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The voice architecture of the Dave Smith Instruments Mopho is identical to a single voice of the Prophet '08, but with a couple of unique twists to distinguish it from its award-winning sibling.Dave Smith Instruments have added two sub-octave generators - one per oscillator - for additional girth and crushing basses. It also has an audio input that lets you process external audio and mix Mopho's own audio output back in pre-filter for feedback effects that can range from subtle distortion to extreme skronk.The Push It button is a manual trigger that lets you play a specific note or latch notes and sequences on. It can also step through a sequence to play short melodic lines without a keyboard. Of course, Mopho can also be used with a MIDI controller or external sequencer.Mopho is fully programmable and all the parameters can be tweaked from the front panel. The four Assignable Parameters controls are assignable per program for optimum performance control. A free editor is available for Mac OS and Windows to facilitate programming. (And, if you already have a Prophet '08, most of Mopho's parameters can be controlled from the Prophet's front panel via MIDI!)Mopho is perfect for people who want to learn the ins and outs of real analog synthesis without spending a bundle, DJs looking to add some old school sonic spice to their setups, and musicians who will appreciate a great-sounding, very portable mono synth. Dave Smith Instruments Mopho main features include: Affordable, fully programmable mono synth with a 100% analog signal path. Classic, real analog sound—including legendary Curtis analog low-pass filter. Process external audio through the filter and envelopes. Free editor for Mac OS and Windows. 100% analog signal path Two oscillators One classic Curtis low-pass filter (switchable 2- or 4-pole) Analog VCAs Three envelope generators (ADSR plus delay) Two sub-octave generators (one octave down and two octaves down) External audio input with feedback Four assignable performance controls per program Gated 16 x 4 step sequencer (one sequence per program) Arpeggiator Fully programmable (includes free downloadable software editor for Mac OS and Windows) 384 programs I/O: MIDI In, MIDI Out/Thru, Audio In, Left and Right Audio Out, Headphone Out 7.5” L x 5” W x 1.4” H (19.05 cm x 12.7 cm x 3.56 cm) 1.5 lb. (0.7 kg)
The 120 watt RB5 : Portable (top handle plus sprung side handles), Versatile (dual position 'kickback' style cabinet, switchable compressor and limiter, parametric EQ and presence control), and above all, Laney!. What more could you want? Specifications Power RMS 120 Watts Inputs Normal & High Equalisation Bass, Parametric Mid, and Treble Master Presence Control Yes Speaker connections 1x Jack (8 Ohms) FX Loop(s) Yes Drivers 1x12' Celestion & Switchable Horn Cabinet Design Kickback Combo Headphone Socket No Enhance Yes Compressor Yes Limiter Yes : Switchable (with status LED) DI Socket Yes : Pre EQ XLR CD Input No Kick Proof Metal Grill Yes Weight 18.4 Kg Dimensions (mm) 482 x 420 x 445 Master volume Yes
The Laney RB1 - the 'baby' of the new Richter line up probably stands out more than the rest simply due to its ability to kick out an enormous amount of sound from such a portable cabinet. Its 8' custom designed speaker seriously delivers and combined with a simple yet versatile front end with switchable compressor it is a winning combination for your bedroom or recording. Specifications Power RMS 15 Watts Inputs Jack Equalisation Bass, Mid and Treble Master Presence Control No Speaker connections 1x Jack (8 Ohms) FX Loop(s) No Drivers 1x8' Custom Driver Cabinet Design Conventional Combo Headphone Socket Yes Enhance No Compressor Yes Limiter Yes : Internal DI Socket No CD Input Yes (Jack) Kick Proof Metal Grill Yes Weight 9.5 Kg Dimensions (mm) 375 x 364 x 260 Master volume Yes
The 65 watt RB3 is the ideal amp for those smaller gigs. Its twin side handles, rugged construction and kick proof metal grille ensures that it will cope with life on the road. A versatile preamp section gives you the ability to dial in the tone you require when you get to the gig. It has a built in switchable compressor, internal limiter and jack DI socket to keep your engineer happy, too! Specifications Power RMS 65 Watts Inputs Normal & High Equalisation Bass, Swept Mid and Treble Master Presence Control No Speaker connections 1x Jack (8 Ohms) FX Loop(s) Yes Drivers 1x12' Custom Celestion Cabinet Design Conventional Combo Headphone Socket No Enhance No Compressor Yes Limiter Yes : Internal DI Socket Yes : Jack CD Input Yes (Phono) Kick Proof Metal Grill Yes Weight 18.5 Kg Dimensions (mm) 510 x 495 x 305 Master volume Yes
For superior power and sound quality, this amp takes first place. Its a serious piece of kit that has a host of features that you will need when out on the road or recording. Dual input, Bass, treble, and twin parametric Mid, switchable compressor and limiter, DI socket, Tuner output and FX loop. It packs a massive 300 watts output stage that can deliver into a 4 ohm load, hook it up to a Laney RB115 to really blow your band mates, and the audience, away! Specifications Power RMS 300 Watts Inputs Normal & High Equalisation Bass, Twin Parametric Mid (Hi and Lo), and Treble Master Presence Control No Speaker connections 1x Jack (8 Ohms) FX Loop(s) Yes Drivers 2x10' Celestion & Switchable Horn Cabinet Design Kickback Combo Headphone Socket No Enhance Yes Compressor Yes Limiter Yes : Switchable (with status LED) DI Socket Yes : Pre EQ XLR CD Input No Kick Proof Metal Grill Yes Weight 25 Kg Dimensions (mm) Width 458mm x Height 582mm x Depth 397mm Master volume Yes
