gear. An additional 16 channels of I/O on ADAT optical ports provides you with plenty of expansion options too. Thanks to its Thunderbolt connectivity, latency isn't an issue for the 8M, and a standalone DSP mixer onboard offers routing for monitoring, mixing, and more.MOTU 8M Hybrid Audio Interface at a Glance:Classic MOTU audio quality with the shockingly low latency of Thunderbolt connectivityDSP-fueled mixer onboard gives you the added benefit of EQ, compression, and effectsExpand your production system with additional AVB networkable audio interfacesClassic MOTU audio quality with the shockingly low latency of Thunderbolt connectivityThe 8M hybrid Thunderbolt/USB 2.0 audio interface continues a tradition of high-quality audio that many of us here at Sweetwater have come to expect. With a mere -110dB THD+N of self noise, this 8M's offers you some of the cleanest audio around. Eight amazingly transparent microphone preamps include MOTU's V-Limit protection, which offers a 9dB buffer to prevent digital clipping. An additional 16 channels of digital I/O via ADAT optical ports brings your total channel count to 24 x 24. To go with this impressive selection of high-quality I/O, MOTU gave the 8M ultra-fast Thunderbolt connectivity (in addition to USB 2.0), so you get epically low system latency too. DSP-fueled mixer onboard gives you the added benefit of EQ, compression, and effectsGranted, with the MOTU 8M's extremely fast Thunderbolt connection, system latency isn't much of an issue to begin with, but the onboard DSP mixer still offers a number of advantages you'll find useful in a variety of settings, such as when you're connected via USB. For starters, this digital mixer supports up to 48 inputs (via AVB expansion) and 12 stereo busses, allowing you to set up extremely complex routing schemes completely independent of your computer.In fact, if you connect a wireless router to your 8M, you can access all of its internal mixing functions, including effects and processing, via an app on your iOS device, turning this powerful audio interface into a fully capable standalone mixer. Speaking of onboard processing and effects, whether you're in the studio or onstage with your 8M, you'll find a ton of uses for its DSP EQ, compression, gate, and reverb. Expand your production system with additional AVB networkable audio interfacesAnother extremely cool use of the 8M's Ethernet connection is the ability to link more MOTU AVB equipped audio interfaces to it. You can do this in one of two ways: directly via a simple Ethernet cable or as part of an audio network via one or more MOTU AVB Switch.If you go with just a single Ethernet cable, you can easily link a second 8M or other AVB ready device directly to your first one. With MOTU AVB Switches, you can create an audio network of up to five units, potentially linking hundreds of channels of I/O across multiple rooms. And since it's all over standard Cat-5e Ethernet cable, latency or cable runs aren't any kind of issue. MOTU 8M Hybrid Audio Interface Features:A fantastic 24-in/24-out hybrid audio interface for studio and live sound applications8 pristine microphone preamplifiers offer clear and transparent sound of any kind of microphoneV-Limit overload protection offers 9dB of headroom to prevent digital clippingADAT optical I/O lets you expand your system with additional outboard gearChoose from ultra-low-latency Thunderbolt or high-speed USB 2.0 computer connectivityOnboard 32-bit floating point DSP-driven digital mixer with EQ, dynamics, and effects provides latency-free routingHook up a wireless router and take complete control of the onboard mixer from your iOS device - no computer needed!MOTU's AVB audio networking lets you easily expand your system and additional AVB equipped audio interfacesCreate an AVB network via optional AVB Switches for support for up to five compatible interfacesSpecifications:Computer Connection Type: Thunderbolt, USB 2.0Form Factor: RackmountSimultaneous I/O: 24 x 24A/D Resolution: 24-bit/192kHzBuilt In DSP/FX: YesNumber of Audio Inputs: 8Audio Input Types: 8 x XLR comboNumber of Audio Outputs: 8Audio Output Types: 8 x TRSNumber of Digital Inputs: 16Digital Input Types: 2 x ADAT opticalNumber of Digital Outputs: 16Digital Output Types: 2 x ADAT opticalNumber of Mic Preamps: 8Phantom Power: YesMIDI I/O: NoClock I/O: In, OutBus Powered: NoRack Units: 1UWidth: 19"Height: 1.75"
Το Acousonics ISOfon BT είναι ένα καινοτόμο υβριδικό πλαίσιο απορρόφησης χαμηλών συχνοτήτων (μπασοπαγίδα), που συνδυάζει ταυτόχρονα χαρακτηριστικά Ηχοαπορρόφησης & Διάχυσης του ήχου.Μπορεί να τοποθετηθεί στις γωνίες ενός δωματίου , προκειμένου να βελτιώσει την ακουστική ποιότητα και τον χρόνο αντήχησης, βοηθώντας έτσι στη μείωση των ανεπιθύμητων ανακλάσεων, φαινόμενα ηχούς και στάσιμα κύματα.Αποτελείται από το κυρίως μέρος, ISOfon BT Base και την πρόσθετη Διαχυτική Μεμβράνη (DM).ISOfon BT Base είναι ένα ακουστικό πλαίσιο γωνιακού τύπου, από αφρώδη εύκαμπτη πολυουρεθάνη, με ανάγλυφη σχεδίαση, η οποία απορροφά αποτελεσματικά την ενέργεια του ήχου και μειώνει το χρόνο αντήχησης. Η προσθήκη των κοιλοτήτων (όπως στους συντονιστές Helmholtz) μεγιστοποιεί την απορρόφησης του ήχου.Η Διαχυτική Μεμβράνη (DM) προστίθεται κατά παραγγελία και είναι μία εύκαμπτη μεμβράνη, η οποία δημιουργεί ένα δισδιάστατο ήχο-διαχυτή που ανακλά υψηλόσυχνα ηχητικά κύματα. Επιπρόσθετα το DM βελτιώνει την απορρόφηση στις χαμηλές συχνότητες, δρώντας ως συντονιζόμενη μεμβράνη. Το στοιχείο DM μπορεί να είναι ακρυλική μεμβράνη, κόντρα πλακέ, φελλός, HPL “φορμάικα” ή άλλα εύκαμπτα υλικά που μπορούν να κυρτωθούν.Το ISOfon BT μπορεί να τοποθετηθεί στις γωνίες ενός δωματίου ή να αναρτηθεί από την οροφή. Είναι ιδιαίτερα χρήσιμο για την αντιμετώπιση των χαμηλών ακουστικών συχνοτήτων, που είναι πιο έντονες στις γωνίες των τοίχων και οροφής.Το στοιχείο DM, μπορεί να μεταβάλλεται για να ταιριάζει σε κάθε αισθητική απαίτηση. Κάθε έργο τέχνης ή υψηλής ανάλυσης εικόνα μπορεί να εκτυπωθεί στην επιφάνεια του ακρυλικού, έτσι ώστε να προσαρμόζεται στην αισθητική του χώρου.Η εγκατάσταση στον τοίχο και στην οροφή μπορεί να γίνει εύκολα με κατάλληλη κόλλα ή με τη χρήση ενός σωλήνα προσαρμοσμένο στην ειδικά διαμορφωμένη κοιλότητα στο πίσω πλευρά αυτού.
