MENU
Αναζήτηση
Filters
The Chandler Limited TG2 is a recreation of the rare EMI TG12428 pre amp used in EMI/Abbey Road recording and mastering consoles used in the late 60's and early 70's. The sound was used on many famous recordings done at Abbey Road including The Beatles "Abbey Road" and Pink Floyd "Dark Side of the Moon." The amplifiers were also used in many EMI circuits of the time. Our version was remade from original design notes and circuit board drawings, provided by Abbey Road and EMI to ensure extreme authenticity!
Korg Monotron Duo, Analog Ribbon Synthesizer, two analogue VCO΄s, Cross-Modulation circuit, from the Korg Mono/Poly, original Analog Filter circuit from the MS-10/MS-20, Ribbon controller, aux input (stereo mini-jack), headphone output (stereo mini-jack). Power supply: 2x AAA alkaline. Dimensions: 120 x 72 x 28mm. Weight: 95g.
Tascam iXJ2, for iOS Devices with 30-pin Dock Connector, Preamp Mic/Line for IOs-Units, AD/DA Converter 44.1 kHz/16-Bit.Inputs: 1/8" Mini-Jack Stereo (unbalanced), Input select switch (A/B/STereo), Selectable mono summing, build-in Limiter, Input Gain adjustable for left and right Channel.Separate input level indicators, Nominaler Input Level: -66 dBV up to -10 dBV, max. Input Level: +6 dBV, Frequency Range: 20 Hz - 20 kHz, Power Supply via Dock-Connector, compatible with iPhone 4S, iPhone 4, iPad (3. Generation), iPad 2, iPad (1. Generation), iPod touch (4. Generation).Ffree 2-Track Recording App as Download on Apple AppStore available. Dimensions: 60 x 47 x 17 mm (WxHxD).Weight: 30g.
High-quality mic/instrument preamp for Apple iPhone, iPad and iPod, for recording, guitar/bass/vocal training or karaoke, Balanced/unbalanced combo input connector (XLR/TS), Switchable phantom power for condenser microphones, Level control on mic input, Headphone output, Connection with Apple device via 4-pin mini plug (analogue), No battery required when used as instrument preamp, Two AA batteries required for mic preamp and phantom power, Tascam 2-track recording app can be downloaded from AppStore at no charge, dimensions: 106 x 40 x 45 mm, weight: 87 gr. - compatible with: iPhone3, iPhone3GS, iPhone4, iPod Touch 1G,2G,3G, iPad1G and 2G
The class-AB equalizer circuit used in the EQ-81 MKII is similar to the eq section in the classic 1081 module, without the high and low pass filters. The sound character is warm, punchy, sweet and musical. These classic characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.The EQ-81 MKII has stepped frequency controls that offers a wide selection of frequencies from 33 Hz to 15 kHz. The BASS and TREBLE frequency bands are switchable between shelving and bell and the MID frequency bands is of the bell type with a switchable Hi Q setting. The control range is +/- 18dB. All four bands can be set in an off mode. The EQ-81 MKII can be used either as a standalone EQ or connected to the insert jack of one of the Golden Age Project preamps. Combining one of our PRE-73 preamp´s and an EQ-81 MKII and using a UNITE rack kit to mount them together, one will get a 19-inch 1081-style unit at a low cost and with a great sound!