Spider Valve™ MkII guitar amplifiers are the best of both worlds. The boutique-style, all-tube designs combine with award-winning modeling to deliver muscular tube tone and unsurpassed sonic flexibility.Available in 40-watt combos or a 100-watt head, Spider Valve MkII amplifiers are the result of a groundbreaking collaboration between Line 6 and Reinhold Bogner, the principal designer at Bogner Amplification.16 of the most advanced Line 6 amp models and over 20 stunning effects are here for you to build your tone from the ground up. Explore distinctive clean tones, vintage mid-gain tones on the verge of breaking up, high-gain metal mayhem and more that were inspired by revered American, British or European amplifiers.Add color, character and depth to your tone by pouring on the beautiful delays, tangy mods, lush reverbs, pitch effects and other Smart FX. Plus, take advantage of the Gate, Boost, Quick Loop and the other system effects. And customize each one with unparalleled adjustability and routing options.Spider Valve MkII amplifiers produce unprecedented sonic impact. Get ready for creamy, cascading distortions and enriched tube harmonics that leap from the Celestion® Vintage 30 speakers. The Line 6 modeling flows into the all-tube Bogner-designed 12AX7 preamp and 6L6 power amp sections to produce a guitar-playing experience like no other.But don't take our word for it. According to tube-amp legend Reinhold Bogner, high-end tube performance, response and feel combined with the inspiring capabilities of modeling 'is the perfect marriage!'Spider Valve MkII guitar amplifiers raise the bar even higher. They provide the latest Line 6 modeling, extraordinary deep-editing capabilities and the sophisticated warmth, punch and response associated with the Bogner name.Since leaving his native Germany for Los Angeles in 1989, Reinhold Bogner has earned a maniacally devoted following of discerning guitarists. His loyal fans include Jerry Cantrell, Lyle Workman, Wes Borland, Chris DeGarmo, Keith Urban, Richie Sambora, Steve Stevens, Dan Huff, Allan Holdsworth, Mike Landau, Steve Vai, and more. The evolution of Spider Valve amplifiers will certainly earn him a few more. Spider Valve™ MkII includes over 20 vibrant effects that provide a broad spectrum of colors, textures and dimensions for you to shape your tone. Explore the front-panel Smart FX, which are an instant collection of studio-standard effects. Take advantage of the deep cuts like customizable pre and post Boost settings and other must-have additions to any pros toolbox.Every Spider Valve MkII effect is fully adjustable, totally routable and completely musical. Route any effect pre or post and tweak up to 7 of its parameters for an extraordinary collection of tone-shaping tools.Start smart and dive deep with Smart FX. The 20 brilliant and exceptionally simple front-panel effects deliver unprecedented control and sonic options. Twist the four 'swoosh' knobs to pour on the expressive delays, sweeping filters, swirly phasers and so much more. Apply liberally. (Up to four Smart FX can be used simultaneously.) Easy to use and incredibly infectious, Quick Loop, the built-in 14-second sound-on-sound looper, has a multitude of uses. Create several layers of melody, harmony and rhythm, loop chords for your own accompaniment, or change the routing from Post to Pre and use it to audition your tone with your hands free. Dig a little deeper and discover the pitch effects. Uncover Smart Harmony, Pitch Glide and many other sonic secrets. Smart Harmony provides a chosen note above or below your played pitch. Harmonize within a key and a scale, kick out some triumphant '80s metal leads, and more!
The SPL Transient Designer offers a completely new technology for level-independent shaping of the dynamic response of a sound: For the first time it is possible to control the attack and sustain of a signal in a very simple way!Unlike other dynamic devices, the processing is not goverened by the signal level but rather by its dynamic characteristics, so all signals (loud and soft) are processed equally. The Transient Designer allows you to emphasise or smooth the attack and extend or shorten the sustain. For the first time it is possible to shape the dynamic path of a signal as you want, as if for example you were changing the microphone distance and position after the recording has been made. With no effort you can shorten or lengthen the attack of all kinds of percussive signals, such as the bass drum, snares, toms, congas etc. to give them more kick, or to flatten the signals. It s almost like being able to change the amount of drum damping after the recording. The same applies to virtually any other signal: Amplify or reduce the picking sound of an acoustic guitar, hold the sound of the strings longer, reduce the reverbtime of a choir, compress solo vocals, increase intelligibility, actuate the piano pedal electronically , turn down the slapbass a notch or give it even more attack, etc.Input & Output Instrumentation amplifier, electronically balanced (differential), transformerless Nominal input level: +6dB Input impedance: = 22kOhms Output impedance: < 600Ohms Max. input level : +24dBu Max. output level: +22,4dBu Minimum load ohms: 600Ohms Relay Hard Bypass Power Fail Safety
The Rode M1 can be perfect for long tours as it is built very solid with a solid die-cast body and a sturdy dynamic capsule.The Rode M1 main features include:Live dynamic vocal microphoneHigh output dynamic capsuleGold plated XLR connectorsInternal pop-filter to reduce plosivesFeedback rejecting pick-up patternHeavy duty metal bodyLow handling noiseDesigned and manufactured in AustraliaLifetime Warranty