Built with MOTU’s award-winning MIDI interface technology, the micro express is a compact, bus-powered MIDI interface and time code synchronizer that provides expandable, plug-and-play connectivity to any USB-equipped Mac or Windows computer.The micro express is a mini version of the MIDI Express XT. It has many of the same features as the Express XT except that it is smaller, bus-powered, and even more affordable. The micro express provides 4 MIDI inputs, 6 MIDI outputs, 96 MIDI channels and compatibility with all Mac and Windows software. Sixteen convenient, one-touch presets (8 factory and 8 user programmable) give you instant front-panel access to multiple operational configurations. The included ClockWorks console software for Mac OS X and Windows 7/Vista provides comprehensive MIDI routing, merging and muting.As a professional-grade SMPTE time code synchronizer, the micro express converts and stripes time code in all frame formats (23.976*, 24, 25, 29.97 drop and non-drop, and 30). SMPTE “jam sync” with adjustable freewheeling provides glitch-free sync. The micro express also supports MIDI Machine Control (MMC), with the ability to serve as either an MMC master or slave. The micro express can distribute MMC transport commands to all other connected MMC devices.The micro express takes full advantage of USB, giving you high-speed MIDI throughput, sub-millisecond timing accuracy, support for “hot-swapping” and plug-and-play expansion. Need to connect another sound module or synth? No problem. Just add another MOTU USB MIDI interface via any available USB port. Because it's bus--powered, you can take the micro express anywhere. No other MIDI interface offers this much value and performance at such an affordable price.
Within minutes after you begin using MachFive 3, you'll appreciate the years of user interface design and engineering that have gone into this 3rd-generation release. From the configurable part list to the full-screen envelope editor, MachFive 3 has been designed to spur your creative muse while delivering state-of-the-art virtual instrument technology in a streamlined, efficient environment. After all, music, sound design, and audio production are creative endeavors that deserve a worthy partner in creativity.
BPM unites drum machine-style operation with advanced virtual instrument technology to give you the ultimate rhythm programming experience. Combine kits, patterns, and loops with instrument sounds, advanced mixing, and DSP effects to realize your rhythmic vision. Browse a massive library of over 19 GB of rhythm sounds. They sound massive, too, thanks to renowned mastering engineer Chris Gehringer at Sterling Sound, NYC. Mix and match thousands of patterns, kits, loops, and hits inspired by dozens of musical styles.BPM 1.5 adds Beat Box Anthology: authentic sounds from every classic, iconic drum machine that ever mattered during the 70s, 80s, and 90s. You get 80 legendary models (10,000 samples) from the likes of Oberheim, Dynacord, Simmons, Alesis, Korg, Roland, Yamaha, Akai, and others. With enhanced MIDI control features, BPM 1.5 lets you choose your favorite pad controller, MIDI keyboard, or other controller for the ultimate personalized tactile rhythm programming experience. With hundreds of compatible models to choose from, it’s your call.Co-producer on Michael Jackson's Dangerous album and many other multi-platinum releases, Teddy Riley is one of the most successful R&B producers of all time and is widely recognized as the father of New Jack Swing. Teddy uses BPM in his daily work, most recently on the posthumous Michael Jackson album Michael.
Any hardware device with a control voltage (CV) input can be placed under precise digital control from your favorite audio workstation software. You can play and automate modulars, analog synths - even effects processors. Imagine being able to play and automate your CV-equipped analog gear from Digital Performer, Logic Pro, or Live with the same level of control, precision and convenience as a virtual instrument.Whether you’re a seasoned modular synthesizer devotee or simply a computer-based studio owner dreaming of adding that rich, coveted sound only true analog synths can deliver, Volta finally enables you to easily incorporate CV-equipped analog gear into your computer-based studio with all the control, precision and convenience of a virtual instrument.Here are just a few examples of what you can do with Volta:Perform MIDI sequencing with external modular synths with sample-accurate precision (if your host sequencer supports sample-accurate MIDI).Automatically calibrate and tune oscillators with the click of a button.Use ramp automation in your host audio software to control filters, envelope generators, effects processors and other voltage-controlled external gear.Apply LFOs, step sequencers and pattern sequencers to CV inputs and tempo-sync them to your host software timeline.
