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The Shure Beta 58A is a high-output supercardioid dynamic vocal microphone designed for professional sound reinforcement and project studio recording. It has become a leading choice among vocalists and touring professionals worldwide. The Beta 58A maintains a true supercardioid pattern throughout its frequency range. This insures high gain before feedback, maximum isolation from other sound sources, and minimum off-axis tone coloration. The Beta 58A has a shaped frequency response that is ideal for close-up vocals. The superb performance of this microphone is not affected by rough handling because of its rugged construction, proven shock mount system, and hardened steel mesh grille. FeaturesUniform supercardioid pattern for high gain before feedback and superior rejection of off–axis sound Neodymium magnet for high signal–to–noise output Hardened steel mesh grille that resists wear and abuse Advanced pneumatic shock mount system that minimizes transmission of mechanical noise and vibration Minimally effected by varying load impedance Legendary Shure quality and reliability
The Shure SM86 is a unidirectional (cardioid) condenser vocal microphone for professional use in live performance. An extremely rugged microphone, the SM86 withstands the rigors of touring while delivering studio-quality sound. The tailored frequency response of the SM86 reproduces vocals with clarity. A cardioid pickup pattern isolates the main sound source while minimizing unwanted background noise. The built-in three-point shock mount minimizes handling noise, and a two-stage pop filter reduces wind and breath "pop" noise. FEATURESCondenser cartridge for studio quality soundTailored frequency response for a clear reproduction of vocalsRugged construction withstands the rigors of touring soundCardioid polar pattern minimizes unwanted background noiseExcellent choice for stage monitors and personal monitorsBuilt-in three-point shock mount minimizes handling noiseTwo-stage "pop" filter reduces wind and breath noise
The Shure Beta 56A microphone has a frequency response specifically tailored for drums and instruments. Its extremely uniform supercardioid pickup pattern provides high gain-before-feedback and excellent rejection of unwanted noise. A built–in dynamic locking stand adapter with an integral XLR connector simplifies installation. The stand adapter keeps the microphone securely in place, even if it is struck by a drumstick. Typical Beta 56A applications include close miking of tom–toms and other percussion instruments, as well as guitar amplifiers, brass instruments, and woodwinds. FEATURESTailored frequency response provides drums, amplified instruments, and horns with studio quality sound Built–in stand adapter with dynamic locking system and XLR connector simplifies setup and provides greater flexibility Uniform supercardioid pattern for high gain-before-feedback and superior rejection of off–axis sound Compact design reduces stage clutter Hardened steel mesh grille resists wear and abuse Neodymium magnet for high signal–to–noise ratio output Minimally affected by varying load impedance Advanced pneumatic shock mount system that minimizes transmission of mechanical noise and vibration Legendary Shure quality and reliability
The DMK57-52 Drum Mic Kit is a conveniently packaged selection of microphones and mounts, designed to offer a core package of microphones for recording and performing drummers at a great price. The Drum Mic Kit includes three SM57 microphones, one Beta 52A microphone, three A56D drum-mounting systems, and a lightweight, durable carrying case. SUGGESTED APPLICATIONS: Kick Drum Snare Drums Rack/Floor Toms
The Shure Beta 87A is a premium quality supercardioid hand-held electret condenser vocal microphone with exceptionally smooth frequency response and high sound pressure level capability. Used for professional sound reinforcement, broadcasting, and studio recording applications, the Beta 87A combines superb performance with the ruggedness needed for touring and field production. The Beta 87A features a controlled low-frequency roll-off that compensates for proximity effect and prevents the “boomy” sound often associated with close pick-up. The characteristic Shure presence rise brightens the upper midrange. The tight supercardioid pattern, with null points at approximately 125 degrees, provides maximum isolation from other vocalists or instruments while offering minimal off-axis coloration. The Beta 87A operates on phantom power. FEATURESSmooth frequency response with gradual presence riseHighly consistent supercardioid polar pattern provides superior gain-before-feedbackElectronic low-frequency roll-off compensates for proximity effectWide dynamic range (117 dB) and low distortion characteristicsVery low susceptibility to RFI and electromagnetic humAdvanced cartridge shock-mount system absorbs mechanical shocks and reduces handling noiseBuilt-in pop filter reduces undesirable wind and breath soundsLegendary Shure quality and reliability
The Shure Beta 57A is a high output supercardioid dynamic microphone designed for professional sound reinforcement and project studio recording. It maintains a true supercardioid pattern throughout its frequency range. This insures high gain-before-feedback, maximum isolation from other sound sources, and minimum off–axis tone coloration. Excellent for acoustic and electric instruments as well as for vocals, the extremely versatile Beta 57A dynamic microphone provides optimal warmth and presence. Typical applications include drums, guitar amplifiers, brass, woodwinds and vocals. FEATURESTailored frequency response provides drums, guitars, vocals, and horns with studio quality soundUniform supercardioid pattern for high gain-before-feedback and superior rejection of off–axis soundHardened steel mesh grille that facilitates use of proximity effect and resists wear and abuseNeodymium magnet for high signal–to–noise ratio outputMinimally affected by varying load impedanceAdvanced pneumatic shock mount system that minimizes transmission of mechanical noise and vibrationLegendary Shure quality and reliability
The Beta 87C premium vocal microphone delivers studio-grade performance and a smooth, extended high-end frequency response in a cardioid condenser design. The microphone adds warmth to the frequency response and creates an ideal environment for in ear personal monitoring. And its highly consistent cardioid pattern offers excellent rear rejection. FEATURESSmooth, wide frequency response with slight presence riseUniform cardioid polar pattern for maximum isolationMinimum off-axis tone colorationLow-frequency roll-off compensates for proximity effectThree-stage pop filter minimizes breath pop and noiseBreak-resistant stand adapterFrequency response: 50 - 20,000 Hz
The U5 high-voltage DI-preamp combines a unique passive tone selector with a variable gain preamp and filter. The high input impedance accepts a wide variety of signal levels and instruments from acoustic guitars to high-output active bass guitars and keyboards. The U5 direct box is loaded with sonic character and user features professionals demand. FEATURES Pure Class A, 100% discrete design Smooth musical detail and sonic excellence Variable gain preamp to +30dB. Dual microphone and line outputs Hi-Z 3,000,000 ohm input impedance Very low noise -100dB High headroom +30dB Six tone bank selections. DC coupled Class A output for superior bass High cut switch eliminates noise LED active signal indicator Headphone monitor output jack Low distortion less than 0.5% THD and IMD High level 400 watt speaker input Active to thru selector - ground isolation switch 100% discrete power supplies for audio path Internal toroidal power supply for low noise Long lasting, stainless steel hardware
The R-121 is our flagship microphone and the worlds first radically redesigned ribbon microphone. We did away with the large, heavy, fragile, classic approach to ribbon microphones and went in a completely new direction. The R-121 gives all of the warm, natural tonal response that top engineers have always loved ribbon mics for, but in a compact, light-weight, higher output, tough-as-nails package that was unheard of in a ribbon mic before the R-121.Like many of the best loved classic ribbon mics, the R-121 has a figure-8 pattern, sensitivity in the dynamic mic range, and a warm, realistic tone and flat frequency response. But thats where the similarities end. By using advanced materials and a blend of cutting edge and old-school hand-build construction techniques, the R-121 is a far more versatile and user-friendly ribbon mic that can stand up to the most demanding tasks, including live stage use. Its built solid enough for us to give it a lifetime warranty. The R-121 redefined ribbon microphones so thoroughly that Recording Magazine wrote "the Royer R-121 is destined to become one of the classic microphones of the 21st century". FEATURESHigh SPL Capabilities No internal active electronics to overload or produce distortion up to maximum SPL ratingExtremely low residual noiseRibbon element is not affected by heat or humidityAbsence of high frequency phase distortionEqual sensitivity from front or back of elementConsistent frequency response regardless of distance
8-channel Volume Controller Volume 8 is an active DAW monitoring controller and a puristic surround preamplifier. Features High-end volume potentiometer and illuminated mute switch from ALPS; the potentiometer controls directly (no VCA or DAC circuits) The mute switch allows a quick reaction when speakers or ears need to be protected (e.g. in case of a computer crash) In contrast to digital volume control, where the bit resolution is continuously reduced as the volume decreases, the signal does not deteriorate with analog volume control. In contrast to passive volume control, active volume control does not affect the phase and frequency response. The monitoring signal sounds reliably the same at any monitoring volume. Balanced DB25 (TASCAM standard) connectors High-quality balancing stages with very high common-mode rejection (minimizing interference/interference in the signal paths) High-quality power supply unit with toroidal transformer Solid aluminium knob with 45mm diameter for smooth, sensitive operation Elegantly designed and compact housing for flexible desk positioning close to the screen. Analog Volume Control The monitoring volume is controlled analogously with an 8-gang potentiometer. If the volume is controlled digitally, for example in the DA-converter, the bit resolution decreases with decreasing volume with one bit per -6dB. Usually we listen with about -30 dB at full volume, which decreases the bit resolution by 5 dB. Active or Passive? It is claimed that passive circuits are less signal influencing and more puristic and therefore better. Well, that is not so. A passive control element such as a potentiometer in the signal path, which is not electronically buffered, influences the frequency response and phase position. Both change continuously as you change the volume. This is exactly what does not happen with an active control. Don't Panic The Mute switch has two rights of existence. On the one hand, it allows the speakers to be muted without having to touch the volume control and thus leaving the set volume. Secondly, the Mute switch is a panic switch. Whenever the computer hangs or crashes, there is a risk that a full level signal will reach the speakers. This can be extremely loud and may damage the speakers. The mute switch can be used to quickly turn off the signal and protect the speakers and your hearing. Specifications: Analog inputs & outputs; DB25 (TASCAM standard, balanced) Maximum input & output gain: 21 dBu Input impedance: 22 kΩ Output impedance: 100 Ω Frequency range (-3 dB): 10 Hz – 100 kHz THD + N (10 Hz – 22 kHz, 15 dBu): -100 dBu Noise (A-weighted): -102 dBu Crosstalk (1 kHz): 80 dB Common mode rejection (1 kHz): 60 dB Dynamic range: 123 dB Internal Linear Power Supply with Toroidal Transformer Operating voltage for analog audio: +/- 15 V Operating voltage for relays and LEDs: +12 V Mains Power Supply Mains voltage (selectable): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 250 mA Fuse for 115 V: T 500 mA Power consumption: max. 15 W Dimensions & Weight W x H x D (width x height incl. feet x depth): 215 x 100 x 220 mm Unit weight: 1.9 kg Shipping weight (incl. packaging): 4 kg