SLAM! stands for "Stereo Limiter And Micpre" and it pretty much describes what it will do to most VU meters. We had to put a switch on this limiter to drop its internal VU meters down 3 & 6dB to keep the poor little needles from bending– it'll get LOUD fast (hence the exclamation mark). And on top of being an amazing pair of (actually four) Limiters, and Class A tube mic preamps, it also has masters degrees in DI, AtoD and DtoA, VU and PPM but that was too much for an acronym.When it comes to classic gear, especially classic limiters, we can all agree numbers like LA2s, 1176s, 2264s, and others come to mind. What if all those sounds were to be found in one stereo tube unit. Interested? We combined our favorite Electro-Optical circuit (ELOP®) with a damn fast FET based brick-wall limiter reminiscent of some cool classics. And we added a sidechain filter that can remove low frequencies that makes it more useful for a variety of tasks, while retaining that easy, "it just works" quality that has made it a favorite for vocals everywhere. The FET-based limiter has different desirable characteristics that both optimise the signal for digital recording, due to the brick-wall capability, and let you dial in how clean or crunchy, or punchy, and how loud and proud you want it. Manley is excited to announce the SLAM! Specifications:Input Tubes: 2 x 12AT7A NOS GE specially selected by Manley Labs for lo-noise and stable biasOutput Tubes: 2 x 6414W NOS USA dual triodesI/O: MANLEY transformer coupled Balanced Inputs and OutputsMicpre: Selectable 48V phantom power and PHASE REVERSEGain: 60dB max Micpre, 43dB max DI, 20dB max Limiter GainInput Impedance: 2000Ω Micpre, 1MegΩ DIFET Limiter: Attack: approx. 100μS; Release: 10mS to 2Sec; Ratio: better than 20:1ELOP Limiter: Attack: approx. 10mS for 6dB GR; Release: 2.5 Sec; Ratio: 10:1Frequency Response: 5Hz to 60KHzMaximum Output: +32dBm, +30dBm (into 1KΩ load)THD+N:
Introducing Hammer 88, a premium, no-compromise keyboard controller, ideal for professional, semi-pro players or students seeking the realistic grand piano feel to use with virtual instruments or sound modules. At the heart of Hammer 88 are 88 velocity-sensitive, fully-weighted hammer-action keys that are guaranteed to faithfully capture every subtle nuance of your performance, while providing the unmatched response of a traditional grand piano—classic feel fused with the unrivalled sonic capabilities of virtual instruments. It’s the perfect combination for performers and producers to experience their plugin collection like never before.ExpressivePut expression center-stage with Hammer 88, thanks to a core range of controls, thoughtfully positioned to complement and enhance your performance. With a unity-locking pitch wheel and a separate modulation wheel, add portamento and glissando effects, or map the Mod-Wheel to any assignable parameter in your virtual instrument collection to reshape and evolve your sound on the fly. With the dedicated Master Volume Fader, you can instantly control the intensity of your performance or MIDI map this to any compatible parameter in your DAW or virtual instrument collection for expanded, hands-on control. Use the assignable Up and Down buttons to select different programs, effects, MMC messages, jump between octaves and more. Add some pedal-based performance articulation using the three dedicated inputs for Sustain, Expression and Soft. With Hammer 88’s performance-centric feature-set, expressing yourself has never been so easy!Outboard ControlDon’t limit yourself to your computer-based virtual instruments! Take control of your studio equipment with Hammer 88. With its conveniently-located 5-pin MIDI Output, you can send all MIDI information to any compatible peripheral device, including hardware synthesisers, sound modules and drum machines. With Hammer 88, it’s easy get the most out of your external sound generators. This is a controller designed from the ground up to place you firmly in the driver’s seat.Seamless IntegrationAn instrument shouldn’t limit your creativity, it should enhance it! Hammer 88 is USB-powered, class-compliant and supports USB-MIDI connectivity for rapid, hassle-free setup that lets you focus on what’s important—your performance. Plus for iOS enthusiasts, Hammer 88 supports seamless connectivity with the Apple iPad Camera Connection Kit (sold separately), enabling you to perform and compose with audio apps on your iPad and other iOS devices.
USB MIDI-Keyboard with 25 Keys sami weighted with Aftertouch, DAW- and Plug-in-Control, 8 backlit Drum-Pads, 1 Fader 55mm, 9 Buttons, 8 Control Dial , 6 Transport-Buttons, Pitch- and Modulation-Wheel, 2 Octav-Switches, Arpeggiator-, Beat-Roll- and Clip-Launch-Buttons, LCD-Display, USB-Connection, Expression- and Sustain-Pedal-Connection, MIDI I/O, Automap-Control-Software, invl. Xcite+ Software Pack incl. Ableton Live Lite.
USB MIDI-Keyboard with 49 Keys sami weighted with Aftertouch, DAW- and Plug-in-Control, 8 backlit Drum-Pads, 9 Fader 55mm, 9 Buttons, 8 Control Dial , 6 Transport-Buttons, Pitch- and Modulation-Wheel, 2 Octav-Switches, Arpeggiator-, Beat-Roll- and Clip-Launch-Buttons, LCD-Display, USB-Connection, Expression- and Sustain-Pedal-Connection, MIDI I/O, Automap-Control-Software, invl. Xcite+ Software Pack incl. Ableton Live Lite
Impulse is a range of professional USB/MIDI controllers. They each have a precision keyboard and a full control surface powered by a brand new version of Novation's Automap control software - Automap 4 (which makes getting hands-on with your DAW/plug-ins fast and simple). Impulse also has 8 back-lit drum pads which can warp arpeggios, roll beats and launch Live clips.Features:61 Note Precision semi-weighted keyboard with aftertouch.Eight rotary encoders, full transport control, nine assignable buttons and 55mm faders Eight drum pads with multi-colour LED backlights and multi-mode operation. Large LCD with actively updating readout. Robust and rugged hardware design. USB powered, with expression and sustain pedal inputs and MIDI input & output. Comes with Xcite+ Pack: Novation’s new Automap 4, Ableton Live Lite, Novation Bass Station and 1.5GB of Loopmasters/Mike The Drummer samples.