Electric Keys is a cross-platform virtual instrument that delivers authentic sounds of 50 classic, vintage electric keyboard instruments from the last 40 years. This massive 40GB sound library includes over 20,000 meticulously crafted 24-bit 96 kHz multi samples of legendary electric pianos, electric organs, clavinets, Wurlitzers, tape samplers, string machines, keyboard basses and other rare and exotic electric keyboard instruments.Recreate the popular keyboard sounds and riffs you know so well from your favorite recordings of the last four decades of rock, pop, funk and jazz, or create your own unique style with an intriguing assortment of rare electric keyboard instruments never before offered in a virtual keyboard product - and sure to delight even vintage keyboard devotees. Electric Keys supports all major plug-in formats on Mac OS X and Windows (XP and Vista), including VST, DXi, MAS, Audio Units and RTAS. It also runs as a stand-alone application, turning any laptop or desktop computer into the ultimate electric keyboard instrument.Electric Keys is beautiful to look at and easy to use on screen. Load, save and combine factory or custom presets. Use the virtual effects rack to combine, apply and save chained multi-effects, including chorus, reverb, delay and more. It’s easy, fast and fun to play and layer professional, authentic electric keyboard sounds. Advanced software features include MIDI control of nearly all parameters, 256-note polyphony per instrument, ultra-low latency, efficient disk streaming for fast preset loading, world-renowned UVI Engine for superb sound quality, universal plug-in compatibility and stand-alone operation. You can even load and play Electric Keys sounds using MachFive for convenient, consolidated operation with your other sound libraries.
Start with a massive 8GB library of brand new sounds from world class orchestras and musicians, recorded with pristine audio fidelity and careful attention to detail. Quality and variety abound. Now add a simple, easy to understand, single-window interface to personalize your instruments. Adjust your sound quickly and intuitively. The MOTU Symphonic Instrument is compatible with all major plug in formats for Macintosh OS X and Windows (VST, Audio Units, DXi, MAS and RTAS).To further enhance the stunning realism of your compositions, the MOTU Symphonic Instrument includes a built-in convolution reverb processor to produce the most realistic room ambiences available. Use authentic acoustic spaces, from orchestra sound stages to renowned concert halls to majestic cathedrals. The MOTU Symphonic Instrument is a CPU-efficient plug-in that saves with your host application document for instant recall. Nothing could be easier.
ZBox matches the output impedance (”Z”) of your guitar to the impedance of a non-amp input, such as the mic/instrument preamp inputs on your audio interface. Without proper impedance matching, your guitar won’t sound natural or “feel right”. If you use Digital Performer's Custom 59 amp model plug-in, or a third-party guitar plug-in product like IK Multimedia Amplitube, Waves GTR, Native Instruments Guitar Rig, or similar guitar modeling software, use ZBox to further enhance the authenticity of the tones you play from these products.ZBox’s unique advantage? Authentic matching circuits that emulate the two-jack switching network found on many classic amplifiers, complete with analog simulation of the input tube grid. Only ZBox delivers the most authentic amplifier impedance matching available for the absolute truest sound and “feel” from your guitar. ZBox is the “missing link” for digital guitar processing, providing the hardware-driven input characteristics required to truly emulate a real guitar amp.
The 8pre provides eight microphone/instrument preamps with pristine 96kHz analog recording and playback, combined with 8 channels of ADAT optical digital I/O.The 8pre audio interface delivers everything you need to turn your computer into a powerful 24-bit, 96kHz digital audio workstation. Expand your system by connecting additional 8pres or other MOTU audio interfaces.Turn your computer into a powerful digital audio workstation with eight mic inputs. Or add eight high-quality mic/instrument inputs to your current system.The 8pre as your primary audio interfaceUse the included CueMix™ software to mix all 16 inputs from your computer. Eight channels of ADAT optical I/O make the 8pre an ideal companion for a digital mixer. Two ADAT lightpipe connections work together to support a full 8 channels of optical digital I/O at any sample rate up to 96kHz.Connect all of your studio gear, including microphones, guitars, synths, keyboards, drum machines and even effects processors. Then monitor all of these live inputs via the 8pre’s main outs or headphone jack — with virtually no monitoring latency and no processor drain on your computer. You can even create separate monitor mixes for the main outs and headphones. Control everything, including talk-back and listen-back, from the included CueMix Console™ software, just like a large studio console.The 8pre includes a 16-channel MIDI interface. Simply connect the 8pre to your computer with any USB cable, and both MIDI and audio are ready to go. Connect any MIDI device, such as a controller keyboard, synth module, automated control surface or drum machine. Timing is sample-accurate with supporting software.The 8pre provides cross-platform compatibility with Mac OS X (10.6 or higher), Windows (8/7/Vista) and all of your favorite audio software and host-based effects via WDM/ASIO/Core Audio drivers. Or you can use the included AudioDesk workstation software for Mac OS, with 24-bit recording/editing and 32-bit mixing/processing/mastering.The 8pre as a microphone preamp expansion interfaceThe 8pre is really two products in one. When it is not connected to a computer via USB, the 8pre functions as an eight-channel analog to digital (optical) converter. Connect the 8pre to your MOTU 828, 896, Traveler or even another 8pre via the optical “lightpipe” connection to add eight high-quality microphone pre-amps to your system. Since the connection is digital, 100% pristine sound is maintained, down to the very last sample. The 8pre is the perfect way to instantly add eight more mic inputs to any audio interface or digital mixer with optical I/O. If you have a MOTU interface with on-board CueMix DSP mixing, such as the 828 (mkII or mk3), 896 (HD or mk3) or Traveler (original or mk3), the 8pre inputs appear directly in the host interface's CueMix mixer to becomes a transparent extension of your system, operating together with your primary interface as a single, integrated unit — even when the host interface is not connected to a computer and is instead operating as a stand-alone mixer.If you have an 828mk3, 896mk3, 2408mk3, digital mixer or other audio device that supports 96kHz optical and also has two optical inputs, the 8pre connects to it via both optical ports to provide a full eight channels of analog to optical conversion at the 88.2 or 96kHz sample rates.