Stereo Volume Controller Volume 2 is an active DAW monitoring controller and a puristic high-end preamplifier. Features: High-end volume potentiometer and illuminated mute switch from ALPS; the potentiometer controls directly (no VCA or DAC circuits) The mute switch allows a quick reaction when speakers or ears need to be protected (e.g. in case of a computer crash) In contrast to digital volume control, where the bit resolution is continuously reduced as the volume decreases, the signal does not deteriorate with analog volume control. In contrast to passive volume control, active volume control does not affect the phase and frequency response. The monitoring signal sounds reliably the same at any monitoring volume. Balanced XLR input and output connectors High-quality balancing stages with very high common-mode rejection (minimizing interference/interference in the signal paths) High-quality power supply unit with toroidal transformer Solid aluminium knob with 45mm diameter for smooth, sensitive operation Elegantly designed and compact housing for flexible desk positioning close to the screen. Analog Volume Control The monitoring volume is controlled analogously with an Alps-RK 27 potentiometer. If the volume is controlled digitally, for example in the DA-converter, the bit resolution decreases with decreasing volume with one bit per -6dB. Usually we listen with about -30 dB at full volume, which decreases the bit resolution by 5 dB. Active or Passive? It is claimed that passive circuits are less signal influencing and more puristic and therefore better. Well, that is not so. A passive control element such as a potentiometer in the signal path, which is not electronically buffered, influences the frequency response and phase position. Both change continuously as you change the volume. This is exactly what does not happen with an active control. Don't Panic The Mute switch has two rights of existence. On the one hand, it allows the speakers to be muted without having to touch the volume control and thus leaving the set volume. Secondly, the Mute switch is a panic switch. Whenever the computer hangs or crashes, there is a risk that a full level signal will reach the speakers. This can be extremely loud and may damage the speakers. The mute switch can be used to quickly turn off the signal and protect the speakers and your hearing. Specifications: Analog inputs & outputs:XLR (balanced) Maximum input & output gain: 21 dBu Input impedance: 22 kΩ Output impedance: 100 Ω Frequency range (-3 dB): 10 Hz – 100 kHz THD + N (10 Hz – 22 kHz, 15 dBu): -100 dBu Noise (A-weighted): -102 dBu Crosstalk (1 kHz): 80 dB Common mode rejection (1 kHz): 60 dB Dynamic range: 123 dB Internal Linear Power Supply with Toroidal Transformer Operating voltage for analog audio: +/- 15 V Operating voltage for relays and LEDs: +12 V Mains Power Supply Mains voltage (selectable): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 250 mA Fuse for 115 V: T 500 mA Power consumption: max. 15 W Dimensions & Weight W x H x D (width x height incl. feet x depth): 215 x 100 x 220 mm Unit weight: 1.6 kg Shipping weight (incl. packaging): 3.7 kg
A 1073 style preamp with 3-band inductor based equalizer with high quality components and build quality.
Dual-membrane condenser microphone for authentic multi-pattern vintage mic emulation The ultimate microphone to complete your mic lockerТhis high-quality dual-capsule large-diaphragm condenser microphone captures vocals and instruments with pristine clarity, depth and detail, making it the perfect starting point for emulating a plethora of timeless studio microphones. A legendary libraryEdge Duo is able to call on an extensive and ever-expanding collection of classic mic emulations, with 11 legendary microphone models already available and 7 more soon to be released. All have been meticulously measured from carefully selected original examples in one of the most respected facilities in Germany. Find the full list of Edge Duo emulations below. Unique designHoused in a specially designed low-resonance body with a sleek matte black finish, Edge Duo features a 6-micron gold-sputtered dual-membrane capsule. It provides an incredibly smooth, rich and organic response that the powerful Antelope Audio modeling engine can shape into the true sound of some of the most expensive and sought-after microphones in the history of audio recording. Multi-dimensional mic modelingEdge Duo’s dual-membrane capsule design feeds two separate XLR output channels via the included Y-cable. The signal from each membrane is then individually processed and recombined, delivering the most precise mic modeling on the market. This approach not only means that users can vary the polar pattern from within the plug-in, even after recording. It also allows the Edge Duo to accurately emulate the characteristic on- and off-axis response of each mic for true multi-dimensional mic modeling. High compatibilityThe Edge emulations are designed to work hand-in-hand with Antelope’s own precision mic preamps and converters. For maximum accuracy, Edge Duo can be used with any of Antelope Audio’s mic preamp-equipped interfaces, whose built-in FPGA processing capabilities allow real-time vintage mic emulation.However, Edge Duo also includes Antelope’s native mic emulation plug-ins, meaning you can use any third-party audio interface and even change modeling settings after recording. Available in VST, AU and AAX formats for both macOS and Windows, Antelope’s native AFX plug-ins* provide everything we’ve come to expect from their industry-leading FPGA FX, with minimal latency, a high degree of oversampling and precise floating-point calculations. *iLok 2 or 3 required. Not included in the pack. About the new Edge FamilyBuilding on the success of the acclaimed Edge modeling mic, the new Edge Family from Antelope Audio features three new large-diaphragm condenser mics – the fixed cardioid Edge Solo, the multi-pattern Edge Duo and the dual-capsule, four-output Edge Quadro, capable of 360° stereo recording.Together with Antelope’s constantly expanding range of FPGA and native AFX mic emulation plug-ins, the Edge Family makes Antelope’s unrivalled mic modeling technology available to an even wider range of users and recording applications. Key features:- Powerful mic modeling engine- Duosonic / Stereosonic microphone- Output split into two independent audio channels for maximum control- Large double-membrane condenser capsule- Switchable polar patterns: cardioid, figure-8, omnidirectional and anything in between- Ultra-low resonance headbasket and body construction- Extensive library of vintage mic emulations- Shock mount with pop filter and special oxygen-free copper Y-cable included Mic emulations:Berlin 47 FTBerlin 49TBerlin 57Berlin 87Berlin 67Berlin M103Vienna 12Vienna 414Tokyo 800TOxford 4038Sacramento 121RBerlin K86 (coming soon)Berlin 47 TU (coming soon)Berlin V563 (coming soon)Berlin/Halske M25 (coming soon)Berlin M251 (coming soon)Minnesota 20 (coming soon)Illinois 7B (coming soon) Specifications:Microphone type: Stereo condenser microphoneDiaphragm: Large condenser – double-sided 6u gold-sputtered membranesDiaphragm diameter: 34mmPolar pattern: Multi-pattern (cardioid, figure-8, omnidirectional)Frequency response: 20HZ ~ 20kHZSensitivity: -35dB | 18mV/Pa (-1 to +3dB)THD+N: -116dBSelf-noise: 19dB(A)SNR: 75dB(A)Output impedance: 50 Ohms @ 1kHzPower requirements: 48V DC phantom powerOutput connector: 5-pin male XLRColor: Black matteWeight (mic body): 1.23 lbs (560 grams)Dimensions (mic body): 8.6" x 2.1" (219mm x 53mm) Package contents:Breakout cable: 16.4' (5 meters) 5-pin female XLR to dual 3-pin male XLR (high grade OFC Y-cable)Mount: Shock absorber typeCase: Standard mid-size road case with handle and custom-fit foam inserts
The small version of the PRE-73 offers the same sound as its big brother in a super-compact 4.75" chassis at an unbeatable price. Thanks to the insert jack on the back, the manufacturer's EQ units can be easily combined with the Preamp. In addition, a DI input is located on the front, so that instruments can be preamplified in addition to all common microphone types. The Mk II also offers the user a 2-stage high-pass filter and the popular Air EQ in 2 stages. With a subtle boost at 30kHz, the audio material is significantly upgraded; it sounds more refined, HiFi-like and gets a pleasant presence in the mix.Due to the high level of low-noise preamplification, the PRE-73 is also suitable for low-level dynamic microphones such as the Shure SM7B, the Electro Voice RE20 or ribbon microphones.
Το R 1 ACTIVE είναι ένα έξοχο μικρόφωνο που συνδυάζει το καλύτερο από δύο κόσμους, τη ζεστασιά ενός ribbon και τη σταθερότητα ενός F.E.T. buffer amplifier. Αυτό σημαίνει ότι μπορείτε να χρησιμοποιήσετε το R 1 ACTIVE με μακριά καλώδια και ουσιαστικά οποιοδήποτε προενισχυτή που έχει 48V phantom power.Καθαρός και σαφής ήχος, όμως θερμός και δυνατός είναι αυτό που το R 1 ACTIVE θα αποδώσει στις περισσότερες περιπτώσεις. Το αγαπάμε στα ντραμς, ως μικρόφωνο ατμόσφαιρας ή σε ζευγάρια για overhead. Αλλά το R 1 ACTIVE είναι στην πραγματικότητα ένα πολύ ευπροσάρμοστο μικρόφωνο κατάλληλο ακόμα και για oποιαδήποτε κριτικής σημασίας φωνητική ηχογράφηση!
The R 1 MKII is a high quality vintage style ribbon microphone. It offers the unique and natural sound that has been available in classical microphones like the RCA 44 and 77 that are still used to make high quality recordings today, after almost 70 years. The R1 Mk2 is very well suited for the recording of most sound sources like vocals, acoustic instruments, strings, horns, orchestras and choral groups and many live sound applications.