Reloop's compact headphones as deep black MK2 edition. The RH-2350 PRO MK2 are the ideal headphones for DJs who are on the road a lot. In spite of its marginal weight and small cups, the 2350 pushes a superb 102 dB out of its 40 mm large dynamic drivers that are the big secret to its power. Light, loud, and with a modern design.
Θρυλική αναλογική μονάδα φίλτρου / distortion με τεράστια συχνοτική περιοχή, παραμόρφωση σε στυλ λάμπας, envelopes και πολλές επιλογές modulation / routing.Χαρακτηριστικά:Ανεξάρτητα φίλτρα Lowpass, Bandpass και Highpass με ρυθμιζόμενο resonance, cutoff και θετικό/αρνητικό ADSRΠαράλληλη ή σειριακή τοπολογίαΤο δεύτερο φίλτρο έχει διακόπτη 6 octave και μπορεί να συγχρονιστεί με το πρώτοADSR generator με έξοδο που μπορεί να χρησιμοποιηθεί σε modular συστήματαΕίσοδος FM για τα φίλτρα, εσωτερική ή εξωτερική, LFO ή CVVCA overdrive με AR generatorΕίσοδος Ring Modulation, εσωτερική ή εξωτερική, LFO ή CV
The Korg MR-2000S Studio Recorder - designed from the ground up to bring that same 1-Bit sonic performance home for use in any studio environment.The Korg MR-2000S adds a number of new features to meet the requirements of the most demanding studio, yet retains a sleek, single rack-space profile.All of KorgΆs MR Series recorders feature the 1-Bit/2.8224 MHz format used in creating the SACD (Super Audio Compact Disc). The MR-2000S goes above and beyond this industry standard to provide 1-Bit/5.6448 MHz recording. At such accelerated sampling rates, the entire sound stage is faithfully captured, even during the softest passages.The MR-2000S uses the highest-quality components available - the CS4398 Digital to Analog Converter from Cirrus Logic and the Burr-Brown PCM4202 Analog to Digital Converter from Texas Instruments Corporation - minimizing any possible degradation of the audio signal.In addition to the aforementioned 2.8 MHz and 5.6 MHz 1-Bit formats (DSDIFF, WSD and DSF formats are supported), the MR2000S is ready to record in any of the current 16-Bit and 24-Bit formats (from 44.1 kHz up to 192 kHz) directly, in BWF (Broadcast WAV) format.The XLR analog inputs feature a selectable -12dB, -14dB -16 dB, -18dB or -20 dB reference level, insuring the proper level match with nearly any audio source. XLR analog outputs are also provided. In addition, the Korg MR-2000S is equipped with analog RCA style inputs and outputs for maximum flexibility.On the digital side, coaxial S/P DIF digital I/O provides smooth integration into any 16-Bit or 24-Bit digital studio environment – from the music workshop to the broadcast studio. The MR-2000S also provides word clock I/O for reliable digital synchronization between various digital audio equipment or even between two MR-2000S Studio Recorders.Even at the highest resolution (1-Bit/5.6 MHz), the 80 GB internal hard drive provides a generous 14 hours of stereo recording time.The included AudioGate software let you transform the data into multiple format masters. Adjust the left/right balance, enter locate points numerically from the keyboard, and link individual mono files into a single stereo song. Support for importing new file formats - AAC, Apple Lossless, WMA and even MP3 – has been added as well.Korg MR-2000S main features include:2 tracks simultaneous playback/2 tracks simultaneous recordingRecording formats: -PCM audio format: BWF (extension .wav) 44.1 kHz @ 16/24 bit, 48 kHz @ 16/24 bit, 88.2 kHz @ 24 bit, 96 kHz @ 24 bit,176.4 kHz @ 24 bit, 192 kHz @ 24 bit-1-bit audio format: 2.8 MHz @ 1-bit, 5.6 MHz @ 1-bit, DSDIFF format (extension .dff), DSF (extension .dsf), WSD (extension .wsd)Maximum approximately: 120 hours at 44.1 kHz/16 bit, 14.5 hours at 5.6 MHz/1- bit (for 80 Gbyte hard disk), Maximum continuous recording 6 hoursConnect to computer via USB 2.0, usable as FAT32 USB external driveDisplay: 160 x 104 pixel, LCD with backlightLevel meter: – 54 dB...