The Acousonics Big Bass is useful where low frequency absorption is required. The places that mainly have the specific requirements are: Auditoriums, Recording studios, control rooms, concert halls, CD mastering, home theatres, music practice rooms, vocal booths etc. Acousonics Big Bass 60 can be installed at the corners of the room.Since low frequency resonances in a room have their points of maximum or minimum pressure in the corners of the room, bass traps mounted in these positions will be the most efficient solution. For this reason we have designed the Acousonics Big Bass which is corner mounted to reduce the excessive bass in a room. The operating principle of Acousonics Big Bass is based on diaphragmatic element / dence -mass membrane, which is free to vibrate by the low frequency exited bass sound down to 80 Hz. Behind the resonating diaphragmatic absorber there is an air cavity created by the special design from MDF wooden enclosure/cavity.The conic shape form improves its performance in lower frequencies and increases the structural stiffness. The external back surface of the bass trap is made by MDF wooden board or by a black melamine. They can be covered with luxurious airmess fabric in case that its upper or bottom side is visible. Inside the conic shape enclosure there is a special sound absorption acoustic coat made by an ecological sheep wool or other polyester fibers board. The front side of Acousonics Big Bass comprise a wooden batten skeleton frame covered by a breathable fabric (type air mesh according to our sample color). Acousonics Big Bass plus is specifically designed to achieve maximum sound absorption at wide acoustic frequency range band. Depending on the requirements of each application and in order to achieve wide range frequency absorption, a combination of different sound absorptive materials can be applied. Please refer to our technical department at info@athensproaudio.grSpecifications:Extended low frequency sound absorptionElegant professional appearanceResonating sound absorder deviceSpecial design, Conic shapeCorner mounted bass - trapEasy installationDimensions (H x W x D): 60 x 60 x 30 cmWeght: 15Kg
Classic Panel 120 from Acousonics have high absorptive capacity across the range of audible frequencies, mounted on walls or ceilings. It can meet the needs of absorption in television and radio studios, recording studios, home studio applications as also Hi-Fi and Home Cinema applications.By optimizing the combination of internal sound absorbing materials, achieves high rates of absorption. Installed easily to the wall with special mounting system on the back of plaision.Ta Absorption within the Classic Panel by Acousonics delivered with different special fabrics to suit any environment. The fabrics used are specially woven high tenacity high aesthetics and simultaneously retardant.Available in 7 different colors 60X120.The package includes 4 pieces size 60X120.
The Acousonics Big Bass is useful where low frequency absorption is required. The places that mainly have the specific requirements are: Auditoriums, Recording studios, control rooms, concert halls, CD mastering, home theatres, music practice rooms, vocal booths etc. Acousonics Big Bass 120 can be installed at the corners of the room.Since low frequency resonances in a room have their points of maximum or minimum pressure in the corners of the room, bass traps mounted in these positions will be the most efficient solution. For this reason we have designed the Acousonics Big Bass which is corner mounted to reduce the excessive bass in a room. The operating principle of Acousonics Big Bass is based on diaphragmatic element / dence -mass membrane, which is free to vibrate by the low frequency exited bass sound down to 80 Hz. Behind the resonating diaphragmatic absorber there is an air cavity created by the special design from MDF wooden enclosure/cavity.The conic shape form improves its performance in lower frequencies and increases the structural stiffness. The external back surface of the bass trap is made by MDF wooden board or by a black melamine. They can be covered with luxurious airmess fabric in case that its upper or bottom side is visible. Inside the conic shape enclosure there is a special sound absorption acoustic coat made by an ecological sheep wool or other polyester fibers board. The front side of Acousonics Big Bass comprise a wooden batten skeleton frame covered by a breathable fabric (type air mesh according to our sample color). Acousonics Big Bass plus is specifically designed to achieve maximum sound absorption at wide acoustic frequency range band. Depending on the requirements of each application and in order to achieve wide range frequency absorption, a combination of different sound absorptive materials can be applied. Please refer to our technical department at info@athensproaudio.grSpecifications:Extended low frequency sound absorptionElegant professional appearanceResonating sound absorder deviceSpecial design, Conic shapeCorner mounted bass - trapEasy installationDimensions (H x W x D): 120 x 60 x 30 cmWeght: 28Kg
Acousonics Cityfuser White provide uniform sound diffusion in conjunction with very low weight and low cost. It is ideal for installation in:• Studio Recordings• Home Cinemas• Studio Control Room• Other areas with acoustic requirements.The package includes 3 units SPECIFICATIONS With its innovative design achieves effective uniform dispersion of the first reflections and contribute to achieving crystalline sound. Also shows little sound absorption.Manufactured from high density polystyrene Self extinguishing. It can be painted in various shades. Features circumferential shoulder, so that it can be mounted in suspended ceilings standard profiles (minimum distance from ceiling 40cm) or properly mounted on the wall. The Acousonics Cityfuser are made in such a way that it can be installed in the same direction while maintaining uniform aesthetic effect.Dimensions: 59 x 59 x 13 cm (L x W x Y).
Classic Panel 60 from Acousonics have high absorptive capacity across the range of audible frequencies, mounted on walls or ceilings. It can meet the needs of absorption in television and radio studios, recording studios, home studio applications as also Hi-Fi and Home Cinema applications.By optimizing the combination of internal sound absorbing materials, achieves high rates of absorption. Installed easily to the wall with special mounting system on the back of plaision.Ta Absorption within the Classic Panel by Acousonics delivered with different special fabrics to suit any environment. The fabrics used are specially woven high tenacity high aesthetics and simultaneously retardant.Available in 7 different colors and sizes 60X60.The package includes 6 pieces size 60X60.