Now we're getting into serious power and performance territory. The RB6 can deliver 165 watt of floor shaking bass from its precision tweaked power amp stage. Connect a RB115 or RB410 to really get the neighbours complaining. Check out its versatile EQ section (Bass, Twin parametric EQ, Treble and Enhance) controls to dial in any tone you like. Specifications Power RMS 165 Watts Inputs Normal & High Equalisation Bass, Twin Parametric Mid (Hi and Lo), and Treble Master Presence Control No Speaker connections 1x Jack (8 Ohms) FX Loop(s) Yes Drivers 1x15' Celestion & Switchable Horn Cabinet Design Kickback Combo Headphone Socket No Enhance Yes Compressor Yes Limiter Yes : Switchable (with status LED) DI Socket Yes : Pre EQ XLR CD Input No Kick Proof Metal Grill Yes Weight 26.5 Kg Dimensions (mm) 565 x 502 x 490 Master volume Yes
Waldorf is back in the game. With the Blofeld. This synthesizer offers all the unique qualities that made Waldorf a truly legendary brand.The engine inside the heavy duty, full metal chassis of the Blofeld delivers the same fat and rich sound that so many Waldorf users worldwide love when they play their Pulse, Q, Q+, Micro Q, Microwave, Microwave II/XT, or even the flagship Wave.Yes, you've heard it right. The Blofeld is not only capable of producing these warm, organic analog sounds known from the Q synthesizer line, it also sports a wavetable engine like its predecessors with 'Wave' in their names. This unique synthesis system is based upon the revolutionary PPG Wave synthesizers of the early 80s. So when you listen to the Blofeld for the first time, you will instantly recognize those edgy, hard-hitting and bell-like timbres that have been an integral part of so many world hits from the PPG era on, and become increasingly popular once more.In fact it is amazing to realize that nowadays this complex technology fits into such a slim and elegant device. And for a price no-one would have imagined a couple of years ago. Features:Unbeatable price tagSturdy Metal Enclosure7 endless stainless steel DialsGraphic Display 128 x 64 pixels, b/w, white background LEDMore than 1000 Sounds3 Oscillators per voiceFrequency Modulation between the OscillatorsAll Q Oscillator ModelsAll Microwave II/XT/XTk Wavetables2 independent Multi Mode Filters per voiceFilter FM2 Drive stages per voice with selectable Drive Curves3 fast LFOs per voice4 fast Envelopes per voicePowerful Arpeggiatorfreely programmable Arpeggiator Pattern with up to 16 Steps per Sound
Matched pair, includes wooden box. Earthworks cardioid microphones are unlike all the rest, as they have patented near-perfect cardioid patterns. The sound across the entire front hemisphere is remarkably uniform and is flatter at 90 degrees than most microphones are on-axis. This results in uncolored off-axis rejection for recording and greater gain before feedback for live sound. They effortlessly handle up to 145dB SPL while simultaneously revealing subtle details that other microphones mask. All SR models are a superb value and will provide excellent results for both live performance and recording applications. While the SR25 was engineered to be used in their DrumKit System, it can also provide stunning results on a wide variety of instruments and vocals.The SR25 has the same attributes as the SR30 except its high frequency response extends to 25kHz. It will handle up to 145 dB SPL, is smaller in size, weighs less and costs less than the SR30. The performance vs. price ratio of this microphone is excellent. Specifications Frequency Response: 50Hz to 25kHz Polar pattern: Cardioid Sensitivity: 10mV/Pa (-40dBV/Pa) Power requirements: 48V Phantom, 10mA Peak acoustic input: 145dB SPL Output: XLR (pin 2+) Minimum output load: 600 ohm between pins 2 & 3 Noise: 22dB SPL equivalent (A weighted) Dimensions: 6.5"L x 0.86"D Weight: 5.64 oz.
The TC20 (same as SRO) is our least expensive general-purpose omni with high frequency response to 20kHz. Its sound and performance is similar to the TC30 or TC25 and covers the same range of applications. For live sound the TC20 can be used for close miking instrument amps, drums or brass. A TC20 under the strings of a standup bass or inside a kick drum will produce amazing sound. A pair of TC20s connected to a stereo recorder will provide great results for recording rehearsals and performances. The TC20 is great for general studio use and is an exceptional value.
The QTC Series (Quiet Time Coherent) is designed for recording quieter sources such as vocals, strings and distant miked orchestras or choirs. These low-noise omnis are also an excellent choice for drum overheads, close-miked wind and percussion instruments. Earthworks’ reputation for realism is based on these distinctive omnis. Time Coherent Response means these models do not smear the time domain as most microphones do.With a frequency response to 40kHz and excellent impulse response, it will reproduce sounds with incredible detail that are true and life-like, making it an ideal and affordable choice for recording applicationsPerfect for recording the accuracy and full detail of instruments in the studio yet robust and subtle enough to record bird sounds in the jungleIntended for detailed sourcesOmnidirectional polar patternFlat frequency response, fast impulse response and exceptional polar characteristicsAccurate and uncoloredHandles sound levels up to 142dB with no proximity effect or handling noiseRequires 48V Phantom Power