+ 3 dB, L and R each provide, 23-step LED + peak LEDS/N: 103 dB (typical) @ IHF-ATHD+N: 0.005% (typical), 20 Hz ... 20 kHzDimensions/Weight: 482mm(W) x 220mm(D) x 45mm(H) / 2.8kgKorg MR-2000S system requirements for the AudioGate Software:Win XP Home Edition/Professional Edition Service Pack 1 or later, Microsoft Windows Vista, CPU: Intel Pentium III /1 GHz or better, RAM: 256 MB or more, A USB port that meets the operating requirements of Microsoft Windows XP/VistaMac OS X 10.3.9 or later, CPU: Apple G4/800 MHz or better, Intel Mac is supported, RAM: 256 MB or more, a USB port that meets the operating requirements of Mac OS X
Roland Octapad SPD-30, 8 Built-in Pads, Packed with new percussion sounds from around the world, plus 30 types of multi-effects,The latest pad-sensing technology developed for V-Drums provides even and accurate pad triggering with excellent isolation between pads, Four dual-trigger inputs plus hi-hat controller for adding pads to create a mini kit, or for accepting triggers from acoustic drums, Phrase Loop function inspires your creativity; record your playing in real time and overdub up to three layers, USB connectivity for MIDI and memory storage, Large backlit LCD and pad indicator lights for easy operation onstage or in any environment, Rugged, road-worthy design, Wide: 21-5/16 inches, Depth: 10-3/4 inches, Height: 3-1/2 inches, Weight: 8 lbs. 7 oz.
The DL-103 is a living legend in audio product history. Denon collaborated with the Japan Broadcasting Corporation Technical Research Laboratories in 1963 to make this extremely reliable, high performance low-output phono cartridge. As the first moving coil cartridge, the DL-103 will always be the standard of reliability in every aspect, even the price. From quality inspectors at EMI and Decca, to recording studios, broadcasters, and music lovers around the world, the DL-103 is synonymous with great sound. The mark of the Denon is excellent tracking, as pops and ticks are pushed farther into the sonic background.Widely used in the past for broadcasting , the Denon DL-103 uses a high-quality nude, square shank meticulously mounted to Denon's own conical aluminum cantilever with a cross-shaped armature. This reduces mass such that rich tonal qualities are natural and convincing. This cartridge boasts independent moving coils, a flat frequency response, and a single-point suspension system.Specifications:Frequency response (Hz): 20-45,000Output@1khz, 50mm/sec: .3mVOutput impedance: 40 ohmsLoad impedance: 100ohmsChannel seperation at 1kHz: over 25dbChannel sensitivity: 1dB or lessTracking tip: 16.5 micron special round solid diamondCopliance: 5x10-6cm/dyne (100Hz)Tracking force- 2.3~2.7gCantilever: aluminum, conicalMass: 8.5g
The Shure PS-6 Popper Stopper is widely recognized throughout the recording and post-production communities as the leading tool in pop elimination technology. With a 6 inch (7.62cm) diameter, the highly durable four-layer screen stops plosive consonants such as "p" and "b", while the fully adjustable 14 inch (35.56cm) gooseneck and mic stand clamp ensure flexibility across any number of applications.
The Shure A25D is a break resistant microphone clip that securely mounts the SM58, SM57, SM87A, Beta 87A, Beta 87Cand all other microphones with 3/4-inch and larger handles to a standard microphone stand.