The Grimm Audio LS1 is the most technologically advanced loudspeaker system ever!A good monitor combines a high degree of accuracy with untrammeled musicality. There aren't many of those around - common wisdom has it that you can have one or the other but never both. The LS1 is the first monitor to prove conventional wisdom wrong.By integrating top quality digital signal processing, converters and amplifiers in one of the speakers' legs, Grimm Audio was able to apply technical strategies no one had used before. As a consequence, the LS1 is not just a loudspeaker, but a complete audio system that only needs an analog or digital line source to perform.“This speaker is explicitly for those who want the most neutral and transparent sound reproduction, no corners were cut.”True accuracy is about getting all the bits in the right place: not losing anything, not adding anything either. The LS1 offers this accuracy, reproducing a truly musical recording accurately, with all beauty intact. At the same time, the LS1 will also reproduce any imperfection, giving you all the information you need to get it right. These qualities make the LS1 an ideal monitor for both mastering and mixing.Don't let the stylish industrial design and finish fool you: the shape of this loudspeaker is the outcome of thorough psychoacoustical and acoustical research. Its small sealed box (14 litres) is much wider than it is deep, is designed to provide an effective baffle down to around 250 Hz.That way, the LS1 achieves a reasonable constant directivity in 2π space above 250 Hz (with a natural and progressive “narrowing” of its high frequency off-axis response) minimizing many of the listening room’s detrimental effects (Psychoacoustics tells us that below about 300 Hz the ear will no longer clearly discern direct sound, first reflections or reverberant sound), while below 250 Hz the speaker gradually transitions to omnidirectional.“The wide baffle halves the volume into which the sound is radiated, thereby halving room problems as well. The cylindrical sides eliminate the classical "big box" colouration that is caused by edge diffractions.”The LS1 is suspended between two half cylinders that combat diffraction and function as an integral two-legged floor stand. An 8" magnesium woofer and a 1" dome tweeter divide the work between them. Smart use of DSP linearizes the frequency response and allows for a controlled bass response down to 35 Hz.Housed in one of the two legs are a 48/76-bit DSP, digital I/O, AD/DA converters, the same clock circuit as Grimm’s own CC1 master clock and the drive electronics, encompassing two 180W Class D power amplifiers of the groundbreaking Hypex NCore type.The concept of the LS1 draws maximum benefit from intelligent application of DSP technology. An IIR crossover imposes exact LR4 acoustic slopes crossing at 1550 Hz, and the phase is subsequently corrected using an idealised inverted all-pass filter, resulting in a maximally linear phase response without any pre-echo’s. This removes the “digital loudspeaker sound signature” typical of the more ubiquitous impulse inverted FIR designs.“The waveguide tweeter, the perfectly pistonic woofer (both by the world famous Seas company) and the very low crossover frequency insure that the sound is radiated in an unusually wide and even manner.Grimm LS1’s carefully controlled acoustics form the basis for the active DSP based filter which welds the driver responses together into the most even-handed frequency response and the fastest impulse response you'll ever hear.”The LS1 is also a very practical loudspeaker. Its digital input allows them to be connected without further ado to network players like Squeezebox or Sonos, or to a Mac or PC using the included USB converter. The pictures on the right hand show a few options.Despite their compact size, these floor standing speakers are clearly intended as main monitors in mastering studios and mixing rooms that have space to put free-standing speakers. The DSP controlled analog subwoofer output allows for easy integration with stereo subwoofers, for those that need high SPL performance below 40 Hz.By selecting Grimm’s own LS1s subwoofers, perfect integration with the main system is obtained, effectively turning the LS1 into a threeway system.More info can be found at the LS1 remote and the LS1s subwoofer page.For Measurement Charts (both in-house and third party – German Audio Magazine’s May 2013 issue) and photos of the LS1 please refer to the pictures section of this page.Features:Unidirectional down to 250 HzDSP controlled frequency curveWell-behaved off-axis responseDigital and analog audio inputsFiltered analog subwoofer outputFail safe due to excursion and thermal limiterMidi control of volume and settingsSuper low distortion NCore class D power ampsAudiophile quality Seas driversRemote control optionDifferent color scheme options Specifications:· Frequency response: 55Hz-30kHz +/-0.5dB. 45Hz-40kHz -3dB(Low corner is user-settable between 35 Hz and 100 Hz, Q=0.7 or 0.5)With the addition of the LS1s Subwoofers, the LS1 can perform almost down to the infrasonic range· Deviation from minimum phase +/-2°· Amplifier power: 2x180W· Max SPL: 109dB/1m· SNR: 114dB (unweighted)· Crossover function: 1.55 kHz LR4, sum corrected to minimum phase.· Latency: 2ms· Internal volume: 14 litres· Height: 1150mm, 1450mm - available on demand.· Width, depth: 520mm X 160mmFurther Resources:· Download the LS1 PC remote software
The Master of Timing Grimm Audio’s CC1 V2 brings the incredible clock stability of the AD1 to your current setup! The CC1 V2 accepts Word Clock and distributes a super high quality Word Clock sync to all equipment in your system. Alternatively, use the CC1 to reclock and de-jitter the s/pdif digital audio connection between your CD transport or media server and DAC (a set of XLR-RCA conversion cables is provided with the unit). Now, any studio or high end system can benefit from some of the features of our AD1’s unique sound quality like ultimate musical timing and stability of tone. “With regards to a clock, accuracy and stability are two very different things.” Grimm Audio’s extensive research into the correlation between jitter and sound quality brought to light that emotional response to music is vastly more sensitive to jitter than previously realized. Attention turned from “making jitter low” to achieving the most stable clock possible. Marketing tends to express a clocking circuit’s performance in a “the lower the better” ppm (parts per million) or picosecond (1 picosecond = 1 trillionth of a second) number. Hence the claim that Atomic clocks are “the best” for audio because of their accuracy. Atomic clocks are “accurate”.Some are only a second off in a century (about three billion seconds): an average accuracy of 0.3 parts per billion or 0.0003ppm. That’s the sort of thing they were designed for. Does that imply that they are only one three-billionth of a second off in one second? Not at all. When a clock runs one millisecond late during one second