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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
Stereo room simulator with AES/EBU connectors. Uses reverb algorhythms, based on the highly regarded QRS-stereo reverberator-unit from 1982. 2 AES/EBU input-channels and 6 AES/EBU output-channels. Midi I/O.
Stereo room simulator with AES/EBU connectors. Uses reverb algorhythms, based on the highly regarded QRS-stereo reverberator-unit from 1982. 2 AES/EBU input-channels and 2 AES/EBU output-channels. Midi I/O.
Stereo room simulator with AES/EBU connectors. Uses reverb algorhythms, based on the highly regarded QRS-stereo reverberator-unit from 1982. 8 AES/EBU input-channels and 8 AES/EBU output-channels (sub-D25 connector). Midi I/O.
Frontier Design Group’s new TranzPort™ represents a revolutionary way to interact with your Windows® or Mac® digital audio workstation (DAW). Instead of being stuck in front of your computer to compose, record, and produce music/audio, TranzPort gives you the freedom to control DAW functions from anywhere in your studio. TranzPort is easy to set up and use. Right out of the box, it’s compatible with popular DAW software such as Pro Tools®, Sonar™, Logic®, Cubase®, Digital Performer® and others. You can arm tracks, use transport controls, set markers, control pans, punch in/out, start loops, and more from TranzPort’s simple and intuitive interface. TranzPort is a bi-directional controller, so it also provides feedback to you on signal levels, timecode position, track names and more, via a backlit LCD display and LED indicators. Unlike infrared remotes, you don’t need line-of-sight between the TranzPort and your computer. TranzPort uses high frequency radio waves (RF) to send and receive control data, and uses advanced coding and frequency-hopping techniques to operate without causing interference, even in the presence of other wireless devices. Using TranzPort, you can… Adjust monitor mix settings from inside an iso booth, or easily record instruments that are physically incompatible with your workspace (piano, drums, etc.) Get creative in an environment away from the computer (living room, lounge, etc.) without having to run back and forth to the workstation Control your recording while physically removing yourself from unwanted computer noise and monitor hum Add a set of basic DAW controls to a second location in a studio (producer’s desk, separate room, etc.) Remotely control your computer from onstage in live performance without messy cable runs And much more! TranzPort is small and lightweight, runs on standard AA batteries, is mountable to a mic stand (using optional adaptor), and even has a footswitch input. As a very affordable alternative to keyboard/mouse DAW control, TranzPort offers control tools that will speed up your workflow. Compatible with Windows 2000/XP and Mac OS X (10.2.8 and above), and requiring only one USB port for the small receiver, TranzPort is the remote DAW control solution for everyone from personal/project studios to large commercial recording facilities.
The RΨDE NTK is the multi award-winning Class-A tube microphone that has found a home with tens of thousands of professionals around the world. The heart of the NTK is the Australian designed and manufactured HF-2 capsule.The electronic circuitry complementing this very sensitive transducer includes a hand-selected twin-triode 6922 valve and audiophile grade components and lay-out. The result is an ultra-wide dynamic range, very low noise, and stunning tube warmth. The NTK‘s rich valve sound is ideal for vocals, acoustic instruments, drum overheads, guitar amps and pianos. The NTK comes with a dedicated power supply, internal capsule shock mounting, stand mount, zip pouch and a 30’ cable.