The MixDream is a cascadable, 16-in-2 analog outboard mixer in a 19“/2U format. Any DAW or digital console can be expanded with active analog stereo summing and insert functionality. MixDream advantages High-grade analog summing on just 2U rack space Sophisticated, active Class A/60V stages for analog summing in the quality of the best consoles 16 balanced inserts allow for integrated analog effects with individual and overall hard bypass relays Reduction of A/D conversions (14 A/D conversions can be spared with all inserts connected). All analog tracks can be summed before A/D conversion. Channel adjustments and automation (level, panorama etc.) remain controlled from the DAW so the user loses no digital efficiency Lower DAW processor utilization rates The most efficient possible re-sampling of individual tracks with latency free monitoring Surround capable (from up to 3 MixDream units) Channel capacity expandable through linked units Sensitive and transparent stereo expansion control Analog peak limiter for impressive loudness Master inserts and switchable output transformers from Lundahl Optimized signal pathes, all switching functions via relays Proprietary differential amplifiers for each input Discrete, exceptionally low-noise power supply
The EV-5 Expression Pedal is designed for use with keyboards or other Expression-compatible instruments and devices, providing a more dynamic performance. You can set the minimum volume to the level of your choice, thereby determining the maximum effect of the pedal.
Headphone amplifier rack mountable 4 regulated expenses for acoustic array.
Passive Mastering Equalizer In the PASSEQ we have revived the concept of the passive equalizer that was used in the 50’s and 60’s. The charming sound of this vintage technology combined with the modern 120V technology results in a very special equalizer. Only one filter All control functions are part of only one passive filter. There are three frequency ranges: Low Freq / Mid Freq / High Freq Each with a cut control on the left and a boost control on the right. In the middle is the output control. Design A passive filter has no amplification stages. It can therefore only be lowered. If one frequency is to be boosted, all the others must be lowered. Behind the filter there is a stage that makes up for the lowered overall level. Since low noise is particularly important here, since up to 20 dB can be made up for, the 120V technology comes into its own. The entire passive filter (variable resistor, capacitor and coil) provides a very nice sound characteristic. Besides the choice of components, the charging behaviour of the capacitors and the saturation behaviour of the coils play a major role in this. The resulting relative inertia compared to potentially very fast active filters is the reason for a pleasant, musically advantageous sound characteristic. We would choose smoothness and transparency as well as strikingly silky highs and pithy basses as a description that suits our perception. During fine-tuning, through component selection, in countless listening sessions, the emphasis was on achieving the most musical sounding curves possible, which, for example, need fear no comparison with a Pultec EQ from the 1950/60s. Only without all the disadvantages of a 60 year old original, such as the very high background noise, but above all the very limited frequency selection. Another highlight of the PASSEQ is the HF+ band, which has been extended by the frequencies 25 kHz and 35 kHz and sounds so incredibly good that you don’t want to switch it off. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -60 dBu Frequency range (-3 dB): 10 Hz – 200 kHz Crosstalk (1 kHz): -108 dBu THD + N (+30 dBu, 1 kHz): 0.0012 % Noise (A-bewertet): -95.2 dBu Dynamic range: 134.5 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 500 mA Fuse for 115 V: T 1 A Power consumption: max. 15 VA Dimensions & Weight W x H x T (W x H x D (width x height x depth) x Höhe x Tiefe): 482 x 132 x 300 mm Unit weight: 10.2 kg Shipping weight (incl. packaging): 14 kg
The KSM137 is an end-address condenser microphone with a single cardioid polar pattern. Designed for studio use, yet rugged enough for live applications, the KSM137 can withstand extremely high sound pressure levels (SPL). Its low self-noise and extended frequency response make it ideal for recording musical instruments. Versatile, durable, and precise, the KSM137 is an outstanding microphone for instruments ranging from percussion to wind, strings to brass, and piano to guitar. A highly consistent cardioid polar pattern Ultra-thin, 2.5 micron, 24 karat gold-layered, low mass Mylar® diaphragm for superior transient response Class A, discrete, transformerless preamplifier for transparency, extremely fast transient response, no crossover distortion, and minimal