The Quiet Time Coherent QTC30 has an excellent cost/performance ratio. With a frequency response to 30kHz and excellent impulse response, it will reproduce sounds with incredible details that are true and life-like, making it an ideal and affordable choice for recording applications. Its small stainless steel body is 6.5 inches long and has no handling noise. The QTC 30 is an extraordinarily accurate microphone. It provides that famous Earthworks Sound with lower self noise than was thought possible with such a small a diaphragm. The QTC30 delivers flat, extended Time Coherent response from below 6Hz to beyond 30kHz, typically within ±0.5dB from 20Hz-20kHz. More importantly, its impulse response is faster and cleaner than any other recording microphone we have measured except our own QTC1. Its clean impulse performance allows the QTC30 to transduce wave forms exactly giving you a true and accurate representation of sonic events as they happen in the air. What this means for you is stunning, lifelike realism. It offers you the experience of being there. The QTC30 is among the best possible choices for ambient room miking but it is also exquisite for close miking of quieter more delicate sources. This microphone is a very good choice for all applications where natural, uncolored pick up of sound is the desired result. The QTC30 effortlessly captures the full size and natural texture of many difficult and complex sources ranging from Location Recording of Classical, Jazz, Ethnic, Folk and Pop music to Percussion, Piano, Guitar, Upright Bass, Strings, Vocals, Brass, and Woodwinds.It is also useful for those applications when you want to capture natural sounds with the feeling of reality intact, like Sound Effect, Foley, ADR, Sampling, Birdsong and even the subsonic calls of elephants. If you prefer transparency over coloration, a matched pair of QTC30s is a 'must have'. Listen! You can hear all of the sound with the QTC30. It sounds like you are there. This is the microphone of your dreams! Specifications Frequency response on axis: 6 Hz to 30kHz Polar pattern: Omnidirectional Sensitivity: 30mV/Pa (-30.5dBV/Pa) Power requirements: 48V Phantom, 10mA Max acoustic input: 142db SPL Peak output voltage: 10V Output: XLR intended to drive a balanced input (Pin 2+) Min output load: 600 ohms between pins 2 and 3 Noise: 22dB SPL (A weighted); 24.5dB SPL (Unweighted) Dimensions (L x D): 160mm x 22mm (6.25 x .860 inches) Weight: 225g (.5lb)
The TC25 was engineered to be used in the Earthworks Drumkit System, but can also provide stunning results on a wide variety of instruments and vocals. The TC25 has the same attributes as the TC30 except its high frequency response goes to 25kHz. It will handle up to 145 dB SPL, is smaller in size, weighs less, and costs less than the TC30. The performance vs. price ratio of this microphone is excellent. Specifications Frequency Response: 9Hz to 25kHz +1/-3dB Polar Pattern: Omnidirectional Sensitivity: 8mV/Pa Power Requirements: 48V Phantom, 10mA Peak Acoustic Input: 145 dB SPL Output: XLR (Pin 2+) Min Output Load: 600 between pins 2&3 Noise: 27dB SPL equivalent (A weighted) Dimensions (L x D): 6.5" x 0.860" Weight: 0.35 lbs
The SR25 is designed specifically for drums and percussion and is the model that comes in the Earthworks Drumkit™ System. The SR25 has a brilliance that is ideal for drum overheads, percussion, Leslie, guitar and bass. Alone or in combination with Earthworks KickPad™ it is perfect for kick drum. The SR25 is a versatile microphone for general studio and stage use. Its uniform pickup pattern results in remarkably open sound, while excellent off-axis rejection reduces feedback and maximizes available gain.A mounting clip is included with the microphone. This microphone has no removable parts.Earthworks SR25 is a directional prepolari-zed condenser microphone with a first-order cardioid pickup pattern directly coupled to a dedicated wideband, low output impedance transformerless preamplifier. The SR25 requires a standard 48V Phantom Power supply. It features a flat frequency response from 50Hz to 25kHz, fast impulse response, very low handling noise, uniform polar pattern, and high SPL handling capabilities. It provides excellent uncolored rejection of sounds arriving off-axis.Earthworks SR25 is easy to operate. Connect the microphone to a microphone preamplifier supplying 48V phantom power using a standard XLR microphone cable. Please allow up to one minute for the microphone to settle. Plugging in the microphone “hot” (phantom power already present at the input) will not damage the microphone, and is actually preferred for faster settling. It is normal for any phantom powered mic to “pop” when plugged in or powered up. Make sure to mute the signal to speakers or headphones when phantom power is first applied.
The SR30/HC (same as SR78) offers exceptional directional performance for guitar, sax, flute, drums, bass, and vocals. It is ideal for natural sound combined with more off-axis rejection, or to reduce unwanted room sound. It can pick an acoustic instrument, like a guitar, out of an ensemble while still sounding detailed and life-like. It is a powerful tool for broadcast and vocal production applications because its clarity and detail enhances verbal communication. For open, uncolored clarity combined with off-axis uncolored rejection, try an SR30/HC and listen to what it doesn’t pick up.
The SR30 (same as SR77) is a remarkable cardioid that maintains most of the characteristics of our omni microphones. At 6 inches away from the source it sounds as onmi-like as a cardioid can. The off-axis rejection is substantial yet uncolored. Its impulse response is very fast and smooth and the sound stays the same across the entire front hemisphere of pickup. In the studio or on the stage, the SR30 is an ideal choice for a variety of acoustic instruments including sax, flute, trumpet, guitar, piano and drums. It is superior for choir because it doesn't spotlight; rather it picks up an entire section or area with no hot spots. The SR30 is popular among concert tapers because of its open uncolored sound and among jazz enthusiasts for its ability to capture explosive performances while retaining the subtle nuances of artist.Specifications Frequency Response: 30Hz to 30kHz Polar pattern: Cardioid Sensitivity: 10mV/Pa (-40dBV/Pa) Power requirements: 48V Phantom, 10mA Peak acoustic input: 145dB SPL Output: XLR (pin 2+) Minimum output load: 600 ohm between pins 2 & 3 Noise: 22dB SPL equivalent (A weighted) Dimensions: 8.4"L x 0.86"D Weight: 7.94 oz.