and one millisecond early during the next, it’s basically correct again. So long as these short term errors don’t accumulate over time, they do not disqualify the clock as a timepiece. But you will agree that it would not merit the name “stable”. On the other hand, a clock that is one second off every day could still manage to slice every second into tiny slivers that are just perfectly equal. Accuracy and stability are two very different things. “Owing to a radically redesigned discrete crystal oscillator, CC1’s clock stability betters that of even the best test equipment available.” Grimm Audio’s research turned up a surprising array of previously underestimated performance factors that affect a clocking circuit’s stability, like power supply noise, oscillator control circuit noise and low-level crosstalk. The end result is that owing to a radically redesigned discrete crystal oscillator, clock stability betters that of even the best test equipment available. To sync to an external reference the CC1 sports a PLL offering an astounding 90 dB of jitter suppression at 10 Hz, further improving at 60 dB/dec. The CC1 offers base rates of 44.1kHz and 48kHz and 1/2/4 multiples in separately selectable groups, in addition to an AES/EBU reclocker for cleaning the digital feed to your DA converter. Like all Grimm Audio products, the CC1 features striking styling and solid build quality. Features: ultra-low jitter clock source generate and slave to word clock s/pdif reclocking sample rates from 44.1kHz up to 192kHz two independent sample rate groups
In any audio device, the power supply is a significant contributor to sonic success or failure. In tube microphones this is even more so than anywhere else. The MP1 allows you to realise the full potential of your treasured vintage or contemporary tube mic. Hear your mike as never before.“The MP1 allows you to realise the full potential of your treasured vintage or contemporary tube mic”The 'MP1 | Grimm' re-writes the book on tube mic supplies. Drawing from the extensive expertise gained designing the supplies used in the AD1 and CC1 products, the MP1 uses discrete voltage regulators, a shunt regulator for the anode supply and a high precision series one for the filament supply. The anode supply offers noise as low as-100 dBV (in average 20 dB beter than existing supplies) and the 'shunt' design turns the regulator into an active decoupling device, eliminating electrolytics. Voltages are factory pre-set to match the customer's microphone specs.Stylish, compact and practical, the MP1 fits well on any recording stage.Features:ultra-low noise high voltage supplylarge isolation from mains disturbanceshunt anode voltage regulatorhigh precision filament supplytwo MP1's combine to a 1U 19" unitwith or without polar pattern controlpresets for every type of tube microphone*
The Bricasti Design M1 USB digital to analog converter is a dual mono design; there are 2 completely isolated channels, a left and right, each with its own dedicated linear power supply, D/A converter, DDS clocking, and analog circuitry. This design insures that analog cross talk is virtually non existent, that the necessary power requirements for each channel are well met and isolated from each other and the digital processing is isolated, having its own power supply. With our twin DAC design, the dynamic range for each channel is optimized by using the stereo ADI 1955 D/A converter in a mono configuration, plus clocking is for each channel done directly at each DAC with a technique called DDS (direct digital synthesis) which takes clock induced jitter to immeasurable levels.Build QualityThe M1 is robustly constructed of milled and CNC machined aluminum sections. There is no typical bent metal chassis and top cover found on most products. All sections of the construction, the front and rear panels, the sides and even the bottom and top plates start out as solid blocks of aluminum which are precision machined to shape, with exact tolerances for a perfect fit. These parts are then anodized and the text and markings and are laser etched for a clean and enduring look.The SoundThe intention if the M1 is to provide a state of the art, Digital to Analog converter, utilizing the best designs and materials that can be found today. The D/A converter is a very critical part of the digital audio chain, after all you have to convert it to analog to hear it, and we feel this should be a true as possible in its reconstruction of the original signal. The sound of the M1 is intended to be transparent and revealing, and fully dynamic. This in part is made possible by the lowering the jitter to extremely low levels, providing a pure digital signal chain with no SRCs ( sample rate converters) or digital volume controllers, superior digital filter design, coupled to a fast transparent analog signal path with a discreet analog output section and plenty of good clean linear power for optimum analog performance.Many hours of listening were done to tune the M1 to an exacting sound, with all types of music, and with extensive testing done in the studio and in the home. We hope you find the M1 to be pleasing and enjoyable to hear and use in the home, or as a precision tool for high level reference monitoring for the professional.
Acousonics Cityfuser White provide uniform sound diffusion in conjunction with very low weight and low cost. It is ideal for installation in:• Studio Recordings• Home Cinemas• Studio Control Room• Other areas with acoustic requirements.The package includes 3 units SPECIFICATIONS With its innovative design achieves effective uniform dispersion of the first reflections and contribute to achieving crystalline sound. Also shows little sound absorption.Manufactured from high density polystyrene Self extinguishing. It can be painted in various shades. Features circumferential shoulder, so that it can be mounted in suspended ceilings standard profiles (minimum distance from ceiling 40cm) or properly mounted on the wall. The Acousonics Cityfuser are made in such a way that it can be installed in the same direction while maintaining uniform aesthetic effect.Dimensions: 59 x 59 x 13 cm (L x W x Y).
Acousonics Artfuser provide uniform sound diffusion in conjunction with very low weight and low cost. It is ideal for installation in:• Studio Recordings• Home Cinemas• Studio Control Room• Other areas with acoustic requirements. SPECIFICATIONS With its innovative design achieves effective uniform dispersion of the first reflections and contribute to achieving crystalline sound. Also shows little sound absorption.Manufactured from high density polystyrene Self extinguishing. It can be painted in various shades. Features circumferential shoulder, so that it can be mounted in suspended ceilings standard profiles (minimum distance from ceiling 40cm) or properly mounted on the wall. The Acousonics Artfuser are made in such a way that it can be installed in the same direction while maintaining uniform aesthetic effect.Dimensions: 59 x 59 x 13 cm (L x W x Y).