harmonic and intermodulation distortion Premium electronic components, including gold-plated internal and external connectors Subsonic filter eliminates low frequency rumble (less than 17 Hz) caused by mechanical vibration Switchable 15 dB pad for handling extremely high sound pressure levels (SPLs) Three-position switchable pad (0 dB, 15 dB, and 25 dB) for handling extremely high sound pressure levels (SPLs) Three-position switchable low-frequency filter reduces background noise and counteracts proximity effect Performance Characteristics Extended frequency response Low self noise Exceptional reproduction of low-frequency sounds Can withstand high sound pressure levels (SPL) High output level No crossover distortion Uniform polar response Superior common mode rejection and suppression of radio frequency interference Applications Some typical applications for the KSM137 are listed below. Microphone use is a matter of personal taste and the KSM137 may be used for a variety of applications other than those listed. Acoustic instruments -- such as piano, guitar, drums, percussion, strings Wind instruments -- brass and woodwind Low frequency instruments -- such as double bass, electric bass, kick drum Overhead miking -- drums or percussion Ensembles -- choral or orchestral Room ambiance pick-up -- guitar amplifier or drums
The Shure SM81 is a high-quality, unidirectional condenser microphone designed for studio recording, broadcasting, and sound reinforcement. Its wide frequency response, low noise characteristics, and low RF susceptibility have made it a standard for applications involving acoustic instruments, especially guitar, piano, and cymbals. SM81-LC - With windscreen, no cable. Phantom power required. The SM81 is ruggedly constructed. It operates on phantom power and performs over a wide range of temperatures and humidity conditions. It is furnished with a swivel adapter, attenuator-switch lock, foam windscreen, and case for carrying and storage. Other accessories are available. 0 Hz to 20 kHz frequency response Flat response curve for accurate reproduction of sound sources Low noise and high output clipping level Low distortion over a wide range of load impedances Cardioid polar pattern, uniform with frequency and symmetric about axis, providing maximum rejection and minimum coloration of off-axis sounds Low RF susceptibility Selectable low-frequency response: flat, 6 or 18 dB/octave rolloff 0 dB/10 dB lockable attenuator switch Phantom powering (DIN 45 596 voltages of 12 to 48 Vdc) Rugged steel construction for durability Field-usable over wide range of temperature and humidity conditions
An embossed single-diaphragm, side-address, cardioid condenser microphone for highly critical studio recording and live sound productions. The Shure KSM32 offers an extended frequency response for an open, natural sounding reproduction of the original sound source. KSM32/CG - Charcoal Gray, with swivel mount and carrying case, phantom power required KSM32/SL - Champagne, with swivel mount, shock mount, aluminum case, phantom power required Class A, transformerless preamplifier circuitry eliminates cross-over distortion for improved linearity across the full frequency range. Embossed, high-compliance diaphragm provides extended low-frequency response. Ultra-thin, gold-layered, low-mass, Mylar® diaphragm for excellent transient response 15 dB attenuation switch for handling extremely high sound pressure levels (SPL) Switchable low-frequency filter provides greater flexibility to reduce background noise or to counteract proximity effect. Integrated three-stage pop protection grille reduces "pop" and other breath noise Internal shock mount reduces transmission of handling noise Replacement cartridge: RK374Performance Characteristics Extended frequency response Very low self-noise Exceptional low-frequency reproduction High output level High input SPL capability No cross-over distortion Extremely uniform polar response Superior common mode rejection and suppression of radio frequency interferenceApplicationsSome typical applications for the KSM32 are listed below. Microphone use, however, is a matter of personal taste. The KSM32 may be used for a variety of applications other than those listed. Voice -- solo, background, voice-over, broadcasting Acoustic instruments -- such as piano, guitar, drums, percussion, strings Wind instruments -- brass and woodwind Low frequency instruments -- such as double bass, electric bass, kick drum Overhead miking -- drums or percussion Ensembles -- choral or orchestral Room ambiance pick-up -- guitar amplifier or drums Both the acoustic environment and microphone placement have significant effects on the sound obtained when miking a source. You may need to experiment with these variables to achieve the best overall sound for each application.