An Industry-standard Mastering ToolThe Variable Mu Mastering Version is the perfect addition to any professional mastering facility. In fact, since its introduction, it's quickly become an industry standard mastering tool - and it's the limiter/compressor responsible for an incredible amount of hit records over the last decade. The Manley Variable Mu Mastering Version's detented switches let you easily dial up or log favorite settings. Likened to "pouring a bowl of sweet cream over a mix," if you're looking for the ultimate in mastering weaponry for your pro sound armory, you'll find it in the Manley Variable Mu Mastering Version.Behaves much like the vintage Fairchild 670The Variable Mu uses a compression/limiting technique similar to the beloved vintage Fairchild 670. As "mu" means gain, the Variable Mu Mastering Version offers true variable gain by constantly re-biasing the unique 5670 dual triode at the center of the peak-reducing and compression action, allowing the tube to smoothly change its gain. The Variable Mu Mastering Version offers a soft-knee 1.5:1 compression ratio while its limit mode is sharper knee, starting at 4:1 and moving to 20:1 when limiting over 12dB. The knee softens the more limiting is used. To achieve more sounds, you can creatively use distortion by turning up the input and turning down the output while minimizing your use of compression.Premium switches, for logging and recalling settingsUnlike the standard Variable Mu, which uses smooth-moving pots, the mastering-dedicated Variable Mu Mastering Version offers detented steps. This way, you can easily log your settings or recall them. The steps are built with 1% metal film resistors on sealed gold-contact Grayhill switches. Features:Detented steps using 1% metal film resistors on sealed gold-contact Grayhill switchesManley input & output transformers with pure nickel laminations in mu-metal case with flat frequency response20Hz-25KHz frequency responseBalanced Inputs & OutputsFully differential all-tube circuitry using one each 5670, 5751, 7044, & 12AL5 per channelIndependently regulated B+ and Heater suppliesHard-wire Bypass switchSilent conductive plastic input attenuatorRecovery 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec. (Not a 12-step recovery)Variable Attack: 25msec-70msecContinuously variable ThresholdSwitch for Limit or Compress modesFront-panel mounted Meter AdjustLimit (4:1 to 20:1) or Compress (1.5:1)Large Illuminated Sifam MetersStereo Link SwitchMaximum gain: 35 dB
Artists, engineers, and content creators like you are more innovative than ever, and we know how much you rely on your gear to express your creativity. MR Series monitors bring you closer to your music and your mix than ever before to deliver professional results without breaking the bank. With an all-new design, MR Series monitors utilize our proven technology and acoustic tuning to deliver incredible accuracy and clarity. The logarithmic waveguide provides an ultra-wide listening sweet spot and enhanced stereo imaging while the Acoustic Space Control allows you to adjust the frequency response of the monitor to match your studio. Whether it’s dialogue, hip-hop, rock, and beyond, you can listen with confidence knowing your mix will sound great anywhere.The MR824 has been designed with flexibility in mind, featuring XLR, TRS and RCA monitor inputs. The speaker has been housed in an all-wood cabinet that has been treated with acoustic absorption material for a tighter response. Additionally, the MRS10 studio subwoofer can be added for a more powerful, extended low end.Specifications:Equipment: 8 "woofer and 1" tweeter85 watt bi-amplified Class A / B amplifierFrequency range: 35 - 20000 HzLow and high thomann frequency 3-stage adjustableConnections: XLR, jack, RCADimensions (H x W x D): 401 x 277 x 335 mmWeight: 10.4 kg
O νέος τετρακάναλος λαμπάτος προενισχυτής μικροφώνων Manley Force Quad Mic Preamp απο την θρυλική Manley είναι βασισμένος στο περίφημο channel strip Manley Core. Διαθέτει, τον ίδιο έλεγχο στάθμης εισόδου και την ίδια switch control(διάταξη διακόπτών) , (μείον μια mic/line είσοδο ) .Δανείζεται απο τον Core επίσης τον μετασχηματιστή Mic εισόδου και το 12AX7 «vacuum tube gain stage» .Η κύρια τεχνική διαφορά μεταξύ των δύο μονάδων είναι το MOSFET “white follower” , τεχνολογία νέα για την Manley . Διαθέτει επίσης το ίδιο Entrodev PSU με τον Core .Χαρακτηριστικά:Τέσσερα κανάλια - προενισχυτών μικροφώνουΕίσοδος μικροφώνου ( XLR ) , Hi Ζ μέσο Direct Input ( TRS ) ανά κανάλι .Mετασχηματιστή Manley στην είσοδο μικροφώνου .Class A Vacuum Tube Gain-Stage .Stage εξόδου MOSFET “white Follower”
Soundcraft Spirit Folio FX16 II. Mixing console 16CH mono with LEXICON effect 24bit & stereo return, 48V phantom power, 3 band EQ, 2 sub group, direct out for recording & 4 aux sends for effect or monitor.
Surround Monitor Controller The SMC is the industry standard for 5.1 surround monitoring. It combines analog 6-channel volume control with speaker management for 5.1 surround and stereo sources. Source Selection & Speaker Management Two 5.1 and two stereo input sources can be connected to the SMC. This is important because in monitoring, two productions are always compared with each other. The DB25 input is used to connect the DAW balanced. In output routing, channels 1-6 should be selected for 5.1 mixing and 7/8 for stereo mixing. DVDs are often played back on standard DVD or Blu-Ray players for comparison purposes. Their consumer nominal level of -10dBV, which corresponds to a level difference of 7.8dB to the 0dBu studio level, is compensated in the SMC to make loudness comparable. The front and rear stereo pair can each be switched to mono. Mute All is important when the DAW is sending full-scale audio garbage due to a problem. To protect the speakers and your hearing you can quickly mute here. Each loudspeaker can also be switched on/off individually. The balanced inputs are passively looped through to the Slave Out DB25 socket. Here, for example, a multi-channel metering can be connected. The speaker outputs are balanced with TRS jacks. If mono jack plugs (TS) are used, the signal is automatically unbalanced. Specifications: Analog inputs & outputs; DB25 & TRS Jack (balanced), RCA Maximum input gain: 21 dBu Input impedance (DB25 & Jack): 50 kΩ Input impedance (RCA): 10 kΩ Output impedance (Jack): 100 kΩ Frequency range (-3 dB): 10 Hz – 100 kHz THD +N (10 Hz – 22 kHz, 18 dBu): 0.002 % Noise (A-weighted): -98 dBu Common mode rejection (1 kHz): 70 dBu Dynamic range:119 dB Internal Linear Power Supply with Toroidal Transformer Operating voltage for analog audio: +/- 15 V Operating voltage for relays and LEDs: +12 V Mains Power Supply Mains voltage (factory set): 230 V AC / 50 or 115 V AC / 60 Hz Fuse for 230 V: T 315 mA Mains voltage (selectable): 115 V AC / 60 Hz Fuse for 115 V: T 630 mA Power consumption: max. 10 W Dimensions & Weight W x H x D (width x height x depth): 272 x 91 x 220 mm Unit weight: 2,3 kg Shipping weight (incl. packaging): 4,4 kg
Satori is a digitally-controlled true analog monitoring and summing system designed for today’s studios. Antelope’s Orion32 and Zen Studio interfaces have both been praised for their digital clarity, while maintaining the realism of analog sound. Satori features the same high level of uncompromising sound quality thanks to advanced analog circuit design.Mastering-grade transparencySatori provides a monitoring solution that maintains sonic accuracy while routing and switching between source material, especially when the D/A is handled by the clear and natural-sounding Antelope family of converters. Antelope Audio’s extensive background in designing pristine analog circuitry, highly optimized PCB layout and power supply technology result in mastering-grade transparency at a proje ct studio price.Analog summing functionalityIn addition to providing outstanding monitoring capabilities, Satori includes a fully analog 8-channel summing mixer. Analog summing allows engineers who work completely “in-the-box” to mix signals in the analog domain for a more natural blending of instruments. The summing mixer inside Satori maintains punch, headroom and excellent dynamics, while offering the analog sound usually found only from legendary analog consoles.