The world's first large diaphragm condenser studio microphone with seamlessly variable Polar Patterns, Filter and Pad located conveniently on the microphone body. The NT2000’s state of the art surface-mount electronics combined with the new Australian designed and manufactured HF1 Capsule, provide extremely low self-noise (7 dBA) and a maximum SPL of 147 dB (157 dB with pad fully engaged) ensuring exceptional results and the ultimate in recording creativity. The NT2000 is supplied with the SM2 Shock Mount, together in a durable custom carry case. • Acoustic principle: Externally polarised 25 mm (1”) dual diaphragm condenser • Directional pattern: Multipattern • Frequency range: 20Hz - 20KHz • Output impedance: 200 ohms • Signal noise ratio din iec 651: 87 dB (1kHz rel 1Pa) • Equvalent noise: 7 dBA SPL (per IEC651, IEC268-15) • Maximum spl: 147 dB (@ 1% THD into 1K ohm) 157dB (@ 1% THD into 1K ohm) with pad set to maximum • Sensitivity: -36 db re 1 Volt/Pasca (16 mv @94db SPL) +/- 2 dB • Dynamic range din iec 651: 140 dB (per IEC651, IEC268-15) • Power supply voltage: Phantom P48 • Weight without battery: 831 gm • Weight with battery: 2.6 kg
Like its name suggests this RODE microphone was specifically designed ‘ON-AIR’ applications where wide frequency response and low distortion are demanded. Winner of the Radio World/US National Association of Broadcasters (NAB) ‘What’s Cool’ award in 1998, the Broadcaster has become an industry standard when studio sound quality is required for on air applications. Utilizing an Australian designed and manufactured RΨDE 1” externally biased condenser transducers, the Broadcaster features a switch-able high pass filter to remove low frequency rumble. A unique ‘ON-AIR’ LED indicator can be switched “on” or “off” by shorting contacts on the 5 pin audio connector. This feature allows console operators to warn the ‘Talent’ that the mic is live. • Acoustic principle: Externally polarised 25mm (1”) condenser • Directional pattern: Cardioid • Frequency range: 20 Hz ~ 20 kHz • Output impedance: 40Ω • Signal noise ratio din iec 651: >80 dB (1kHz rel 1 Pa; per IEC651, IEC268-15) • Equvalent noise: 114 dB (per IEC651, IEC268-15) • Power supply voltage: P48, P24 phantom • Weight without battery: 577g • Weight with battery: 1.3kg • Dimensions width: 167mm • Dimensions depth: 50mm • Dimensions height: 50mm
Stylish and modern, the NT3 is a studio and location workhorse. With both 48V phantom and internal 9V battery operation, this RΨDE is at home anywhere. Intended for studio, stage and location work, this versatile handheld or stand mounted microphone incorporates a true externally polarized condenser (hyper-cardioid polar response) transducer with an internal capsule shock mounting system, and an ultra-low noise electronic circuit that has a high immunity to R.F. interference. Incorporating a rugged welded and heat-treated mesh head and all metal body. The NT3 is supplied in a zip pouch with a windshield, stand mount and thread adaptor. • Acoustic principle: Externally polarised 19mm (3/4') condenser • Directional pattern: Hypercardioid • Frequency range: 20Hz-20 kHz • Output impedance: 200Ω • Signal noise ratio din iec 651: > 77dB (per IEC268-15) • Equvalent noise: 123dB (per IEC268-15) • Power supply voltage: P48, P24, P12 phantom 9V battery • Weight without battery: 371g • Weight with battery: 680g
The Stereo wonder. The new NT4, a visually striking microphone that solves the age-old problem of stereo recording by eliminating the need to purchase matched pairs and the associated complex set-up bars and adaptors to get professional results. With a fixed 90 Deg. X/Y configuration and perfectly matched stereo condenser capsules, the NT4 lets you record any source with immaculate stereo detail. The NT4 has a 128 dB dynamic range, 143 dBA SPL and low self-noise. Offering selectable battery or phantom power operation with power indicator light, the NT4 is ideally suited to both studio and location recording. The NT4 comes supplied in a custom carry case with a windshield, XLR to mini-jack and dual XLR cables for portable DAT or professional balanced input connection. • Directional pattern: Cardioid per capsule • Frequency range: 20Hz - 20kHz • Output impedance: 200Ohm per side • Signal noise ratio din iec 651: 78dB • Equvalent noise: 128 dB • Power supply voltage: P48 (38V–52V), P24 (20V-26V), P12 (10.8V-13.2V), 9V battery • Current consumption: 4 mA, 2 mA, 2.8 mA, 2.4mA • Weight without battery: 480g • Weight with battery: 2.3kg