Built from the same technology found in MOTU's flagship MIDI Timepiece, the MIDI Express 128 is a professional MIDI interface that provides plug-and-play connectivity to any USB-equipped Mac or Windows computer. The Express 128 provides 8 MIDI IN, 9 MIDI OUT, 128 MIDI channels and compatibility with all Macintosh and Windows software.The MIDI Express 128 takes full advantage of USB, giving you high-speed MIDI throughput, sub-millisecond timing accuracy, support for "hot-swapping" and plug-and-play expansion. Need to connect another sound module or synth? No problem. Just add another MOTU USB MIDI interface via any available USB port. And the Express 128 is powered by USB – no wall wart or AC plug.No other MIDI interface offers this much value and performance at such an affordable price.FeaturesMIDI connectivity - Provides eight independent MIDI inputs and outputs for a total of 128 MIDI channels.Expansion - MOTU MIDI interfaces grow with you. Expansion is simple. Add additional MIDI ports by plugging in another MOTU MIDI interface.Compatibility - Works with your favorite software. Includes drivers for Mac OS X and Windows. High-speed USB connection.USB-Powered - Bus-powered from USB connection. No additional power necessary.Rack mountable - With rack ears attached, fits standard 19 inch (48.26 cm) rack at 1U high. Excluding rack ears, chassis dimensions are 19 × 7 × 1.75 inches (48.26 × 17.78 × 4.45 cm).
Bricasti System 1
The Channel Strip is a complete input module with mic pre, dynamics processing, precision EQ and output level control. With extensive signal metering, multiple balanced insert points and an output mute switch, The Channel Strip contains the best features of a large console input channel in a single rack space. It's the perfect choice for anyone looking for that high-performance API console sound.The result of thoughtful engineering, The Channel Strip includes everything needed to record an audio signal. It all starts with the famed 512c Mic Preamplifier, which includes the benefit of additional Mic, Line or Instrument input switching. Next is the 527 multi-mode Compressor with fully adjustable Threshold, Attack, Release, and Ratio controls on detented pots. The patented THRUST® circuit in the 527 gives your track the "in-your-face" punch that has made this circuit an award winner. Also included in The Channel Strip is probably the most recognized and revered API EQ of all time, the 550A three-band Equalizer with its switchable frequencies and 12dB of boost or cut. The 550A's High and Low frequency bands can be individually switched to be shelving EQs, and the "B.P. Filter" switch inserts a 50Hz to 15KHz bandpass filter.At the output of the unit is the 325 Line Driver, taken directly from API console designs with an output level pot and 10 segment meter. The meter can also be switched to show the output level of the preamp. Each of The Channel Strip's processing pieces can be switched in or bypassed individually, while a flip switch internally routes the compressor after the EQ if desired. Additional features include a sidechain input and the famous API 2520/transformer combination. FEATURESAPI 512c Mic PreamplifierAPI 550A EqualizerAPI 527 CompressorAPI 325 Line DriverComplete patching facilities on rear panelTwo ten segment LED VU displaysOutput clips at +30dBm
Shock mount with an integrated pop filter
Prodipe has added colour to its range of headphones. At home, in the studio or even on the train – they’ll look good anywhere. The new Prodipe 3000W and Prodipe 3000BR headphones are as classy as they are high performance, offering a professional sound alongside a brightly coloured, stylishly effective design.Specifications:Operating Principle: ClosedFashion: Supra-auralTransducer Type: DynamicTHD : < 0,2 %Loudhailer: 40mmImpedance: 32 ΩSensitivity: 95dB 3dBFrequency Response: 15Hz-22kHzMax. Power: 400mWRating Power: 250mWCable: About 3m (straight)Plug: 3.5mm+ 6.3mmNet Weight: 233g (with cable)Nominal Headband Pressure: Approx.2.8N
Precision stereo microphone positioning made simple, reliable and repeatable The Spacebar microphone positioner allows for precise and repeatable setting of microphone capsule spacing, angle of incidence, and rotation around the x axis.With precision scales for angle and distance engraved on the Spacebar components, it becomes easy to make perfectly measured and repeatable stereo microphone setups. As well as being able to precisely set microphones in standard stereo configurations (i.e. XY, ORTF, NOS, and AB 50cm), the Spacebar allows for exact settings through the entire continuum of angle and spacing.This allows the user to adjust the stereo microphone array and tailor the pickup field to suit virtually any recording environment We highly recommend The Stereophonic Zoom by Michael Williams, a technical paper that provides detailed information on the relationship between angle of incidence, capsule spacing, and the effective angle of the recorded sound field. It is a very useful reference that can greatly increase the flexibility of your stereo microphone techniques.The Stereophonic Zoom can be downloaded from: http://www.microphone-data.com/pdfs/Stereo%20zoom.pdf The Spacebar system is precision fabricated from machined aircraft aluminum, brass, and stainless steel.Each system consists of a center stand clamp, horizontal bar, and microphone holders.The SB-30 and SB-66 are both supplied with two microphone holder assemblies and an additional tall microphone holder. The taller microphone holder body can be used to raise one microphone to avoid interference if the mic spacing requires that the microphone bodies overlap.The Spacebar system comes in two versions – the SB-30 and the SB-66, which provide the following microphone spacing: model minimum spacing maximum spacing SB-30 7cm (2.75”) 26cm (10.2”) SB-66 7cm (2.75”) 61cm (24”) Also available is a hanging bar (SB-HB-30/66) for installations where the positioner is hung from above.This accessory consists of a tube which mounts to the center clamp through which the microphone cable is threaded. This enables the spacebar to be hung by the microphone cable and positioned via side mounted guide wires.See detailed photo here.The Spacebar system is precision fabricated from machined aircraft aluminum, brass, and stainless steel. If properly cared for it will last a lifetime.