Pure2 is a mastering-grade 24-bit, 192 kHz AD/DA 2-channel converter and master clock that includes a relay-controlled volume attenuator. It features Antelope Audio’s world-renowned Acoustically Focused Clocking (AFC) technology, and also utilizes pristine analog circuitry, driven by a proprietary multi-stage linear power supply for unsurpassed digital clarity and analog realism. An intuitive software control panel for Mac or Windows provides users the ability to manage all facets of the device operation. Pure2 is also configurable via the front panel with user-definable presets. A/D converter with optimized overloads handlingD/A converter with dual DAC architectureHigh-end headphone amp with a dedicated D/A converterRelay-based analog volume control for accurate monitoringMaster clock with 4th generation of Antelope's AFC jitter management
Whether you’re tracking, mixing or mastering, the Convert-8 will deliver powerful low-end, articulate mids and transcendent highs to every channel in your analog rig. Patched into one of our award-winning analog summing units like the 2-BUS+ or the D-BOX – or to your favorite analog console – the Convert-8 will empower you to create the spacious, three-dimensional soundscapes that only real analog summing can deliver.Compatible with all of today’s digital signals (including the ubiquitous ADAT format) the Convert-8 is ready to take on any mixing or monitoring job from standard stereo and 2.1 to 5.1 and the increasingly popular 7.1 surround format. Recognizing the needs of those who don’t need more analog inputs, the Convert-8 brings today’s very best digital-to-analog conversion within reach of any studio.Our design philosophy includes a strict demand that our equipment be elegant and easy to use, and the Convert-8 exemplifies that philosophy. No menus, no cryptic multi-finger combinations to remember – just clearly labeled single-function buttons.With industry-standard reference levels of -14, -16 and -18dBFS, you can recalibrate the Convert-8 with the push of a button. While many professional converters are only aligned at the factory, the Convert lets you move flexibly between different reference levels on the fly. Anyone who’s ever fumbled around behind a rack with a “tweeker tool” while a second person watches an external meter knows the special value of our front-panel calibration buttons, especially when there’s eight channels or more!Specifications:Signal to Noise Ratio A-weighted, 20Hz to 20KHz: < 114dBSignal to Noise Ratio unweighted, 20Hz to 20KHz: < 113dBDynamic Range A-weighted, 20Hz to 20KHz: < 114dBDynamic Range unweighted, 20Hz to 20KHz: < 113dBJitter: 16ps (100Hz to 40KHz), 18ps (100Hz to 1MHz)Crosstalk rejection: > 114dBu 1kHzReplacement Fuses: USA 2 amp slo-blow for 120V Europe 1 amp slo-blow for 240VTHD+N:THD+N, 1kHz, unweighted, 20Hz to 20kHz, +4dBu out: < 94.5dB (0.00188%)THD+N, 1kHz, unweighted, 20Hz to 20kHz, +22dBu out: < 106.5dB (0.00048%)Frequency Response 96KHz sample rate:DC to 20KHz: +0, -0.25dBDC to 30KHz: +0, -0.5dBDC to 40KHz: +0, -1.0dB
Mackie Mix Compact Mixers deliver the quality you expect from the world leader in compact mixer design. The professional and affordable Mix Series mixers feature high quality components, a rugged metal chassis and features designed for a variety of applications. With Mackie preamps and proven high-headroom, low-noise design, Mix delivers great sound from any source.Specifications:8-channel compact mixer with proven high-headroom, low-noise performance2 mic/line inputs with studio-level audio qualityPan, level and overload indicationPhantom power for studio condenser mics2 stereo 1/4" line inputs3-band EQ on all channels with clean, precise tone shaping1 aux send with stereo 1/4'’ returnsDedicated stereo RCA inputs/outputs for playback or recordingMain L/R outputsHeadphone and stereo control room outputsRugged, reliable design built to lastExtremely compact and portable
Mackie Mix Compact Mixers deliver the quality you expect from the world leader in compact mixer design. The professional and affordable Mix Series mixers feature high quality components, a rugged metal chassis and features designed for a variety of applications. With Mackie preamps and proven high-headroom, low-noise design, Mix delivers great sound from any source.Specifications:12-channel compact effects mixer with proven high-headroom, low-noise performance4 mic/line inputs with studio-level audio quality3-band EQ with clean, precise tone shapingLow cut filter (75Hz)Pan, level and overload indicationPhantom power for studio condenser mics4 stereo 1/4’ line inputs+4/-10dB operationBalance, level and overload indication12 great-sounding integrated effects including reverbs, choruses and delaysDedicated stereo RCA inputs/outputs for playback or recording60mm fader for Main L/R outputsHeadphone and stereo control room outputsRugged, reliable design built to lastExtremely compact and portable
Mackie is a leader in many categories, the small format mixer being among the foremost. The Mix5 represents Mackie's current 5-channel option in the inexpensive, low-profile mixer marketplace, and like all of their small format mixers from the past, the Mix5 is a winner. Perfect for straightforward applications that incorporate a single mic with other sources, Mix5 sounds great and maintains audio quality from any source. It features Mackie's signature "built like a tank" construction care of its rugged metal chassis, and four of Mackie's legendary preamps. Features:1 mic/line input with studio-level audio quality2-band EQ with clean, precise tone shapingPhantom power for studio condenser mics2 stereo 1/4" line inputsDedicated stereo RCA inputs/outputs for playback or recordingMain L/R outputsHeadphone output with separate volume controlRugged, reliable design built to lastExtremely compact and portableSpecifications:Channel aux returns: 1Width: 5.5"Depth: 7.7"Height: 1.7"Weight: 1.4 lbs.Automation: NoChannel Faders: 8Fader type: RotaryMotorized faders: No
The Soundcraft EPM8 is a 8x2 frame size mixer that places emphasizes on quality, audio performance, and an easy to understand, uncluttered control surface. Surface mount technology is used throughout, using close-tolerance components for high accuracy and repeatable settings for EQ and gain controls. The highly transparent GB30 mic preamps-designed by Graham Blyth and used on the larger LX7ii and GB Series consoles-feature high-resolution adjustment over a wide gain range of 55dB, and provide a stunning +22dB headroom through the console. True professional 48-volt phantom power caters to condenser microphones of all types. Unique signal monitoring watches for overload in several channel strip locations and illuminates the LED more brightly as the signal approaches peak. 60mm high-quality faders are used. The monitor and headphone outputs work in parallel so that performers can listen on phones while an engineer listens to studio monitors. Soundcraft EPM8 8-Channel Multi-Format Mixer Features: 8x2 frame size2 configurable auxiliary busesXLR-type and 1/4" metal jack connector socketsRCA phono stereo playback inputs and record outputs3-band EQ with a swept mid on mono inputs2-band EQ on stereo inputsTRS insert sockets and inserts on all mono inputs and mix output10-segment LED output meteringIntuitive and comprehensive solo systemHeadphone outputEasily rack mountable
A 1073 style preamp with selectable two frequency high pass filter, two position air eq and output pad to allow overdriving the output transformer and high quality components and build quality.
The MicroBook IIc provides simultaneous inputs for a microphone, a guitar, and a keyboard or other stereo line level device. The mic preamp delivers neutral coloration and pristine sound, with -20 dB pad and 48V phantom power for condenser mics. Programmable outputs provide flexible monitoring options.The MicroBook IIc is an impressively small 5.5 by 3.6 by 1.25 inches, which means that it slides easily into your backpack — or a large pocket. It also sits nicely next to your laptop or desktop computer. The MicroBook IIc has been engineered with MOTU’s renowned, award-winning audio interface technology, which delivers the uncompromising audio quality and rock-solid performance MOTU interfaces are known for worldwide. You can always record and mix with confidence, even in the most demanding professional recording situations, knowing that decades of engineering experience are behind you, every step of the way. The MicroBook IIc delivers measured audio specs that rival interfaces costing hundreds more.The MicroBook IIc can record and play all channels simultaneously, and high-speed USB 2.0 provides plenty of bandwidth, even at 96 kHz. As the "c" in its name implies, the MicroBook IIc is USB audio class compliant. Use a standard Lightning to USB Camera Adapter (purchased separately) to connect the MicroBook IIc to your iPad. Then record and monitor high-quality audio with your favorite iOS apps. Power the MicroBook IIc with the included Micro-USB cable and AC wall adapter.The two digital rotary encoders not only look good, they feel good, too. Push the volume knob repeatedly to cycle among the main outs, headphones, or both, as indicated by the LEDs. For the mic input, adjust trim and toggle 48V phantom power or the -20 dB pad. Hands-on control is immediate and intuitive. Specifications:Converters: 24-bitSample Rates: 44.1, 48, 88.2, 96kHzAnalog In: 1 x XLR mic input with preamp , 1 x 1/4" hi-Z guitar , 2 x 1/4" TRS phone (balanced/unbalanced) , 1 x 1/8" stereo, "mini" (unbalanced)Analog Outputs: 2 x 1/4" balanced TRS main out , 1 x 1/8" stereo "mini" line out (unbalanced) , 1 x 1/4" TRS headphoneDigital Input: - none -Digital Output: 1 x RCA coaxial S/PDIFComputer I/O: 1 x USB 2.0 "High-speed"Sync Out: S/PDIFHeadphone Output: 1 x 1/4" TRS phone with volume controlPhantom Power: +48VPower Supply: 1 x Micro-B USBTop panel: 2 x 3-segment ladder LEDs • main outs , 1 x 4-segment LEDs • mic in , 1 x 4-segment LEDs • guitar in , 1 x 3-segment LEDs • line in , 1 x 3-segment LEDs • line out , 1 x LED • 48V phantom power , 1 x LED • -20 dB pad , 2 x LEDs • main/phone vol , 1 x digital rotary encoder • mic trim , 1 x digital rotary encoder • main/phone volumePower Specifications: USB bus power (computer) USB-to-AC: power adapter (iPad) , (USB cable and AC wall adapter included)Dimensions: Length: 5 ½ in / 14 cm , Width: 3 ⅝ in / 9.2 cm , Height: 1 ¼ in / 3.2 cm
Designed for musicians and performers who demand mobility without compromising audio quality, the HP2 personal headphone amplifier is a great choice for driving wired in-ear monitors (IEMs), as well as headphones. PreSonus HP-series headphone amplifiers have long been popular for their loud, clean, clear sound and roadworthy built quality.The new HP2 delivers these qualities in an easily affordable, stereo device so you’ll hear every note and beat clearly wherever your music takes you.Portable and compact, the HP2 gives you all you need to drive your headphones or in-ears without complicating your setup. It sports two XLR line-level inputs and one stereo 1/8-inch headphone output with volume control. Operation can be switched between stereo and mono, and a Pan knob is provided. Like all PreSonus gear, it’s built to take the rigors of life on the road. And it mounts on a microphone stand or clips to your belt. Simple, easy to use, built to travel, has the right features, sounds great. That’s how we roll at PreSonus.When you’re playing an extra long show or two shows back-to-back, having to stop and change batteries on your headphone amp is a hassle you don’t need. No worries! HP2 stands for “Has Power 2 Spare.” The HP2 can be powered with an external DC power supply or a nine-volt battery that lasts more than seven hours and includes an LED battery indicator. So you can play those extra-long gigs and hear your monitor mix perfectly—all night long.Features:Battery-powered, stereo headphone amplifierVolume control knobPan control knobStereo/mono operation switchBattery-health LED indicatorsBelt clipSpecifications:Inputs: 2 female XLR connectorsOutput: stereo, 1/8” phone connector2m cable (5-pin mini XLR to 2 female XLRs) included9V battery or DC power supply5/8-inch (27 tpi) microphone stand-mount socketConnector Type: 1/8” TRS stereo, FemaleMax. Output Power: 50 mW / channel, 12Ω
Take control of Bitwig Studio, Logic Pro X, Reason, Cubase, and Nuendo like never before with the tightly integrated hardware control that's only available from Nektar Panorama controllers. Because Nektar Panorama controllers are pre-mapped for these 5 DAWs, every control feature in your DAW software is accessible via the pads, faders, encoders, and buttons on this slick tabletop control surface. A large, clear TFT display even shows you what parameter you are controlling in real time. Take control of Bitwig Studio, Logic Pro X, Reason, Cubase, and Nuendo like never before with the Nektar Panorama P1 control surface.Nektar Panorama P1 Control Surface at a Glance:Command Bitwig Studio, Logic Pro X, Reason, Cubase, or Nuendo from a single device (and say adios to your mouse)Complete channel strip controlSoftware parameters being controlled are displayed on a large TFT displayComplete channel strip controlThere's a lot going on in your DAW's channel strips, and Nektar's Panorama P1 gives you complete control. With the P1, you'll be on a total power trip with immediate access to dynamics, EQ, inserts, sends, and more. You don't even have to look at your computer screen if you don't want to. P1's large color TFT display lets you see what functions you are using and what the settings are in real time. Using the P1 with Bitwig Studio, Logic Pro X, Reason, Cubase, or Nuendo is pretty close to using a hardware console in terms of your workflow efficiency.Features:Dedicated hardware controller for Bitwig Studio, Logic Pro X, Reason, Cubase, or NuendoSpeed up and streamline your workflowSophisticated mapping for popular VST plug-ins and Reason's instruments and rack extensionsQWERTY macros give you 1-key execution of any function you can do from your computer keyboardBuilt-in LCD screen for real time display of controls and functionsIt's also a powerful generic MIDI controllerAssignable footswitch socketSpecifications:Intended Use: Bitwig Studio, Logic Pro X, Reason, Cubase, and NuendoNumber of Faders: 9Fader Throw: 45mmFader Type: StandardNumber of Knobs: 16Knob Type: Rotary EncodersNumber of Performance Pads: 0Performance Pad Types: Not applicableNumber of Soft Keys: 11 (F-keys)Other Controls: 1 x assignable footswitch socketTransport Controls: YesAudio Inputs: No audio inputsAudio Outputs: No audio outputsComputer Connectivity: USBHeight: 1.75"Depth: 9.25"Width: 15.25"Weight: 2.8 lbs.