With more than a decade of research performed by the Acoustic and Cognitive Spaces Team at Ircam, being at the forefront of scientific and technological innovations, Spat v3 is the most advanced and sophisticated tool for room acoustics simulation and localisation ever designed, managing both spatialisation (source localisation) and room acoustic simulation in a truly consistent and visually logical way.Designed for surround and multi-channel use, Spat v3 presents the option to setup the output arrangements providing a variety of stereo and surround configurations, including subwoofer configuration. With eight input and output channels available in SPAT, configurations up to 7.1 and 8.0 are feasible.Each of the up to eight incoming audio channels is internally mapped to a range of Virtual Sources localized in a 3D space, and connected to a room (a reverb). Up to 3 rooms in parallel are provided, presenting the option to simulate complex spaces (coupled room acoustics).Spat v3 introduce state of the art techniques for room acoustics simulation utilizing advanced perceptive models, concealing the complexity behind the actual algorithms, allowing for intuitive and accommodating user interaction capabilities.Specifications:Availability Ircam Spat v3 is available in the following configurations:Native - AU / VST / AAX NativeProcessing Specifications Ircam Spat v3, as all Flux:: plug-ins, provideUp to 8 channels Input/Output.64-bits internal floating point processing.Sampling rate up to 384 kHz for Native (AU/VST/AAX).Compatibility Windows - XP, Vista, 7, 8 and 8,1 all in both 32 and 64 bits.VST (2.4)AAX NativeMac OS X (Intel) - 10.7, 10.8 and 10.9 in both 32 and 64 bits.VST (2.4)AUAAX Native
The new Aurora line of digital audio converters from Lynx Studio Technology offers unprecedented audio quality and control in single-rack space eight and sixteen channel models. The Aurora 8™ feature 192 kHz analog to digital and digital to analog conversion with front panel control of all routing and sample rate options. Extended functions in Aurora are accessible via computer with the Lynx AES16 or by infrared using compatible laptops and handheld Pocket PCs. The rear panel has Clock and MIDI In and Out connectors and an LSlot bay, for the optional use of ADAT and other audio interfaces. Simultaneous 8 Channel Analog I/O and 8 Channel AES/EBU I/O 24 Bit / 192 kHz Mastering Quality A/D and D/A conversion 192 kHz AES/EBU I/O Supporting Single and Dual Wire Modes Single Rack Space Configuration Extensive Remote Control Capability via Lynx AES16, IrDA and MIDI LSlot™ Expansion Slot for FireWire®, ADAT®, ProTools|HD® and Future Interface Options On-board Digital Mixer Provides Flexible I/O Routing Word clock I/O with Lynx SynchroLock™ Jitter Reduction Technology
The new Aurora line of digital audio converters from Lynx Studio Technology offers unprecedented audio quality and control in single-rack space eight and sixteen channel models. The Aurora 8™ and Aurora 16™ feature 192 kHz analog to digital and digital to analog conversion with front panel control of all routing and sample rate options.Extended functions in Aurora are accessible via computer with the Lynx AES16 or by infrared using compatible laptops and handheld Pocket PCs. The rear panel has Clock and MIDI In and Out connectors and an LSlot bay, for the optional use of ADAT and other audio interfaces.Simultaneous 16 Channel Analog I/O and 16 Channel AES/EBU I/O24 Bit / 192 kHz Mastering Quality A/D and D/A conversion192 kHz AES/EBU I/O Supporting Single and Dual Wire ModesSingle Rack Space ConfigurationExtensive Remote Control Capability via Lynx AES16, IrDA and MIDILSlot™ Expansion Slot for FireWire®, ADAT®, ProTools|HD® and Future Interface OptionsOn-board Digital Mixer Provides Flexible I/O RoutingWord clock I/O with Lynx SynchroLock™ Jitter Reduction Technology
LEXICON PCM96, professional stereo reverb/effects processor, 24bit/96kHz. Includes: 28 legendary Lexicon reverbs, modulation, and delay effects, new mono reverbs and effects including Chamber, Hall, Plate, "Hardware Plug-In" feature with Mac VST and Audio Units software, DAW automation through plug-in format, FireWire streaming through plug-in format, quick softrow keys for fast navigation through complex algorithms, large front panel OLED display, Compact Flash preset storage, HiQnet compatible. Multiple sample rates: 44.1, 48, 88.2, and 96 kHz. Two channels AES/EBU digital I/O, Dual Ethernet and Firewire Connections, MIDI IN, OUT, and THRU, External BNC Wordclock input. 2x XLR analog in/out. 19", 1RU. FEATURES DAW automation FireWire streaming Unrivalled collection of new and legendary Lexicon reverbs and effects Connectivity options include two channels XLR analog, two channels XLR AES/EBU digital I/O Ν plus MIDI, Wordclock, Ethernet and Firewire.
The K 240 MK II is a newly updated version of AKG’s most successful headphones with Varimotion technology and XXL transducers. The K 240 MK II’s semi-open ear cups have around-the-ear coupling to deliver solid bass, accurate mids and crystal-clear highs. Thanks to its lower impedance and improved sensitivity, it can be used with low-output audio sources to deliver its incredible sound. The detachable OFC cable has gold-plated plugs for optimum audio quality and exceptional ease of service. FEATURESProfessional hi-fi stereo studio headphonesSemi-open, circumaural designSelf-adjusting headband for optimum fitPatented Varimotion speakersLeatherette ear pads and velvet ear padsSingle-sided, detachable 3 m cable and additional 5 m coiled cable
Neumann KM184 MT stereo set - 2 KM184 condenser microphones (black), cardioid pattern, 2 x WNS 100 wind shields, 2x SG 21/17 stand adapters.