Many have told us that there needed to be a better way to mike a piano for churches, performing arts centers and recording studios. The new Earthworks PianoMic System meets all of these needs: Incredible High Definition Audio that will outperform any microphones at any price. Cannot be seen from outside of the piano (needs no stands or mic booms) Superb sound with the piano lid either up or down Virtually no leakage from sounds outside the piano Incredible gain before feedback Recording studios can now record piano with other instruments in the same room Quick, Simple and Easy Setup It all started when sound contractors informed us that they had tried all types of microphones and microphone pickup systems for pianos in churches. They didnΆt like the sound they were getting, they didnΆt like the microphone stands in front of the piano, they couldnΆt get enough sound level before feedback and they were also getting leakage from nearby instruments into the piano microphones. In addition, engineers in recording studios told us how difficult it was to record an acoustic piano in the same room with other instruments. When we let churches and recording studios take the PianoMic prototype for a test drive they were amazed and said it was an absolute winner, hands down! If you have a piano in a church, performing arts center or in a recording studio you too will be amazed when you see and hear the new Earthworks PianoMic™ System featuring Random Incidence High Definition Microphones. For recording studios the PianoMic™ System is a dream. You will never again have to spend the time and effort to mike a piano with stands and booms. Just place the PianoMic™ System inside the piano, position the two microphone heads where you want them and you are done. Anytime you want to record the piano, just plug the PianoMic™ System into your mic inputs and you are ready. Never again will recording engineers have to go to great lengths to record an acoustic piano in the same room with other instruments. Historically, they have had to place microphone booms inside the piano, close the piano lid (leaving room for the mic stand booms) then cover the piano and the openings around the mic booms with heavy moving blankets. It is a nightmare. With the PianoMic™ System, you simply close the piano lid (which will now close all the way because there are no mic booms) and you are in business. Leakage is insignificant, and if thatΆs not good enough, you can now very easily cover the piano with a moving blanket (without having to work around microphone stands and mic booms). Recording studio engineers who have seen and used the PianoMic™ System say the PianoMic is incredible! We took the PianoMic™ System into a church that was having piano sound problems: (1) they couldnΆt use the piano along with the organ, because the piano microphone went into feedback; (2) they were having problems with leakage from instruments in the orchestra into the piano microphone; (3) they could not get the piano loud enough in the choir monitors without running into feedback; (4) they could not hear the full range of the piano (low, mid and high strings) evenly; and (5) they were not happy with the overall quality of the piano sound in the sound system. When they tried the PianoMic™ System they obtained an incredible piano sound and could hear the full range of the piano including the high and low strings. They could now make the piano louder than the organ (without feedback). The choir members were now telling them to turn down the piano in the choir monitors and orchestra instrument leakage into the piano microphones was no longer a problem. The Earthworks® PianoMic™ System overcame every problem they were encountering with their piano sound. The Earthworks® PianoMic™ High Definition Microphones™ do remarkable things with the sound of a piano. You will hear fidelity and detail like never before. Acoustic feedback is no longer a problem. You can have all of the sound level you want and even more, all you will hear is the pristine sound of the piano. Better yet, there are no visible microphone stands or mic booms in front of the piano. All you see is the piano just like it is in the adjacent photo of a performing arts center while you enjoy its magnificent sound. The PianoMic™ System is also ideal for use in touring sound systems as it is easy to transport, easy to position and it will provide the same pristine sound quality every time. The Earthworks PianoMic™ System is a long-awaited, incredible product for performing arts centers. The PianoMic™ System has it all!
HDSPe RayDAT is a multi-channel, multi-format and multi-task tool in stunning professional quality, the ideal solution from recording up to the final mastering. For the first time, even SPDIF (phono) and AES/EBU (XLR) are simultaneously operational due to separated hardware and record/playback devices. RayDAT offers no less than 4 x ADAT optical I/O, SPDIF I/O and AES/EBU I/O. That's a whopping 36 channels of inputs and outputs. On top, there are 2 MIDI I/Os and TotalMix, RME's unsurpassed DSP-based real-time mixer/router, with hardware-calculated level metering and complete MIDI remote capability. HDSPe RayDAT also supports the optional TCO for synchronization to timecode (LTC/video).Internal ADAT inputs and outputs allow to add up to two TDIF ports directly inside the computer via RME's optional expansion boards. HDSPe RayDAT is the newly developed PCI Express version of the HDSP 9652. A genuine PCI Express core consequently takes full advantage of the new format, achieving significant performance gains in multitrack audio. Thanks to RME's secure flash update technology, firmware improvements, adjustments, and bugfixes can be installed easily at any time
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 requiredKSM32/SL - Champagne, with swivel mount, shock mount, aluminum case, phantom power requiredClass 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 response15 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 noiseInternal shock mount reduces transmission of handling noiseReplacement cartridge: RK374Performance CharacteristicsExtended frequency responseVery low self-noiseExceptional low-frequency reproductionHigh output levelHigh input SPL capabilityNo cross-over distortionExtremely uniform polar responseSuperior 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, broadcastingAcoustic instruments -- such as piano, guitar, drums, percussion, stringsWind instruments -- brass and woodwindLow frequency instruments -- such as double bass, electric bass, kick drumOverhead miking -- drums or percussionEnsembles -- choral or orchestralRoom ambiance pick-up -- guitar amplifier or drumsBoth 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.
Stylus RMX is a completely new groove-based virtual instrument plug-in for Macintosh and Windows. Stylus RMX is the first product to offer the combined power of Groove Control™ with Spectrasonics Advanced Groove Engine (S.A.G.E.™) technology giving users dramatic new control over groove production and performance. Spectrasonics’ in-house development team created the new instrument from the ground up, with dozens of new features including the ground-breaking Chaos Designer™, a completely redesigned multi-page user interface, a new core library of sounds, all with a focus on realtime groove creation and performance.“Xpandable” Stylus RMX marks Spectrasonics’ first expandable virtual instrument, with a series of five new “S.A.G.E. Xpanders” for Stylus RMX at $99US retail each. Stylus RMX also can be expanded with existing Groove Control CD-ROM libraries and even REX files – which opens the door for musicians to utilize their own audio loops within the powerful S.A.G.E. Environment.Chaos Designer™ Of the many new capabilities in Stylus RMX, possibly the most innovative feature is the Chaos Designer™. With simple controls, the user can introduce musical Chaos into the groove, which allows it to have constantly evolving variations— giving the impression that the audio grooves are improvising. The results can be subtle or extreme by setting the simple to use controls. A Capture feature allows the spontaneous audio chaos patterns to be made into a MIDI file, dragged and dropped into the host sequencer, and played back again for further editing by the user.
Vicoustic’s Flexi Glue is a complementary product designed to be used with a variety of materials. Its chemical composition is non aggressive, and therefore certified in accordance with the most recent European legal regulations, allowing Flexi Glue to be used in any environment. Also Flexi Glue is perfect for use with polyurethane (foam) or polystyrene (EPS) Vicoustic solutions, assuring their correct and safe application to a room’s surfaces.The Flexi-Glue was designed in collaboration with the best professionals in the chemical industry. Testing also revealed excellent strength and versatility when applied to various materials.