The Avalon VT737 SP Tube Voice Channel, delivers impeccable clarity with tube warmth and presence for your mic, instrument or line mono channel.The Avalon VT737 SP Mono Mic Pre/Compressor/EQ is a combination tube preamp, opto-compressor and sweep equalizer, with output level and VU metering in 2 rackspaces. Balanced mic, front-panel instrument DI, and balanced line inputs. Class A preamp uses 2 cascaded, dual vacuum-tube triodes configured with minimum negative feedback. The Avalon Vt 737sp has a high-gain switch, high-pass filter, and hardwire relay bypass..The main features of the Avalon VT737 SP include: Tube preampOpto-compressorSweep equalizerOutput level controlVU meteringBalanced mic input, front-panel instrument DI, and balanced line inputsHigh-gain switchHigh-pass filterHardwire relay bypass The main specifications of the Avalon VT737 SP include:Circuit topology: 4 dual triode vacuum tubes (Sovtek 6922), high-voltage discrete Class AGain Range Microphone: Transformer balanced 850/2500 ohm, 0dB to +58dB Instrument: Unbalanced 1 meg ohm, 0dB to +30dBLine: Balanced Class A 20k ohms, -27dB to 28dBMaximum input level and connector types: Microphone26dB@25Hz, +30dB@1kHz balanced XLR Instrument+30dB unbalanced front panel jack socketLine +36dB balanced XLRMaximum output level: +30dB balanced 600 ohms, DC coupled, discrete Class AOutput type and gain: XLR connector, output trim gain -45dB to20dBNoise 20kHz unweighted: -92dBNoise microphone EIN: -116dB, 22Hz-22kHz unweightedDistortion THD, IMD: 0.5%Frequency response -2.5dB: 10Hz-120kHz input filter includedFrequency response -3dB: 1Hz-200kHz line in-outVU meter and gain reduction: High quality illuminated OVU =+4dB and gain reduction to -20dBHigh cut filter: Variable 6dB per octave 30Hz-140HzCompressor type: Optical passive attenuator incorporating twin vacuum tubes and stereo linkThreshold - Ratio: Threshold variable -30dB to +20dB, ratio-compression variable 1:1 to 20:1Attack - Release: Attack variable 2mS to 200mS, release variable 100mS to 5 secondsEqualizer type: Discrete Class A, variable active and switched passive designFrequency bands (4): Treble - switched 10kHz, 15kHz, 20kHz, 32kHz, +/-20dB range, shelf High mid - variable 200Hz-28kHz and 2kHz -28kHz, +/-6dB range, hi-lo Q Low mid - variable 30Hz-450Hz and 300Hz-4k5Hz, +/-16dB range, hi-lo Q Bass - switched 15Hz, 30Hz, 60Hz, 150Hz, +/-24dB range, shelfAC power: Internal toroidal 100v to 240v, 50-60Hz selectable, 75 watts maximumDimensions: 19 x 12 x 3.5 in (482 x 305 x 89mm)Weight: 22lbs. (10kg)
Large-Diaphragm Condenser Microphone.A Secret Weapon Of Pro StudiosThe WA-47F is a faithful recreation of a high-SPL, low-noise classic celebrated as a 'secret weapon' across world-class studios. The original '47-style FET was released in 1969 and gained massive popularity inside recording studios for its ability to handle fast transients with exceptional detail. Compared to popular tube microphones, the WA-47F has a more pristine top end and a tighter, more controllable bass response. Famous artists such as Dave Grohl and Daft Punk used the original 47FET on kick drums, inspiring generations of drummers and engineers. For vocals, legends like David Lee Roth and Michael Stipe used the original to create some of the most beloved music of all time.The WA-47F shares the same sonic profile as that original microphone, making the WA-47F a studio workhorse that will quickly become a go-to mic in your locker.Full Volume. Powerful Detail. No CompromiseLike all Warm Audio microphones, the WA-47F is a no-nonsense studio tool with premium components and elite build quality. Like the originals, the WA-47F takes the sound of the WA-47 tube mic and swaps the valve for solid-state FETs, meaning there’s no compromise between capturing rich midrange, detailed bass, and handling very loud sources. At its core, the WA-47F uses a premium reproduction of the vintage K47-style capsule found in the original microphone for ultra-wide frequency response and detail. The WA-47F uses a single backplate, cardioid-only version of the same capsule used in our award-winning WA-47 tube microphone.The capsule is joined by a custom TAB-Funkenwerk USA Output Transformer that drives the punchy, powerful sound captured by this capsule. The WA-47F pairs premium Fairchild FETs with polystyrene & Wima capacitors and the AMI output transformer, giving the WA-47F the ideal frequency response to capture extra detail and depth. The -10dB pad gives you extra headroom for those loud sources that you need to keep loud. When you need to eliminate unwanted bass frequencies on sources like lead vocals or electric guitar cabs, engage the included 140 Hz low-cut filter to save yourself from unnecessary post-EQ. Our meticulous R&D process allowed us to dial in a true-to-original output level and frequency response that matches the performance expectations of world-class audio engineers and recording facilities.Studio WorkhorseLike the original, the WA-47F’s custom-tuned frequency response captures huge kick drum sounds, punchy guitar & bass cabs, and adds a pristine edge to solo vocals that need to stand out.Kick DrumIn addition to a dynamic mic on the inside of the kick, aimed right at the beater, many engineers choose to add a 47FET-style microphone to the outside of the kick drum on the front head. The dynamic mic on the beater tends to capture the “snap” of the kick, while the WA-47F on the outside will get the “thump” from the drum. The air pressure “boom” of the resonant kick drum head is a huge sound easily missed by the dynamic mic. Adding a WA-47F to your kick will have a huge spatial effect on the sound, making tracks feel more alive and less robotic.VocalsThe original mic was chosen to capture some very famous vocals including Bon Scott (AC/DC), David Lee Roth (Van Halen), and REM’s Michael Stipe. Like the original, the WA-47F delivers powerful, detailed vocals ranging from screaming hair metal all the way to soft falsettos over iconic indie rock.Guitar & Bass CabinetsThe original is also a favorite inside studios for tracking guitar and bass cabinets - especially for percussive, loud guitar parts like you might find on an AC/DC record. The openness of the condenser capsule and the ability for the circuit to handle higher-than-normal SPLs means that you can track guitars LOUD without compromising detail. For those about to rock - you'll notice a difference.WA-47-B-50v CapsuleThe WA-47-B-50v capsule is a true reproduction of the single-backplate K47-style capsule found in the original 47Fet mic. This capsule captures incredible detail across the 20Hz-19kHz frequency response. With a unique gradual climb in the mids and slight scoop in the high end, the capsule inside the WA-47F will quickly make this a favorite mic for any source that demands critical detail and pleasing high end at louder volumes.AMI USA-Made Output TransformerThe history of TAB-Funkenwerk (AMI) transformers goes all the way back to the founding of the most sought-after German analog audio innovations. The TAB (AMI) transformer in the WA-47F is American-made and built to exacting standards as designed by Oliver Archut. The sweet sonic character of the WA-47F would not be possible without the amazing, historically-correct transformer supplied by TAB-Funkenwerk.Fairchild Transistors & Premium CapacitorsThe WA-47F uses premium Fairchild FETs - the same component found in the most exacting and expensive reissues. The polystyrene and premium WIMA capacitors in the WA-47F provide the excellent signal conversion that this circuit demands.Authentic Appearance & Elite Build QualityThe WA-47F is encased in an ultra-durable nickel-plated brass body with an updated headbasket shape adding additional space around the capsule. Every single WA-47F is meticulously hand-inspected at Warm HQ in Austin,TX by real musicians and engineers with a passion for superior sound.