High directivity and wide frequency response in a relatively short shotgun make this microphone a perfect tool for theater, sound reinforcement, and film/TV applications. Due to its compact and lightweight design, the C 568 B is ideal for camera mount applications. Below 500 Hz it functions as a hypercardioid microphone; above 500 Hz the acoustic interference tube introduces increasing directivity. A switchable 12 dB/octave 120 Hz bass cut filter effectively suppresses rumble and wind noise. The rugged, all-metal body contains the built-in preamp. Phantom powering (9–52 V) required; foam windscreen and stand adapter included. FEATURES Compact, short shotgun microphone Integrated, switchable bass cut filter minimizes mechanical noise Operates on phantom power
The newly designed AKG legend, K 271 MK II combines the benefits of AKG’s circumaural design for extreme comfort and a closed-back design for maximum isolation from ambient noise. Thanks to its XXL transducers, the K 271 MK II sounds clean, smooth and very rich. The K 271 MK II is the perfect choice for any application where sonic bleed could cause problems such as broadcast work. Another important feature of the K 271 MK II is the addition of a switch in the headband that mutes the audio just as soon as the headphones are taken off. FEATURESProfessional circumaural hi-fi stereo studio headphonesSelf-adjusting headband for optimum fitPatented Varimotion speakersHigh noise attenuationFor onstage and studio useAutomute feature mutes headphones when they are taken offLeatherette and additional velvet ear padsSingle-sided, detachable 3 m cable and additional 5 m coiled cable
The Fostex LR16 16-Channel Digital Multitrack Recorder & Mixer is a 16/4/2 live mixer with built-in 16-track recorder all for a very affordable price.The Fostex LR16 can be configured for use as either a regular multitrack recorder or separated I/O box and controller box with just a CAT5 cable to connect them. This clever system by-passes the need for expensive cable looms, snakes or stage boxes. Being engineered by Fostex is features a superb HD recorder and state-of-the-art digital mixer technology.The Fostex LR16 16-Channel Digital Multitrack Recorder & Mixer Main Features include: Connector Box (recorder + I/O) and Controller (mixer section) can be flexibly separated via off-the-shelf CAT5 cable up to 50m. Just one cable from I/O box on the stage to the F.O.H. mixer controller instead of heavy and expensive snake cable. Intuitive analog-like mixer operation in digital domain with 16 inputs faders + 4 bus faders + master fader. Built-in 80GB HD for approx. 16 hours of 16-track uncompressed digital recording (16bit/44.1kHz) or 9 hours at superior digital quality of 24bit/48kHz. One hit of “REC” button starts 16-track recording immediately. Multitrack and Stereo Mix can be recorded simultaneously creating 16 x mono wave files plus 1 x Stereo wave file on the HD. Choice of MTR-like stand-alone integration or separated rack mounting. FAT 32 formatted HD can be mounted on PC or Mac via USB. Digitally controlled TRIM with LIMITER on all the 16 channels. 3-band EQ on all the 16 channels. Built-in Master Effects (Reverb/Delay. USB Host connector to dump recorded data to USB flash memory for easy data transfer to PC or Mac. 10 keys on the recorder panel for instant playback.
The M 147 Tube is a vacuum tube condenser microphone with cardioid characteristic. At the heart of this microphone is the K 47 dual diaphragm capsule, inherited from this model's now legendary predecessors, the U 47 and the M 49. Following the capsule is a tube that functions as an impedance converter. The next stage is an efficient, transformerless output circuit, that guarantees an extremely low self-noise level. Note: This innovative combination of current tube technology with the most advanced solid-state circuitry was decisive in awarding the 1997 TEC Award to the related M 149 Tube mic. The M 147 Tube can feed extremely long microphone cables without affecting the quality of the audio signal. Like all Neumann tube microphones, the M 147 Tube comes with an elegant satin nickel finish. The microphone is delivered as a complete set in a high-quality aluminum case. Included with the microphone are a microphone cable, a metal swivel mount for a mic stand, and a compact universal power supply for standard mains sockets. Our modern manufacturing methods makes it possible to offer this complete set at a very attractive price.
The M 149 Tube is a variable dual-diaphragm microphone. The K 49 capsule — well-known from the legendary U 47 and M 49 microphones — is followed by a tube functioning as an impedance converter. In contrast to earlier concepts — utilizing a transformer — the tube is complemented with a transformerless output circuit design. The M 149 Tube can thus feed long microphone cables without any coloration. Two slide switches are located below the large, acoustically very open headgrille. The switch at the front allows selection one of nine directional patterns. The slide switch at the rear operates a seven-step high pass filter. It allows a very fine adjustment of the cut-off.