The STC-1S is a laboratory-matched pair of STC-1 cardioid microphones, ideally suited to stereophonic recording, whether you’re capturing a four-piece band or a full symphony orchestra. The variable filter and pad switches further enhance their versatility, allowing you to record many instrument sources, either acoustic or amplified. The STC-1S comes in a luxury wooden case, with mounting clips, windshields and a stereo mounting bar. It is also compatible with the Sontronics Omni and Hyper capsules. The STC-1S pair comes in classic silver or satin black.
With omni, cardioid and figure-of-eight patterns, as well as a 10dB cut/boost function, the ORPHEUS is the perfect workhorse in practically any studio or live sound application. Its low self-noise and unmistakable presence allow you to record the subtlest of instruments or voices without the need to edit afterwards.The highly sensitive 1.07-inch dual-diaphragm capsule is suspended in its own special mount, almost floating in the large, sppherical basket. The body is cast from zinc alloy, which gives almost zero resonance and helps to keep the signal crystal-clear.The ORPHEUS comes supplied in a luxury wooden case, lined with black velvet, and really does sound as good as it looks.TECHNICAL DATAResponse: 20Hz - 20kHzSensitivity: 20mV/Pa -32dB ±2dB (0dB = 1V/Pa 1,000Hz)Polar pattern: Omni, cardioid, figure-of-eightImpedance: ≤200 OhmsEquivalent noise level: 16dB (A-weighted)Max SPL (for 0.5% THD @ 1,000Hz): 125dBPower source: Phantom power 48V ±4V
The Sontronics ST-POP is an adjustable pop filter, and is an essential piece of equipment for anyone recording speech or vocals. The dual-layer nylon mesh significantly reduces the ‘popping’ noises associated with plosive consonants, such as ‘p’ and ‘b’. Similarly, the harshness caused by sibilant sounds – ‘s’, ‘z’, ‘sh’, ‘ch’ – is also dramatically reduced, helping you capture the best possible recording from the very beginning. The flexible arm allows simple and accurate positioning when clamped to any microphone stand. Maintenance is easy too: just unscrew the clamp at the bottom of the ring and remove the cartridge. This can be cleaned in warm, soapy water and left to dry naturally. A replacement nylon cartridge is also included, so that your Sontronics pop filter is always there when you need it.
Meet the studio condenser that captures every nuance. With three switchable polar patterns, the large-diaphragm Audio-Technica AT4050SM exhibits a remarkable combination of qualities: high-SPL capability with transparent and airy uppers/mids complemented by rich low-end qualities. Its dual large diaphragms are gold-vaporized and aged for consistent, outstanding performance. A precision-machined, nickel-plated brass acoustic element baffle provides rock-solid element stability and exceptional sensitivity. Supplied with AT8449 shockmount. Also available as the AT4050SC with the AT8430 isolation stand clamp.Ideal for studio use and live sound productions with vocals, piano, strings, drum overheads, guitar amps, and more. Transparent uppers/mids balanced by rich low-end qualities combine with advanced acoustic engineering for extensive performance capabilities and highest quality Dual-diaphragm capsule design maintains precise polar pattern definition across the full frequency range of the microphone The 2-micron-thick, vapor-deposited gold diaphragms undergo a five-step aging process so that the optimum characteristics achieved remain constant over years of use Three switchable polar patterns: omni, cardioid, figure-of-eight Transformerless circuitry virtually eliminates low-frequency distortion and provides superior correlation of high-speed transients State-of-the-art surface-mount electronics ensure compliance with A-T's stringent consistency and reliability standards Switchable 80 Hz hi-pass filter and 10 dB pad Custom shock mount provides superior isolation Also available as the AT4050SC with the AT8430 isolation stand clamp
Audio-TechnicaΆs high-performance AE4100 cardioid dynamic vocal microphone delivers aggressive sound that stays up-front in the mix. Optimized for the stage, the microphone features superior anti-shock engineering for minimum handling noise. Its rugged construction is engineered to stand up to the rigors of touring. For ultimate protection against vocal plosives, the micΆs hardened-steel outer grille is lined with fine steel mesh and a layer of open-cell foam. A foam disk positioned on top of the element assembly provides the final layer of “pop” protection.ELEMENT DynamicPOLAR PATTERN CardioidFREQUENCY RESPONSE 90-18,000 HzOPEN CIRCUIT SENSITIVITY -55 dB (1.7 mV) re 1V at 1 PaIMPEDANCE 250 ohmsWEIGHT 10.9 oz (310 g)DIMENSIONS 6.97" (177.0 mm) long,1.89" (48.0 mm) head diameter,1.30" to 0.87" (33.0 to 22.0 mm) tapered body diameterOUTPUT CONNECTOR Integral 3-pin XLRM-type
Audio-Technica’s stringent quality and consistency standards set the AT2020 apart from other mics in its class. Its low-mass diaphragm is custom-engineered for extended frequency response and superior transient response. With rugged construction for durable performance, the microphone offers a wide dynamic range and handles high SPLs with ease. The AT2020: the new standard for affordable side-address studio condensers. The price/performance standard in side-address studio condenser microphone technology Ideal for project/home-studio applications High SPL handling and wide dynamic range provide unmatched versatility Custom-engineered low-mass diaphragm provides extended frequency response and superior transient responseCardioid polar pattern reduces pickup of sounds from the sides and rear, improving isolation of desired sound source Pivoting, threaded stand mount attaches securely for easy and precise placement of the microphone
FeaturesThe first and original console designed speciafically for the mastering environment. It's unusually small footprint and low profile ; make it still the most acoustically transparent console on the market.Many options are available to personalize and configure this console to best suit your needs.Racks spec24 total racks spaces in the desk bay.12 total racks spaces in the lower front bay.12 total racks spaces in the lower rear bay.