Coveted & Rare. Until Now.The WA-CX12 is a faithful recreation of the most natural and balanced tube mic of all time, lauded for its organic tone and pleasing top end. The original AKG C12 was produced in Austria from 1953 - 1963 and is the definitive version of the 12-style mic. The WA-CX12 sound profile and circuit design is inspired by the original production run of only 2500 mics, which are highly coveted for their ability to capture the natural beauty of vocal performances, room sounds, and other far miking techniques. The list of famous recording artists who have never used a 12-style microphone is likely shorter than the list of those who have. Some of the most notable artists to create music with the original includeThe Beatles, Lupe Fiasco, Tom Petty, Michael Jackson, Alanis Morissette, and Taylor Swift, just to name a few. The WA-CX12 cuts no corners in achieving the highly coveted open, airy, and natural sound profile used over and over again by some of the world’s most recognized engineers and artists.No-Compromise ComponentsThe WA-CX12 is a professional large-diaphragm tube microphone with premium components, elite build quality, and is hand-inspected in Austin, Texas. The circuit design of the WA-CX12 is faithful to the original production run from 1953-1963, and serves as the basis for the historically accurate sound profile. Like the original, the WA-CX12 tone is mostly flat until a slight dip at 2kHz with a gradual boost between 5-10kHz. At the beginning of the chain, the CX12 has an edge-terminated, all-brass CK12-style capsule, that stays true to the frequency response of the original-run 12-style microphones.This capsule allows the WA-CX12 to have 9 polar patterns with the typical cardioid, omni, and figure-8, in addition to 6 intermediate patterns. . Moving down from the capsule, the WA-CX12 uses a premium 12AY7 vacuum tube for added warmth. At the end of the circuit, the WA-CX12 uses a custom TAB-Funkenwerk (AMI) USA Output Transformer, which gives the WA-CX12 a very full, wide, and open sound, getting the most out of the capsule and additional circuit components. The WA-CX12 has premium capacitors throughout, and a no-solder mask board for the lowest noise possible. As with all Warm Audio products, we focus heavily on quality components to ensure we release the best sounding product possible.True To Legacy, True To SoundThe WA-CX12 sound profile is known for capturing the real sound of a performance. Designed to provide clarity in the midrange and smooth out any high end harshness, the WA-CX12 delivers professional solo vocals, intricate piano performances, and epic, natural room sounds.VocalsThe gently tuned 5-10kHz boost of the WA-CX12 accentuates and smoothes out the upper register in many vocal performances.PianoOne of the more popular studio uses for the original 12-style microphone is as a stereo pair on grand piano. Because of the mic’s relatively flat frequency at 0dB until the top-end boost kicks in, the WA-CX12 adds just the right amount of pristine high end to a piano performance.Room SoundsWhether it’s room reflections, splashy cymbals, or guitar & bass cabinets - mixing in a distant WA-CX12 can bring a natural “live” sound to professional recordings.Premium Components - Elite Build Quality - Superior SoundWA-12-B-60V CEK12-Style CapsuleThe WA-12-B-60V CK12-style capsule accurately matches the frequency response of the original capsule found in vintage C12 mics. This capsule captures incredible detail across the 30Hz-20kHz frequency response. With a remarkably flat response until the top-end boost starts to hit around 3k, the capsule inside the WA-CX12 will help you capture natural sounds with some added top-end smoothness before the pleasant 19kHz rolloff.AMI USA-MADE Output TransformerThe history of TAB-Funkenwerk (AMI) transformers goes all the way back to the founding of the most sought-after German analog audio innovations. The TAB (AMI) transformer in the WA-CX12 is American-made with large-core German laminations and built to exacting standards as designed by Oliver Archut. The custom transformer drives the full natural sound captured by the capsule delivering that renowned Austrian sound.Premium Tubes, Capacitors, & BoardsThe WA-CX12 uses a premium 12AY7 vacuum tube that adds warmth and depth to the microphone’s signal. Like all Warm Audio products, we use premium capacitors in the circuit for ideal signal transfer. The PCB board in the WA-CX12 does not have solder masks which allows for the lowest noise floor possible, preventing crosstalk from added capacitance.Authentic Appearance, Elite Build Quality, Premium AccessoriesThe WA-CX12 is encased in an ultra-durable nickel-plated brass body. Every WA-CX12 comes with a custom tweed carrying case housing the mic, wood mic case, premium Gotham 7-pin cable, IEC cable, shockmount, and external power supply. Every WA-CX12 is meticulously hand-inspected at Warm HQ in Austin,TX by real musicians and engineers with a passion for superior sound.
The Nektar NP-1 universal foot switch pedals are solid, rugged and ideal for both studio and stage. Rubber gripping keep them in place during performances and polarity switching ensures they work with any keyboard or electronic product, requiring a foot switch. Specifications:Heavy duty solid metal enclosureBottom rubber surface for solid floor-gripRubber contact surface Polarity switch - works with all keyboards6ft cable with 1/4" TS jack plugWeight: 0.7 lbs
The PRM1 Precision Reference Microphone is a special type of condenser microphone that provides an accurate reproduction of a room's sound characteristics for use with audio-analysis tools such as real-time analyzers (RTAs) and spectrographs.A reference, or “measurement,” microphone is condenser microphone that is designed to provide an accurate reproduction of a room's sound characteristics for use with audio-analysis tools, such as real-time analyzers (RTAs) and spectrographs. While measurement microphones can be quite expensive, the affordable PreSonus®PRM1 delivers high-quality results.The PRM1 employs a ¼” pre-polarized electret-condenser capsule and requires phantom power. It has an omnidirectional polar pattern, meaning it is equally sensitive in all directions. This allows the microphone to measure reflections, as well as direct signals, providing an accurate depiction of the room. This mic can handle up to 132 dB SPL and exhibits linear (“flat”) frequency response between 20 Hz and 20 kHz, so it won’t color the sound.Specifications:Type: CondenserPick Up Pattern: Omnidirectional Frequency response: 20 Hz to 20 kHz Sensitivity: -37 dB/Pa (14 mV/Pa) 1 Pa=94 dB SPLΙmpedance: 200ΩDimensions: W21 mm x L192mm Weight: 150g
Yes! Manley Mastering Version Massive Passive Stereo Tube EQ WE CAME UP WITH A CLEVER WAY TO PULL THIS OFF...WITHOUT breaking your bank account thanks to these interesting mechanically detented knobs for the GAIN and BANDWIDTH controls! These knobs are of our own design. They are a clever two-part metal design using a ball and spring detent system. They ensure repeatability and a good, positive feel, without the incredible cost and space problems tons of Grayhill switches would have caused.Some notes pertinent to the Mastering Version:The Massive Passive is a passive design and not a "true parametric". A true parametric implies non-interacting controls. In the Massive Passive, the "GAIN" and "BANDWIDTH" controls DO interact (on purpose). We cannot create a "GAIN" switch that is set up for "consistent" 1/2 dB steps. When you change the "BANDWIDTH" the step size must and will change. On the regular version, you get a full 20dB boost or cut only when: the bandwidth is fully clockwise (narrow) in bell mode or fully counter-clockwise in shelf mode. Here on the Mastering Version, this maximum boost or cut is 11dB. Conversely at the widest bell, the maximum boost or cut is 6dB and the narrowest shelf maxes out at 12 dB. A similar situation is also true for the bandwidth detents. So in this new Mastering Version, do not expect a certain dB change per step as it will vary according to where the bandwidth is set. But whatever the step sizes are, they will be repeatably 16 steps. The FREQUENCY select is already detented as it is and always has been a Grayhill switch. It also interacts in shelf mode.On a similar note, the Massive Passive is a "parallel design" and not the conventional "series design". This means the bands interact with each other too. It is possible, to set a band to boost 20 dB but if another band is boosting near or at that frequency, very little will happen. On a conventional EQ the two bands "add" and you would be boosting 40 dB into clipping. Because the bands interact, predictable step sizes are unrealistic, however, with the Mastering Version, you will be able to repeat settings (if you log them of course). The price paid for interacting bands, is a better sounding EQ and bizarre looking settings (on purpose).Unlike virtually every other EQ, the Massive Passive allows much more EQ without sounding "processed". Where 5 or 6 dB is about all one could attempt with other EQs in mastering, the Massivo amazes engineers with how much EQ they can do and get more "natural" results at the same time. We could have squeezed 11 position Grayhill switches in the modules if we had wanted 1/2 dB steps but then the maximum range would have become only 5.5 dB. Remembering what we stated above, the minimum range would then become about 1.5 dB with approximately 0.2 dB steps. This approach would have essentially thrown away most of the useful range the unit is capable of. Going with these special mechanically detented knobs which use the same pots underneath that the normal Massivo uses, we get nearly all the range of the normal version, but with the repeatability of the detents.We have also custom tailored the FILTERS in the Mastering Version specifically for Mastering purposes, moving them lower and higher than the normal version, with mastering engineers specifically in mind. If you are looking for drastic effects (like telephone sounds) then get the normal version. These filters are really geared for mastering engineers.Additionally, the Master Gain Trim controls in the Mastering Version are true 11 position 1/2 dB stepped Grayhill switches set up for a range between -2.5 to +2.5 dB of master gain trim. This allows more confidence in left/right matching and calibration.The best advice is, before you decide, or even form an opinion about whether to go with a normal or mastering version Massivo, is to use a regular Massive Passive for a session or two in your own room. We have seen in the past that the only engineers who have asked about a mastering version had yet to try the Massive. Using your previous extensive and intensive experience with other EQs may be a mistake, especially if you expect the Massive Passive to be roughly similar to them. It isn't. Please, try it first, then decide.There are 5 High Pass Passive Filters and bypass, plus 5 Low Pass Passive Filters with bypass. We made them extra steep. Why? So you can remove the garbage and not mess up your music. The way these filters interface with the parametric EQ bands simply sound beautiful. The mastering version filters go higher and lower compared to the regular Massive Passive filters.High Pass Filters: OFF, 12, 16, 23, 30, 39 HzLow Pass Filters: OFF, 52kHz, 40kHz, 27kHz, 20kHz, 15 kHzThe Mastering Version filters are tuned specifically for mastering where they will be used to fix problems in the low and high extremes rather than to make effects in the mid-band. The slopes are all 18dB per octave on the mastering filters except for the highest 52kHz Low Pass filter which has a 30 dB/octave slope.Features:All-Passive tone sculpting circuitryUnique Shelf curves use the "bandwidth" controlOverlapping and Interleaved Frequency choicesEvery band switchable to shelf or bellVacuum tube make-up gain and line driversParallel symmetrical topologyPremium components throughoutHP and LP Filters plus gain trimsMetal Manley mechanically detented GAIN and BANDWIDTH control knobsSpecifications:Ins & Outs Balanced XLR & 1/4" (accepts unbalanced)Level +4 dBu nominal, internal switches for -10 operationBypass Switch bypasses EQ & tube circuits (not hardwire)44 Frequencies (roughly 1/4 octave spacing)Frequency Range: 22 Hz to 27 kHzEQ Boost/Cut Range : Maximum 11dB boost or cutNominal Q range: 1.5 to 3 (uniquely active in shelf modes)Frequency Response: ±2 dB: 8 Hz to 60 KHzMaximum Output @ 1.5% THD +37 dBv; +26dBv @ 20 HzTHD & Noise (1KHz @ +4 dBu): 0.06%Noise Floor (referred to +4dBu): -85 dB (A Weight)Dynamic Range: 120 dBTube Complement: 2 x 12AU7, 4 x 6414Power Consumption (120/240VAC): 72 wattsUnit is factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage.Operating Mains Voltage changeable with power transformer changeover switch and fuse value change.Mains Voltage Frequency: 50~ 60HzSize (3U): 19" x 5.25" x 10"Weight: Unit 21 lbs. Shipping Weight: 27 lbs.