Precision stereo microphone positioning made simple, reliable and repeatable The Spacebar microphone positioner allows for precise and repeatable setting of microphone capsule spacing, angle of incidence, and rotation around the x axis.With precision scales for angle and distance engraved on the Spacebar components, it becomes easy to make perfectly measured and repeatable stereo microphone setups. As well as being able to precisely set microphones in standard stereo configurations (i.e. XY, ORTF, NOS, and AB 50cm), the Spacebar allows for exact settings through the entire continuum of angle and spacing.This allows the user to adjust the stereo microphone array and tailor the pickup field to suit virtually any recording environment We highly recommend The Stereophonic Zoom by Michael Williams, a technical paper that provides detailed information on the relationship between angle of incidence, capsule spacing, and the effective angle of the recorded sound field. It is a very useful reference that can greatly increase the flexibility of your stereo microphone techniques.The Stereophonic Zoom can be downloaded from: http://www.microphone-data.com/pdfs/Stereo%20zoom.pdf The Spacebar system is precision fabricated from machined aircraft aluminum, brass, and stainless steel.Each system consists of a center stand clamp, horizontal bar, and microphone holders.The SB-30 and SB-66 are both supplied with two microphone holder assemblies and an additional tall microphone holder. The taller microphone holder body can be used to raise one microphone to avoid interference if the mic spacing requires that the microphone bodies overlap.The Spacebar system comes in two versions – the SB-30 and the SB-66, which provide the following microphone spacing: model minimum spacing maximum spacing SB-30 7cm (2.75”) 26cm (10.2”) SB-66 7cm (2.75”) 61cm (24”) Also available is a hanging bar (SB-HB-30/66) for installations where the positioner is hung from above.This accessory consists of a tube which mounts to the center clamp through which the microphone cable is threaded. This enables the spacebar to be hung by the microphone cable and positioned via side mounted guide wires.See detailed photo here.The Spacebar system is precision fabricated from machined aircraft aluminum, brass, and stainless steel. If properly cared for it will last a lifetime.
Precision stereo microphone positioning made simple, reliable and repeatable The Spacebar microphone positioner allows for precise and repeatable setting of microphone capsule spacing, angle of incidence, and rotation around the x axis.With precision scales for angle and distance engraved on the Spacebar components, it becomes easy to make perfectly measured and repeatable stereo microphone setups. As well as being able to precisely set microphones in standard stereo configurations (i.e. XY, ORTF, NOS, and AB 50cm), the Spacebar allows for exact settings through the entire continuum of angle and spacing.This allows the user to adjust the stereo microphone array and tailor the pickup field to suit virtually any recording environment We highly recommend The Stereophonic Zoom by Michael Williams, a technical paper that provides detailed information on the relationship between angle of incidence, capsule spacing, and the effective angle of the recorded sound field. It is a very useful reference that can greatly increase the flexibility of your stereo microphone techniques.The Stereophonic Zoom can be downloaded from: http://www.microphone-data.com/pdfs/Stereo%20zoom.pdf The Spacebar system is precision fabricated from machined aircraft aluminum, brass, and stainless steel.Each system consists of a center stand clamp, horizontal bar, and microphone holders.The SB-30 and SB-66 are both supplied with two microphone holder assemblies and an additional tall microphone holder. The taller microphone holder body can be used to raise one microphone to avoid interference if the mic spacing requires that the microphone bodies overlap.The Spacebar system comes in two versions – the SB-30 and the SB-66, which provide the following microphone spacing: model minimum spacing maximum spacing SB-30 7cm (2.75”) 26cm (10.2”) SB-66 7cm (2.75”) 61cm (24”) Also available is a hanging bar (SB-HB-30/66) for installations where the positioner is hung from above.This accessory consists of a tube which mounts to the center clamp through which the microphone cable is threaded. This enables the spacebar to be hung by the microphone cable and positioned via side mounted guide wires.See detailed photo here.The Spacebar system is precision fabricated from machined aircraft aluminum, brass, and stainless steel. If properly cared for it will last a lifetime.
The Bottle Caps are Blue's innovative system of eight interchangeable capsules, each offering the recordist a different tonal characteristic and pickup pattern. From airy highs to larger-than-life lows, the Bottle Caps capture anything from vocal to bass, wind instruments to horns — and everything in between with a level of detail and clarity found in only the most expensive and rare vintage classics.
High fidelity 500 series microphone preamplifier module Presenting the m501, our 500 series module version of the venerable m101 mic preamplifier. Now the signature transparency and detail of our circuit designs is available for your 500 series frame. While the 500 series market has plenty of colored mic preamplifier options, the natural, musical clarity of the m501 makes it a welcome addition to the field. This circuit is for engineers confident with the quality of the source, mic section and placement, and wish to capture it with as little coloration or distortion as possible.The m501 module is a balanced, transformerles preamplifier, with 48V phantom, a 75Hz HPF and a 1/4” HI-Z instrument input.Also standard is our exclusive ribbon mic mode, which raises the mic input impedance, bypasses the input decoupling capacitors and deactivates 48V phantom to protect delicate ribbon mics from damage.Large diaphragm, vintage ribbon or trusty dynamic - the m501 brings out the very best in any microphone and takes the guesswork out of your input chain. Stay tuned for complete details.
Prodipe has added colour to its range of headphones. At home, in the studio or even on the train – they’ll look good anywhere. The new Prodipe 3000W and Prodipe 3000BR headphones are as classy as they are high performance, offering a professional sound alongside a brightly coloured, stylishly effective design.Specifications:Operating Principle: ClosedFashion: Supra-auralTransducer Type: DynamicTHD : < 0,2 %Loudhailer: 40mmImpedance: 32 ΩSensitivity: 95dB 3dBFrequency Response: 15Hz-22kHzMax. Power: 400mWRating Power: 250mWCable: About 3m (straight)Plug: 3.5mm+ 6.3mmNet Weight: 233g (with cable)Nominal Headband Pressure: Approx.2.8N
10 slot Rack with Power Supply. The API Model 500VPR is powered externally by a tri-polar power supply and is designed to accept API standard format 5.25" X 1.5" modules. The 500VPR is internally wired for PIN 2 hot, and comes with the API L200PS. The input/output jacks are both XLRs. The 500VPR can hold up to ten API modules. API makes several modules to fit this rack, including the 550A, 550B, 560, 525, and 512C. Like all API products, the 500VPR rack enjoys API's standard 5 year warranty.
The SF-24V ribbon microphone is the pinnacle of our stereo ribbon microphone designs. With the inclusion of vacuum tube circuitry derived from our TEC Award winning R-122V, the SF-24V provides unmatched clarity, detail, midrange reach, and an airiness previously unknown to ribbon microphones. For orchestra, acoustic instruments and all critical stereo applications, the SF-24V is perfection.