More gear, more room to expand. This is the same console as the "Plan A" with the addition of 1 additional Rack "POD" section. Buy it complete from the start or, expand your "Plan A" as your needs expand.(with the addition of a plan B Desk surface ). The modular structure of "Mastering Plan Design" allows you to expand or down size your set up without purchasing an entirely new console.
The same gear capabilities as the "Plan B" with a "wrap around" feature that allows you tou reach the controls more easily, and stay closer to the "critical sound field".Optimizes your ability to view and adjust the controls.The flat wedge surfaces between the "Rack Pods" are perfect for mounting "half rack" scopes and other smaller pieces of gear.Specifications36 total rack spaces in the desk bays.18 total rack spaces in the lower front bays.18 total rack spaces in the lower rear bays.
Designed for the Audio Control studios that utilize the newer "Small Format Consoles, like the Digidesign Command 8 or the 003, The Mackie onyx, or 1600 series, and the many other desktop mixers.It is also designed with a lowered rear shelf that lets you drop the LCD monitors down, lowering the acoustical profile of the overall console, and alllowing the center speaker of the 5.1 system to fire with less obstruction. At the same time setting the monitors closer to the mix position.There is enough space for (2) 21 "monitors. The center lower rack section has been removed to allow more leg room.Specifications24 total rack spaces in the desk bays.12 total rack spaces in the lower front bays.12 total rack spaces in the lower rear bays.
The "E" Plan is more a mastering console that shortens the cente desk rack section to 8ru, which allows you to set two LCD Monitors closer to the mix position (as the Plan D console).The low racks have been removed to allow for more leg room.Still retaining the smallest acoustical footprint of any other console.Specifications32 total rack spaces in the desk bays.12 total rack spaces in the lower front bays.12 total rack spaces in the lower rear bays.
The largest console of the group.Designed for the emerging "Dual Function" studios, that utilize the room for both Audio tracking, and Mastering.Large enough to fill with plenty of dual use gear, while stil retaining the low acoustical profile of all of our consoles.the center desk rack has 9ru and can be placed to the right or left side of the center. (must be specified when ordering).Specifications32 total rack spaces in the desk bays.12 total rack spaces in the lower front bays.12 total rack spaces in the lower rear bays.
UNVERSAL AUDIO UAD-2 Quad, PCIe DSP Card, 10x Power of the UAD-1, VST and AU support, cross-platform Mac OS X Tiger/Leopard, Windows XP/Vista, LiveTrack™ Low-latency live monitoring/tracking mode, Use up to 4 UAD-2 and 4 UAD-1 cards in one system, 50$ Voucher for the UAD-Shop included, Mix Essentials II
Universal Audio UAD-2 Octo, PCIe DSP Card with 8x SHARC Processor, all UAD Plugins are processed on the DSP card without using core performance from the host computer, up to 4 Cards in one System. Supported Sample Rates: 44,1 - 192 kHz. Included Plug-Ins: Compressor: LA-2A, 1176LN, 1176SE. EQ: Pultec EQP-1A. Reverb: RealVerb Pro. Channelstrip: CS-1 Plug-In Suite. Supported Formats: VST/AU/RTAS, for WIN XP/VISTA/7/MAC OSX 10.5 or higher. Attention - no Money Back after Activation of the Demo-Plug Ins or Registration of the UAD-2!
Take your iPhone and iPod touch on stage with you .iKlip MINI is a universal microphone stand adapter for the iPhone® and iPod touch® to support your iOS device on stage, in the studio, at school or in the office. iKlip MINI securely supports your iPhone/iPod touch on any standard mic stand, pole or tripod (with diameters ranging from 11 - 20 mm /.43” - .79”) placed on the floor or tabletop.Made of sturdy, durable thermoplastic, iKlip MINI is compatible with every existing iPhone and iPod touch, from the original models to the latest generation devices.
The Perception 120 is a 2/3-inch diaphragm true condenser microphone that offers solid build quality, outstanding performance, and excellent value. The low-mass diaphragm delivers a clear sound with accurate sonic detail. A switchable 20 dB preattenuation pad and bass cut filter make the Perception 120 an excellent choice for a wide range of recording and live sound applicationsSpecifications : Type 2/3" Diaphragm True Condenser Polar pattern cardioid Frequency range 20 to 20,000 Hz Sensitivity 22 mV/Pa (-33 dBV) Max. SPL 130/150 dB (0/-20 dB) for 0.5% THD Equivalent noise level 22 dB-A (IEC 60268-4) Signal/noise ratio (A-weighted) 72 dB Preattenuation pad 0 dB, -20 dB Bass filter 12 dB/octave at 300 Hz Impedance = 1,000 ohms Current consumption
Audiophile 24bit/96kHz D/A-conversion Precision D/A chip from Texas Instruments 8 times oversampling 3 Inputs; 1x USB, 1x optical (Toslink), 1 x coax (SPDIF) Gold-plated RCA line level output sockets Input selector on front New stylish S-design Faceplate in silver or black TECHNICAL SPECIFICATIONS: D/A-converterTexas Instruments TLV320DAC23 8 x Oversampling designSampling rates32kHz, 44,1kHz, 48kHz, 96 kHz (opt & coax)THD95dBDigital inputs1 x coax (S/PDIF) 1 x optical (TOSlink®) 1 x Mini-USBAnalogue out1 pair RCA/CinchOutput voltage1,0VeffDimensions W x H x D103 x 36 x 103 103 x 36 x 115 mm (including sockets)Power supply9V DC / 300mAWeight680g without power supply Software • To take full advantage of the DAC Box S USB features you have to downlod and install: foobar2000, ASIO support andProJect_asio.dllAthensProAudio is not responsible for any programs downloaded.Make sure your computer is equiped with antivirus programs for its safety.