PreSonus’ popular Class A XMAX preamps are widely lauded for their clarity and transparency. Our tube preamps are beloved for their warm, smooth sound. With the Blue Tube DP V2 dual-path mic/instrument preamp, you get both types of high-quality sound in one unit.Now we’ve improved on the classic unit with the BlueTube DP V2. The solid-state path now feeds PreSonus’ top-of-the-line Class A XMAX™ mic preamplifier with 80 dB of variable gain—an upgrade from the original BlueTube DP’s solid-state stage.You still get all the secondary features you expect in a professional-grade preamp: 48V phantom power, an 80 Hz high-pass filter, -20 dB pad to control hot input signals, and a polarity-reverse switch. Each channel has an illuminated VU meter so you can visually monitor your input levels.A Tube Drive control provides a wide range of sounds: when it’s clicked off, you’re using the solid-state preamp for quiet, transparent amplification; when it’s engaged, your signals flow through the tube preamp, and you can achieve anything from gentle warmth to edgy distortion.Specifications:2 input channels, each with:High-headroom Class A XMAX™ mic preamplifier with 80 dB gain range12AX7 vacuum tube gain stageTube Drive tube-saturation control48V phantom power80 Hz high-pass filter-20 dB pad to reduce hot input levelsPolarity-reverse switchIlluminated analog VU input-level meterInput/Output2 balanced combo mic/unbalanced instrument inputs2 balanced XLR main (L/R) line outputs2 unbalanced ¼” main (L/R) line outputsPhysicalCompact 1/2U chassisExternal 12 VDC, 1A power supply
Warm Audio's WA-2A set its target high: the most iconic tube compressor in history. How does Warm do it? Through economies of scale, mostly. They don't cut corners on components (the WA-2A employs a custom optical photocell and genuine US-made Cinemag transformers), but they do order parts and build in quantity, which keeps costs down. Like the classic unit, the WA-2A gives you a completely discrete signal path and the same arrangement of controls. And yes, it replicates the original's coveted warm sound and forgiving nature. Elevate your studio to the next level - with the Warm Audio WA-2A.What can the WA-2A do for you?Every studio needs a good compressor, and the Warm Audio WA-2A is designed after the mother of all compressors - the legendary LA-2A Leveling Amplifier. With its euphonic, fluid, forgiving sonics and all-discrete, all-tube signal path, the WA-2A is your go-to device for everything from caressingly warm dynamics control to full-tilt squashfest. It's fabulous on bass, kick drum, vocals - you name it. It's lovely for punchy parallel processing on drums, and if you have two of them, the possibilities become even greater.Top-tier performance - and a stunning valueAt Sweetwater, we're all about performance and value, and that's what the WA-2A gives you. At this amazing price, you can double your value and get two. With a pair of these in your rack, you can make that stereo piano sit proudly in the track. Punch up your toms. Strap them across your stereo bus for some mastering magic, and fortify your mix with serious slam factor.Warm Audio WA-2A Features:Faithful re-creation of the iconic LA-2A Leveling Amplifier in a 2RU chassisCompletely discrete, all-tube signal path:Historically accurate 4-tube circuitUS-made Cinemag input and output transformersCustom optical photocellWarm Audio's 1-year warranty
IsoAcoustics ISO-PUCK’s provide an innovative new approach in isolating studio monitors, guitar amps and other systems. This unique design provides a high degree of isolation while resisting lateral movement and oscillations, which results in greater sound clarity and focus. Possibly the most versatile isolation tool available for the studio, live stage or home as you can place them as needed to improve the clarity and performance of your pro equipment and monitors. This low-profile design makes the ISO-PUCK the ideal solution for studio monitors placed on meter bridges, floor stands, consoles, desktops, millwork, or soffit mounted. These isolators decouple studio monitors from the supporting surface to eliminate the transfer of energy and the resulting sound smearing and coloration. Even studio monitors placed on the most solid steel stands, millwork or heavy granite surfaces will greatly benefit from the ISO-PUCK’s as the internal reflections coming back up from the supporting surface are attenuated to eliminate the smear and provide greater sound clarity and open up the stereo image. This small, compact design makes the ISO-PUCK the ideal speaker isolation solution to carry with you from studio to studio, session to session or anywhere you want to improve the sound clarity or your studio monitors. ISO-PUCK’s are sold in packages of 2, with cartons available as a convenient way to take ISO-PUCK’s to your next session. IsoAcoustics ISO-PUCK’s provide improved isolation and performance for guitar and bass amplifiers. For home, studio or stage the ISO-PUCK’s decouple amplifiers from the floor or stage which results in remarkable sound clarity and openness with tighter bass and greater detail. Discover improved isolation with greater punch and clarity when practicing at home, or tracking in the studio. Musicians often struggle to maintain “their sound” as they move from one “boomy” stage to the next. ISO-PUCK’s provide a consistent isolation support to preserve your sound in any situation and are great for amps, cabinets, stage monitors subwoofers and more.