The TLM 170 R was the first microphone to use the successful fet 100 technology. Along with a balanced, transformerless output stage it features extremely low self-noise and an impressive dynamic range. Five directional characteristics are selectable by means of a rotary switch. In the sixth position, marked 'R', the directional patterns can be controlled remotely with the N 48 R-2 power supply. There is no special cable necessary for this purpose. The microphone has at its rear a 10 dB attenuation switch for extremely high sound pressure levels, and a high-pass filter to suppress structure born noise.
The TLM 170 R was the first microphone to use the successful fet 100 technology. Along with a balanced, transformerless output stage it features extremely low self-noise and an impressive dynamic range. Five directional characteristics are selectable by means of a rotary switch. In the sixth position, marked 'R', the directional patterns can be controlled remotely with the N 48 R-2 power supply. There is no special cable necessary for this purpose. The microphone has at its rear a 10 dB attenuation switch for extremely high sound pressure levels, and a high-pass filter to suppress structure born noise.
The 'Series 180' consists of three compact miniature microphones with patterns that satisfy the demands of all common studio applications. Because of its optimized mechanical construction and conscious omission of modularity, which is unnecessary in many cases, the 'Series 180' is predestined for economy-minded production and home recording studios. The KM 183 omnidirectional and KM 185 hypercardioid microphones are based on the tremendously successful KM 184 cardioid microphone, which has become a standard within the global studio community in just a very short time. All 'Series 180' microphones are available with either matte black or nickel finish. They come in a folding box with a windshield and two stand mounts that permit connection to the microphone body, or the XLR-connector.
The Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses. FEATURES Channel Dynamics with separately controlled sections for Compressor, Limiter, Gate and Expander. Channel Dynamics includes fully featured 2 Band side chain EQ which can also be used in signal path. Separate Bus Compressor / Limiter with surround multi-format support and selectable Sub channel filtering and gain contribution control. Selectable linear and exponential time constant curves. Highly accurate logarithmic side chain processing. Fully variable soft ratio function for extreme programme tolerance and highly musical compression. Variable harmonic enhancement for extra loudness, presence and 'punch'. Selectable re-dithering function for word length reduction in mastering situations. Extremely low signal path noise and distortion, below -130dBr. All functions are fully automated.
The Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses. FEATURES Channel Dynamics with separately controlled sections for Compressor, Limiter, Gate and Expander. Channel Dynamics includes fully featured 2 Band side chain EQ which can also be used in signal path. Separate Bus Compressor / Limiter with surround multi-format support and selectable Sub channel filtering and gain contribution control. Selectable linear and exponential time constant curves. Highly accurate logarithmic side chain processing. Fully variable soft ratio function for extreme programme tolerance and highly musical compression. Variable harmonic enhancement for extra loudness, presence and 'punch'. Selectable re-dithering function for word length reduction in mastering situations. Extremely low signal path noise and distortion, below -130dBr. All functions are fully automated.
The Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses. FEATURES Channel Dynamics with separately controlled sections for Compressor, Limiter, Gate and Expander. Channel Dynamics includes fully featured 2 Band side chain EQ which can also be used in signal path. Separate Bus Compressor / Limiter with surround multi-format support and selectable Sub channel filtering and gain contribution control. Selectable linear and exponential time constant curves. Highly accurate logarithmic side chain processing. Fully variable soft ratio function for extreme programme tolerance and highly musical compression. Variable harmonic enhancement for extra loudness, presence and 'punch'. Selectable re-dithering function for word length reduction in mastering situations. Extremely low signal path noise and distortion, below -130dBr. All functions are fully automated.