XL Reverb Technology The essence of the M-One XL, the XL Technology, is based on TC's heritage and continual research and development of Reverb technology. XL Reverbs feature new and improved spatial perspectives, across the entire range of Reverb algorithms. The extended range of the 'reverb size' enables extremely wide or narrow spatial imaging, independently of the decay time. By applying 'Reverb size' to both Early Reflections and the Diffused field, the M-One XL achieves any combination from wide spaces with short decay times, to narrow rooms with long decays. Early Reflections, Diffused Fields & ModulationThe high resolution Early reflections found in other high-end TC reverbs and newly improved Diffused field technology specific to the M-One XL , ensure a natural and clear result that no other processor can offer in this price range. The XL Technology stands out by applying sophisticated modulation patterns, simulating the modulation of a real room, and allowing ranges of modulation from the barely audible real-room modulation to heavy chorusing and detuning reverbs, also simulating the vintage style of reverbs. Small Room, a Focus Small Room simulations have been a major focus in the tuning of the XL Reverbs. The Early reflection patterns combined with the new set of Diffused fields, allow realistic simulations of real rooms. Applied to source material, the room simulations will bring clarity and presence to the source. With the flexibility of the XL Technology, Reverbs can be tweaked from virtually transparent Ambience patterns over large Hall reverbs to low-resolution Plates or Spring reverbs. FlexibilityUse the M-One XL to run two of the best sounding reverbs or other quality effects simultaneously without compromising sound. The Easy Parameter Level gives you more flexibility to create cool effects and the control of important parameters is right at your fingertips. Technical Specifications Digital Inpits and Outputs Connectors : RCA Phono (S/PDIF) Formats : S/PDIF (24 bit), EIAJ CP-340, IEC 958 Output Dither : HPF/TPDF dither 24/20/16/8 bit Sample Rates : 44.1 kHz, 48 kHz Processing Delay : 0.1 ms @ 48 kHz Frequency Response : DIO DC to 23.9 kHz ± 0.01 dB @ 48 kHz Analog Inputs Connectors : XLR, balanced Impedance, Bal / Unbal : 21 kOhm / 13 kOhm Max. Input Level : +24 dBu Min. Input Level for 0 dBFS : 0 dBu Sensitivity @ 12 dB headroom : -12 dBu to +12 dBu A to D Conversion : 24 bit, 128 x oversampling bitstream A to D Delay : 0.65 ms / 0.70 ms @ 48 kHz / 44.1 kHz Dynamic Range : 100 dB typ, 20 Hz - 20 kHz THD typ : < 92 dB (0,0025 %) @ 1 kHz Frequency Response : +0/-0.1 dB @ 48 kHz, 20 Hz to 20 kHz Crosstalk :
MHS6005 is a pack of 5 pcs of soft rubber providing attachment of a DPA Miniature microphone on violin, viola, cello or double bass. The holders are to be mounted between the tailpiece and the bridge and can be turned upwards or downwards so that the microphone will be placed either over or under the strings after desired sound colour taste or sound level. The miniature microphone is secured by its cable in a little clip, while the holder itself has a firm grip on two strings of the instrument with small hooks.
Highest quality stereo analog audio up to 384kHz/32bit available on your PC, Mac, Linux computer, iPad or Android tablet. 2.0Vrms line output level, 112dB THD+N. Very low jitter oscillators, asynchronous 2.0 Audio Class USB. Also drives most medium- or high-impedance headphones. Highest value-for-money.Compact size (2x1.4x8.8cm) with hi-end performance hiFace DAC has been conceived to make hi-end equipment performance at hand to budget-conscious audiophiles, without any compromise. One hiFace DAC and a laptop, Mac Mini or even an iPad make for a hi-end music file source at the cost of a middle range digital interconnect.The hiFace DAC includes all necessary features to be the perfect DAC for all kind of hi-fi systems: asynchronous data transfer mode on USB 2.0, compliancy to USB 2.0 Audio Class (no drivers needed for MacOS, IOS, Linux and Android), very low phase noise oscillators and last-generation conversion IC capable of 384kHz and 23 bits.Windows users will enjoy it in Direct Sound, Kernel Streaming, WASAPI and ASIO (depending on the OS version), while Mac users will be able to take advantage from Integer mode and Direct mode. While the hiFace DAC output is purposely designed to give its best with amplifiers’ and preamplifiers’ line level inputs, it may also be used to drive medium- and high-impedance headphones: try it with iPhone’s in-ear headphones.Specifications:Connections: Input 1 x USB A type maleOutput 1 x 3.5mm stereo jack socket I/OStandard: Input USB 2.0 Audio Format, Output stereo analogSampling Frequency 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4khZ, 192kHz, 352.8kHz, 384kHz Resolution 16 up to 32 bitOutput voltage: 2.0Vrms @10kOhmsFrequency response: 5-22kHz (fs=44.1kHz) - 5-150kHz (fs=384kHz)THD+N: 112dB (@ 1kHz, A-weighted)Dimensions:8.8(d) x 1.4(h) x 2(w) Power Supply:5V DC from USB bus Temperature: 0°C to 70°C Weight: 20gr approx.
Earphones for Wireless Monitor applications. The IE 4 reproduces an outstanding sound quality and high dynamic. It is equipped with exchangeable ear sleeves, which gives an optimum fit to different ear cannels. The results are high isolation against environmental noise as well as a very good bass response. Technical SpecificationsTransducer principle: dynamicColour: blackNominal impedance: 16 OhmSound pressure level (SPL): 106 dB(SPL) (1mW)Ear coupling: In-The EarJack plug: 3,5 mm stereoCable length: ca. 1.4 m