The StudioLive® 32R Series III stage box and rack mixer is by far the most powerful rackmount digital mixer in its class, that’s no idle claim. The result of ten years of R&D, third-generation StudioLive Series III rack mixers are fully recallable, including remote-controlled XMAX preamps. Yet despite their extensive features, StudioLive Series III rack mixers actually improve upon PreSonus®’ legendary ease of use while letting you customize their workflow and operations in software to fit the way you work. The coveted StudioLive sound is better than ever, including third-generation Fat Channel processing, re-engineered from the ground up, and vintage-style EQs and compressors. Add built-in AVB networking, multitrack recording via USB 2.0 and AVB, onboard stereo recording to SD Card, and a complete suite of software, and you have a mixing and recording powerhouse that’s equally formidable as a stage box/monitor mixer, as a rackmount front-of-house mixer controlled from a touchscreen computer or tablet, and as the heart of your studio.Specifications : Type: Rackmount Digital MixerChannels: 40 x 40 (USB), 55 x 55 (AVB networking)Inputs - Mic Preamps: 32 x XLR-1/4" combo (mic/line)Phantom Power: YesInputs - Other: 1 x Dual RCA StereoOutputs - Main: 2 x XLROutputs - Direct: 16 x 1/4" (mix out)Data I/O: 1 x EtherCon (AVB), 1 x RJ-45 (network control)USB: 1 x Type BComputer Connectivity: USB (40 x 40), Ethernet (AVB, 55 x 55)Headphones: 1 x 1/4" TRSEQ Bands: 4-band/6-band Parametric EQ, 31-band Graphic EQEffects: Studio Magic Plug-in SuiteSignal Processing: Gate, Compressor, LimiterFeatures: Onboard stereo SD recorderSoftware: Studio One Artist, UC Surface Touch, Capture, QMix-UCOS Requirements - Mac: OS X 10.8.5 64-bit or later, Intel Core i3 or higherOS Requirements - PC: Windows 7 SP1 64-bit or later, Intel Core i3 or higherRackmountable: YesPower Source: Standard IEC AC cable
Nektar products are synonymous with DAW integration and the Impact GX49 & GX61 are no exception.The compact design is comfortable in front of a computer and delivers powerful functionality not even found on more comprehensive controllers. When inspiration strikes, the Impact GX 49 & 61 delivers the control needed to capture ideas while they are fresh. Compact. Powerful. Control.The Impact GX49 and GX61 are dynamic and expressive instruments, tailored to composition & performance with your computer music system. The no-fuss interface is a great entry into the world of Nektar controllers. Featuring a 49-note (4 octave) or 61-note (5 octave) keyboard, pitch-bend wheel, modulation wheel and foot switch socket. Two multi-colored octave buttons enable shifting the keyboard range up or down -3/+4 octaves with the LED colors changing to show the exact status, Impact GX are well equipped to deliver a great workflow. Dedicated transpose buttons allow you to shift the keyboard range up to +/- 12 semi tones. The buttons can quickly be re-purposed to change the Global MIDI Channel or send Program messages. Additionally an assignable potentiometer provides control over any MIDI parameter, by default controls mixer volume. Nektar DAW Integration for many of the most commonly used DAWs makes it easy to get going, and a pleasure to use. With Impact GX49 your controller keyboard is part of your system, giving you the creative freedom to compose, perform and play, without having to reach for your mouse constantly.Eight buttons intended for DAW control, are at the center of the Impact GX. Essential tasks like transport activation or navigating tracks are highly repetitive and reaching for the mouse every time, can kill any seed of inspiration. Used with Nektar DAW integration, the 8 buttons extend functionality to include control over transport and a host of other important DAW functions, right from Impact GX. The buttons can also be assigned to MIDI messages for use with any MIDI software that's not supported by Nektar DAW Integration. A primary and a secondary message can be programmed for each of 7 buttons, delivering 14 programmable options total.Nektar DAW integration is carefully crafted to give the best experience with your Nektar hardware. It delivers the freedom to create, instead of having to reach for the mouse constantly when you are in the middle of capturing an idea.With Nektar DAW integration, the hard work is done, so you don't have to. Once installation is complete, Impact GX offers an extended feature set, normally unavailable on a compact controller. Transport control with ability to goto and set locators, track navigation, volume control, launching windows and patch navigation is all available right from Impact GX. Check out the function overview chart below and see how the Impact GX ticks all the right boxes.Impact GX is a MIDI controller as well as a DAW controller. If you use MIDI software that's not supported by Nektar DAW Integration, a host of options are available for you to set up MIDI control yourself. Each of the 14 assignable MIDI buttons, the modulation wheel, foot switch and of course the big control knob, can be assigned to send out MIDI cc messages. The assignable buttons (14) can in addition be configured to send out Program message or MMC transport control. MMC (MIDI Machine Control) is often supported by DAWs that don't allow for advanced integration, so with this option Impact GX covers all the bases. The Setup menu also enables Program messages, Bank LSB/MSB to be sent out on the fly as well as settings for selecting one of the 4 velocity curves, setting the Global MIDI Channel and assigning the transpose buttons. As a low powered USB device, Impact GX works with all USB devices that feature a Class compliant MIDI driver. That includes all version of Windows from XP and higher, Apple OS X 10.5 and higher plus Linux (as long as a USB MIDI driver package is installed). And if you are often on the move you can easily hook your Impact GX keyboard to an Apple iPad using the iPad’s optional USB camera connection kit (optional). Of course the Impact GX is powered by the iPad so you can work away for as long as your iPad remains charged.Specifications:Keyboard49-or 61 note full-sized velocity sensitive keyboard4 velocity curves + 3 fixedControlsOctave up/down buttons with LED indicatorsTranspose up/down buttons with LED indicators (assignable to send Global MIDI Channel or Program)7 x Transport buttons with secondary level for 14 MIDI controls.Pitch bend wheelModulation wheel (MIDI assignable )Potentiometer / control knob (MIDI assignable)Power on/off switch (back)Connections1/4” TS jack foot switch input (MIDI Assignable)USB port on rear panel, and USB bus poweredConnects to iPad via Apple Camera Connection Kit (not supplied) System RequirementsUSB Class compliant, no driver is needed for:Apple iOS, Apple OSX, Windows XP, or higher, Linux (MIDI driver software required) Nektar DAW IntegrationMac OS X 10.7 or higher, Windows Vista, 7 & 8 or higher Impact GX49:Dimensions: 31 5/8"(L) x 7 3/4"(D) 2 3/4 "(H)Weight: 4.8 Lbs Impact GX61:Dimensions: 38"(L) x 7 3/4"(D) 2 3/4"(H)Weight: 6 Lbs
This standard bearer of the Shape series features two passive radiators, woofers equipped with a new Flax cone, and the latest “M”-shaped Aluminium/Magnesium inverted dome tweeter. Perfect weapon of mass production for professionals. Shape Twin is made in France, just like Shape 40, 50 and 65. Designed to meet the needs of nearfield monitoring, these monitors combine an ingenuous design and numerous settings optimised for the acoustics of small listening rooms. Shape Twin stands out through its excellent rendering over the whole audio spectrum, its broad frequency response in the low end, and its high SPL considering its size. The compact design makes it easy to integrate even into the most cramped of rooms. Finally, its 2.5-way design gives it a real advantage when it comes to controlling the bass and lower mid-range registers which are the hardest to control in small rooms. Shape Twin’s five innovations present a remarkable tonal balance, with very wide and precise stereo imaging. The low frequencies are well defined as well as controlled. The low-mid and mid ranges provide a true neutral sound.Features:Tweeter with very low directivity for a flexible sweet spotDesigned without a port (double passive radiator) allowing it to be placed near a wall2.5 channels to provide optimal control of bass and low mid-range registersNumerous settings for optimal integrationAccurate control, even in the very high frequenciesFlax sandwich cone: controlled and articulated bass, natural and detailed lower mid-range and uppermid-range registersFastening mechanisms for mounting to the ceiling or a wall (fastening accessories not supplied)
Nektar products are synonymous with DAW integration and the Impact GX49 & GX61 are no exception.The compact design is comfortable in front of a computer and delivers powerful functionality not even found on more comprehensive controllers. When inspiration strikes, the Impact GX 49 & 61 delivers the control needed to capture ideas while they are fresh. Compact. Powerful. Control.The Impact GX49 and GX61 are dynamic and expressive instruments, tailored to composition & performance with your computer music system. The no-fuss interface is a great entry into the world of Nektar controllers. Featuring a 49-note (4 octave) or 61-note (5 octave) keyboard, pitch-bend wheel, modulation wheel and foot switch socket. Two multi-colored octave buttons enable shifting the keyboard range up or down -3/+4 octaves with the LED colors changing to show the exact status, Impact GX are well equipped to deliver a great workflow. Dedicated transpose buttons allow you to shift the keyboard range up to +/- 12 semi tones. The buttons can quickly be re-purposed to change the Global MIDI Channel or send Program messages. Additionally an assignable potentiometer provides control over any MIDI parameter, by default controls mixer volume. Nektar DAW Integration for many of the most commonly used DAWs makes it easy to get going, and a pleasure to use. With Impact GX49 your controller keyboard is part of your system, giving you the creative freedom to compose, perform and play, without having to reach for your mouse constantly.Eight buttons intended for DAW control, are at the center of the Impact GX. Essential tasks like transport activation or navigating tracks are highly repetitive and reaching for the mouse every time, can kill any seed of inspiration. Used with Nektar DAW integration, the 8 buttons extend functionality to include control over transport and a host of other important DAW functions, right from Impact GX. The buttons can also be assigned to MIDI messages for use with any MIDI software that's not supported by Nektar DAW Integration. A primary and a secondary message can be programmed for each of 7 buttons, delivering 14 programmable options total.Nektar DAW integration is carefully crafted to give the best experience with your Nektar hardware. It delivers the freedom to create, instead of having to reach for the mouse constantly when you are in the middle of capturing an idea.With Nektar DAW integration, the hard work is done, so you don't have to. Once installation is complete, Impact GX offers an extended feature set, normally unavailable on a compact controller. Transport control with ability to goto and set locators, track navigation, volume control, launching windows and patch navigation is all available right from Impact GX. Check out the function overview chart below and see how the Impact GX ticks all the right boxes.Impact GX is a MIDI controller as well as a DAW controller. If you use MIDI software that's not supported by Nektar DAW Integration, a host of options are available for you to set up MIDI control yourself. Each of the 14 assignable MIDI buttons, the modulation wheel, foot switch and of course the big control knob, can be assigned to send out MIDI cc messages. The assignable buttons (14) can in addition be configured to send out Program message or MMC transport control. MMC (MIDI Machine Control) is often supported by DAWs that don't allow for advanced integration, so with this option Impact GX covers all the bases. The Setup menu also enables Program messages, Bank LSB/MSB to be sent out on the fly as well as settings for selecting one of the 4 velocity curves, setting the Global MIDI Channel and assigning the transpose buttons. As a low powered USB device, Impact GX works with all USB devices that feature a Class compliant MIDI driver. That includes all version of Windows from XP and higher, Apple OS X 10.5 and higher plus Linux (as long as a USB MIDI driver package is installed). And if you are often on the move you can easily hook your Impact GX keyboard to an Apple iPad using the iPad’s optional USB camera connection kit (optional). Of course the Impact GX is powered by the iPad so you can work away for as long as your iPad remains charged.Specifications:Keyboard49-or 61 note full-sized velocity sensitive keyboard4 velocity curves + 3 fixedControlsOctave up/down buttons with LED indicatorsTranspose up/down buttons with LED indicators (assignable to send Global MIDI Channel or Program)7 x Transport buttons with secondary level for 14 MIDI controls.Pitch bend wheelModulation wheel (MIDI assignable )Potentiometer / control knob (MIDI assignable)Power on/off switch (back)Connections1/4” TS jack foot switch input (MIDI Assignable)USB port on rear panel, and USB bus poweredConnects to iPad via Apple Camera Connection Kit (not supplied) System RequirementsUSB Class compliant, no driver is needed for:Apple iOS, Apple OSX, Windows XP, or higher, Linux (MIDI driver software required) Nektar DAW IntegrationMac OS X 10.7 or higher, Windows Vista, 7 & 8 or higher Impact GX49:Dimensions: 31 5/8"(L) x 7 3/4"(D) 2 3/4 "(H)Weight: 4.8 Lbs Impact GX61:Dimensions: 38"(L) x 7 3/4"(D) 2 3/4"(H)Weight: 6 Lbs