The EQ plug-in is based on the OXF-R3 EQ section. It is a fully functional 5-band application with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The EQ also features 4 different selectable EQ types that cover most of the EQ styles currently popular amongst professional users, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. This plug-in may well provide all the EQ you ever needed. FEATURES Five band parametric design Selectable shelf settings on LF and HF sections LF and HF Filters providing up to 36dB/Octave slope Four selectable EQ types Fully decramped HF response Support for sample rates up to and including 192kHz(96kHz on Demo version) Fully automatable (including separate automation for A and B settings) Includes six plugins in total for optimal DSP usage(Mono and Stereo versions of EQ, Filters, and EQ and Filters)
The EQ plug-in is based on the OXF-R3 EQ section. It is a fully functional 5-band application with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The EQ also features 4 different selectable EQ types that cover most of the EQ styles currently popular amongst professional users, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. This plug-in may well provide all the EQ you ever needed. FEATURES Five band parametric design Selectable shelf settings on LF and HF sections LF and HF Filters providing up to 36dB/Octave slope Four selectable EQ types Fully decramped HF response Support for sample rates up to and including 192kHz(96kHz on Demo version) Fully automatable (including separate automation for A and B settings) Includes six plugins in total for optimal DSP usage(Mono and Stereo versions of EQ, Filters, and EQ and Filters)
The EQ plug-in is based on the OXF-R3 EQ section. It is a fully functional 5-band application with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The EQ also features 4 different selectable EQ types that cover most of the EQ styles currently popular amongst professional users, including some legacy styles which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. This plug-in may well provide all the EQ you ever needed. FEATURES Five band parametric design Selectable shelf settings on LF and HF sections LF and HF Filters providing up to 36dB/Octave slope Four selectable EQ types Fully decramped HF response Support for sample rates up to and including 192kHz(96kHz on Demo version) Fully automatable (including separate automation for A and B settings) Includes six plugins in total for optimal DSP usage(Mono and Stereo versions of EQ, Filters, and EQ and Filters)
The Inflator is a unique process that can provide an increase in the apparent loudness of almost any programme, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to programme material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems. Use the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes. FEATURES Increases the loudness of almost any programme material. Creates warmth, character and dynamic excitement, similar to that of analogue systems. Provides virtual headroom above digital maximum to allow percussive peaks to pass without causing signal overload. Creates artistic effects ranging from subtle tube-like harmonic characteristics for warmth, presence and 'in your face' fatness, to outright saturation distortion modelling. Features two modes of operation - direct and band split - for maximum flexibility and artistic creativity. These two modes also ensure optimal DSP usage. Digidesign Pro Tools HD, Mix compatible (RTAS version also included)
The Inflator is a unique process that can provide an increase in the apparent loudness of almost any programme, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to programme material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems. Use the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes. FEATURES Increases the loudness of almost any programme material. Creates warmth, character and dynamic excitement, similar to that of analogue systems. Provides virtual headroom above digital maximum to allow percussive peaks to pass without causing signal overload. Creates artistic effects ranging from subtle tube-like harmonic characteristics for warmth, presence and 'in your face' fatness, to outright saturation distortion modelling. Features two modes of operation - direct and band split - for maximum flexibility and artistic creativity. These two modes also ensure optimal DSP usage. Digidesign Pro Tools HD, Mix compatible (RTAS version also included)
The Inflator is a unique process that can provide an increase in the apparent loudness of almost any programme, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to programme material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems. Use the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes. FEATURES Increases the loudness of almost any programme material. Creates warmth, character and dynamic excitement, similar to that of analogue systems. Provides virtual headroom above digital maximum to allow percussive peaks to pass without causing signal overload. Creates artistic effects ranging from subtle tube-like harmonic characteristics for warmth, presence and 'in your face' fatness, to outright saturation distortion modelling. Features two modes of operation - direct and band split - for maximum flexibility and artistic creativity. These two modes also ensure optimal DSP usage. Digidesign Pro Tools HD, Mix compatible (RTAS version also included)
The Sonnox Transient Modulator is an application that allows dynamic level of signals to be modified by the transients in the programme material over time. The effect is to bring transient events in the programme forwards, or push them into to the background, such that the attacks of instruments can be accentuated or softened depending on settings. FEATURES Radically changes the dynamics of instruments. Accentuates or flattens attacks and transients. Brings sounds forward or push them back. Increases or reduces the effects of ambience. Produces rounded and dynamic percussive effects. Hardens up and give life to dull or flat-sounding recordings and mixes, without the unwanted changes in overall timbre associated with multi-band compression techniques. Variable harmonic enhancement for extra loudness, presence and 'punch'. Increases overall modulation potential by the reduction of very short peaks.
The Sonnox Transient Modulator is an application that allows dynamic level of signals to be modified by the transients in the programme material over time. The effect is to bring transient events in the programme forwards, or push them into to the background, such that the attacks of instruments can be accentuated or softened depending on settings. FEATURES Radically changes the dynamics of instruments. Accentuates or flattens attacks and transients. Brings sounds forward or push them back. Increases or reduces the effects of ambience. Produces rounded and dynamic percussive effects. Hardens up and give life to dull or flat-sounding recordings and mixes, without the unwanted changes in overall timbre associated with multi-band compression techniques. Variable harmonic enhancement for extra loudness, presence and 'punch'. Increases overall modulation potential by the reduction of very short peaks.
The Sonnox Transient Modulator is an application that allows dynamic level of signals to be modified by the transients in the programme material over time. The effect is to bring transient events in the programme forwards, or push them into to the background, such that the attacks of instruments can be accentuated or softened depending on settings. FEATURES Radically changes the dynamics of instruments. Accentuates or flattens attacks and transients. Brings sounds forward or push them back. Increases or reduces the effects of ambience. Produces rounded and dynamic percussive effects. Hardens up and give life to dull or flat-sounding recordings and mixes, without the unwanted changes in overall timbre associated with multi-band compression techniques. Variable harmonic enhancement for extra loudness, presence and 'punch'. Increases overall modulation potential by the reduction of very short peaks.
LynxTWO 192 kHz Multichannel Audio Reference Interface. The three models offer different analog I/O configurations for versatility and ease of use. The basic LynxTWO-A model, with four analog inputs and outputs, is intended for general usageThe LynxTWO family of PCI cards were Lynx’s first 192 kHz audio products. Introduced in 2000, these three versatile cards offered 192 kHz analog audio and 96 kHz digital audio with world-class converters and time code synchronization on board.With performance that exceeds many stand-alone converters, LynxTWO has set the standard for signal purity, versatile synchronization, powerful hardware mixing, and extensibility to support a variety of multichannel formats including ADAT and multiple AES/EBU or SPDIF.With a design very similar to that of Lynx’s highly acclaimed Aurora converters, LynxTWO delivers near Aurora-quality specs and performance in the compact PCI card format. In fact, using the optional LynxTWO/Aurora Interface Kit, your LynxTWO can act as the computer interface and front end for the Aurora converter. FEATURES200kHz sample rate / 100kHz analog bandwidth (Supported with all drivers)+4dBu or -10dBV line levels selectable per channel pair24-bit AES3 or S/PDIF I/O with full status and subcode supportUp to 8 LynxTWOs can be installed in one Windows computer; up to three in Macintosh computersSample rate conversion on digital inputNon-audio digital I/O support for Dolby Digital® and HDCD32-channel / 32-bit digital mixer with 16 sub outputsMultiple dither algorithms per channelSMPTE time code reader and generator with MTC conversionComposite video genlockWord, 256 Word, 13.5MHz or 27MHz clock syncExtremely low-jitter tunable sample clock generatorDedicated clock frequency diagnostic hardwareMultiple-board audio data routing and syncTwo LStream™ ports support up to 16 additional I/O channelsCompatible with LStream modules for ADAT and AES/EBU standardsZero-wait state, 16-channel, scatter-gather DMA engineWindows 2000/XP/XPx64/Vista/Vista x64: MME, ASIO 2.0, WDM, DirectSound, Direct Kernel Streaming and GSIFMacintosh OSX: CoreAudio (10.4)Linux, FreeBSD: OSSRoHS compliantOptional LStream Expansion Modules: LS-ADAT and LS-AESInterfaces with Aurora converters via LynxTWO/Aurora Interface KitShips with audio and sync breakout cables, SPDIF adapter cables, CD ROM with manual, all drivers and sample software
Lynx Studio AES-16e PCI Express card, Sixteen-channel AES/EBU Digital I/O, 192 kHz / 24-bit Single-wire and Dual-wire Modes, SynchroLock Jitter Attenuation, Word Clock and Multi-card Synchronization, Powerful Mixing and Routing Engine, Low-latency Drivers for Windows and Macintosh, Cabling for Direct Digital Interface to Yamaha, Apogee, Mackie, and other Equipment, Integrates digital consoles, multi-channel A/D and D/A converters, and hard disk recorders with computer-based workstations, for WIN 2000/XP/VISTA (32- and 64-Bit) and MAC OSX FEATURESSixteen-channel AES/EBU Digital I/O192 kHz / 24-bit Single-wire and Dual-wire ModesSynchroLock™ Jitter AttenuationWord Clock and Multi-card SynchronizationPowerful Mixing and Routing EngineLow-latency Drivers for Windows and MacintoshCabling for Direct Digital Interface Yamaha, Apogee, Mackie, and other Equipment
The EL-Q Lil FrEQ. Instead of daisy chaining EQ's and frequency processors, we tried to cram most of what an Engineer needs into one single-height box, while offering the highest performance of any design we know of.The EQ Sections HP – The High Pass section is a sharp filter that cuts all content below one of eight pre-selected frequencies. We call this particular filter a “colored” filter since it is very steep and has a special shape that prevents thinning out frequencies just above the “cutoff” frequency. The corner frequency is indicated by LEDs that glow softly when the section is bypassed, and brightly when the section is engaged. As with all the EQ sections in the Lil FrEQ, there is a dedicated bypass switch. High and Low Shelving – These are very similar to your standard “Tone Controls”, but extremely high performance, providing exceptionally smooth boost and cut on the “bass” and “treble” frequencies. Parametric EQ Sections – There are four sections of fully parametric EQ… possibly the cleanest parametric EQ section ever produced- operating below .0007% THD (Total Harmonic Distortion) at extremely high audio levels. Try finding those specs anywhere else! Dynamic EQ Section – The DS section combines filters with a compressor-like circuit that can help contain and control excessive high frequency content such as sibilants, especially in the absence of other lower frequency content. There are two modes of operation, with threshold control as well as a frequency select control. There are four LEDs that indicate the amount of Gain Reduction: -1.5dB, -8dB, -14dB, -24dB. The DS section provides the highest performance, easiest to use, and most natural De-esser ever built, as well as a one of a kind, soft knee High Frequency Limiter. You will love it!
The EL7 FATSO is a modern digitally controlled analog device that offers many of the " musical non-linearities" exhibited by the older tube, class A discrete, and magnetic tape mediums. This two channel audio processor will musically integrate frequencies and transients and increase the apparant volume without actual increase in peak levels. In addition, two channels of famous Empirical Labs compression are provided. There are several compressor "types" with fixed attacks and releases (if you want a fully controllable compressor, you will need the Empirical Labs Distressor!).
The Quiet Time Coherent QTC50 is an exciting new addition to the Earthworks microphone line. It has all of the exceptional attributes of our popular QTC40 (same as QTC1). The QTC50 has an extended high frequency response to 50kHz and better impulse response. This microphone is for the sterling purist who demands the very highest quality. The QTC50 is it!
The M30 is a very cost effective reference microphone for SMAART™, MLSSA™, Spectrafoo™, TEF™ & RTA and all “audio band” measurements. It has a flat frequency response, fast impulse response and exceptional polar characteristics. Requires 48V phantom power.
The Dave Smith Instruments Prophet 08 Module is an eight-voice tabletop "knobby" module with all of the features and controls of the Prophet '08 Keyboard (minus the keyboard, of course) in an even more compact enclosure, with a 100% analog signal path.With real analog oscillators, famed Curtis low-pass filters, and analog VCAs, the Prophet '08 Module is capable of reproducing the familiar sounds of its legendary predecessors. But modern features like a greatly expanded modulation matrix and additional modulation sources—like three envelopes and four LFOs per voice—take it way beyond the vintage gear and make this a worthy and unique addition to the Prophet family tree.Dave Smith Instruments Prophet 08 Synthesizer Module features include a gated 16 x 4 step sequencer, arpeggiator, split or stacked key modes with separate stereo outputs per layer, and rack ears for optional rack-mounting. The Prophet '08 module can also be used as an expander to increase the polyphony of another Prophet '08—keyboard or module—to 16 voices.Dave Smith Instruments Prophet 08 Module main features include: The only affordable, full-featured polysynth with a 100% analog signal path Classic, real analog sound—including legendary Curtis analog low-pass filters—married to a modern feature set Small footprint, huge sound 4U Rack mountable Tons of knobs for direct, real-time editing and performance Used as an expander, increases polyphony of another Prophet '08 to 16 voices Two digitally controlled analog oscillators per voice Classic Curtis analog low-pass filters Extensive modulation routing capabilities Four-on-four splits and layers with separate stereo outputs for each layer Arpeggiator, gated 16 x 4 step sequencer, and LFOs all syncable 2 digitally controlled analog oscillators (DCOs) per voice with selectable sawtooth, triangle, saw/triangle mix, and pulse waves (with pulse-width modulation), and hard sync White noise generator 1 Analog Curtis low-pass filter per voice, selectable 2- and 4-pole operation (self-resonating in 4-pole mode) 3 Envelope Generators: filter, VCA, and assignable (four-stage ADSR + delay); Envelope 3 can loop 4 LFOs Glide (portamento): separate rates per oscillator Analog VCAs MIDI In, Out, Thru, and Poly Chain Main stereo audio output: 1/4" unbalanced Output B stereo audio output: 1/4" unbalanced Sustain pedal input: accepts normally on or normally off momentary footswitch Pedal/CV input: responds to expression pedals or control voltages ranging from 0 to 5 VDC (protected against higher or negative voltages) Headphone output: 1/4" stereo phone jack Includes power supply for 110V – 240V AC operation (13-15 VDC, 400 mA) and operation manual. Dimensions: 3.25" H X 18.5" L x 7" W (8.25 cm x 47 cm x 17.8 cm) Weight: 8.5 lbs. (3.86 kg)
Use the Shure A50D to mount a microphone onto a drum. A screw on the mount secures the microphone, and an adaptive brass washer (european insert) is available to accommodate an even wider range of microphone models. The flexible, yet sturdy, rubber construction provides stability and ease of installation.