NEW Wider mounting base capable of accommodating a larger range of microphone stands.The Shure Beta 52A is a high output dynamic microphone with a tailored frequency response designed specifically for kick drums and other bass instruments. It provides superb attack and "punch," and delivers studio quality sound even at extremely high sound pressure levels.The Beta 52A features a modified supercardioid pattern throughout its frequency range to insure high gain before feedback and excellent rejection of unwanted sound. A built-in dynamic locking stand adapter with an integral XLR connector simplifies installation, particularly if the microphone is to be placed inside a kick drum. The stand adapter keeps the microphone position fixed and resists slipping, even when subjected to sharp blows and strong vibrations. A hardened steel mesh grille protects the Beta 52A from the abuse and wear associated with touring. * Frequency response shaped specifically for kick drums and bass instruments * Built-in dynamic locking stand adapter with integral XLR connector simplifies setup, especially inside a kick drum * Studio quality performance, even at extremely high sound pressure levels * Supercardioid pattern for high gain before feedback and superior rejection of unwanted noise * Hardened steel mesh grille that resists wear and abuse * Advanced pneumatic shock mount system that minimizes transmission of mechanical noise and vibration * Neodymium magnet for high signal-to-noise ratio output * Low sensitivity to varying load impedance * Legendary Shure quality and reliabilityNEW Wider mounting base capable of accommodating a larger range of microphone stands.The Shure Beta 52A is a high output dynamic microphone with a tailored frequency response designed specifically for kick drums and other bass instruments. It provides superb attack and "punch," and delivers studio quality sound even at extremely high sound pressure levels.The Beta 52A features a modified supercardioid pattern throughout its frequency range to insure high gain before feedback and excellent rejection of unwanted sound. A built-in dynamic locking stand adapter with an integral XLR connector simplifies installation, particularly if the microphone is to be placed inside a kick drum. The stand adapter keeps the microphone position fixed and resists slipping, even when subjected to sharp blows and strong vibrations. A hardened steel mesh grille protects the Beta 52A from the abuse and wear associated with touring. * Frequency response shaped specifically for kick drums and bass instruments * Built-in dynamic locking stand adapter with integral XLR connector simplifies setup, especially inside a kick drum * Studio quality performance, even at extremely high sound pressure levels * Supercardioid pattern for high gain before feedback and superior rejection of unwanted noise * Hardened steel mesh grille that resists wear and abuse * Advanced pneumatic shock mount system that minimizes transmission of mechanical noise and vibration * Neodymium magnet for high signal-to-noise ratio output * Low sensitivity to varying load impedance * Legendary Shure quality and reliability
A mechanical polar pattern switch for highly consistent cardioid and true omnidirectional polar patterns. Provides flexibility in a wide variety of recording applications Ultra-thin, 2.5 micron, 24 karat gold-layered, low mass Mylar® diaphragm for superior transient response Class A, discrete, transformerless preamplifier for transparency, extremely fast transient response, no crossover distortion, and minimal harmonic and intermodulation distortion Premium electronic components, including gold-plated internal and external connectors Subsonic filter eliminates low frequency rumble (less than 17 Hz) caused by mechanical vibration Three-position switchable pad (0 dB, 15 dB, and 25 dB) for handling extremely high sound pressure levels (SPLs) Three-position switchable low-frequency filter to reduce background noise and counteract proximity effect Performance Characteristics Extended frequency response Low self-noise Exceptional reproduction of low-frequency sounds Can withstand high sound pressure levels (SPL) High output level No crossover distortion Uniform polar response Superior common mode rejection and suppression of radio frequency interference Applications Some typical applications for the KSM141 are listed below. Microphone use, however, is a matter of personal taste. The KSM141 may be used for a variety of applications other than those listed. Acoustic instruments -- such as piano, guitar, drums, percussion, strings Wind instruments -- brass and woodwind Low frequency instruments -- such as double bass, electric bass, kick drum Overhead miking -- drums or percussion Ensembles -- choral or orchestral Room ambiance pick-up -- guitar amplifier or drums Both the acoustic environment and microphone placement strongly affect the sound obtained from miking a source. You may need to experiment with microphone placement and room treatments to achieve the best overall sound for each application.
SPL 's Gainstation 1 very compact design allows for free placing outside of a rack . Musicians can place the GainStation 1 easily on a rack or amplifier.To accommodate portability, the optionally available SPL GainBag ensures safe transport of the GainStation 1 and offers additional storage for cables and an average-sized microphone. For more permanent installations, up to four GainStation 1's can be rack-mounted in one optionally available 3-unit mounting frame. Features :Custom-designed and built, fully discrete, class A op-amps (no off-the-shelf stuff here). The GainStation's op-amps feature 60-Volt operating voltage twice as high as most common op-amps�for an incredible dynamic rangeAn extremely high amplifier slew rate of 200 V/microsecond, ensuring clean transmission of high-frequency signal portions and rapid transients with virtually no clippingAn almost entirely DC-coupled signal path, making signal-degenerating condensers unnecessary.An optimized layout guarantees the shortest possible signal paths, while generously proportioned grounding surfaces ensure low impedance and maximum shielding.All switching functions are handled by encapsulated relays with gold-plated contacts.All resistors are within 0.1% tolerance and were selected after extensive listening tests.A no-compromise power supply with extensive additional shielding and seven separately wound and regulated voltages. The power supply is of primary importance to audio quality; its importance should not be underestimated.A tube stage utilizing premium MKP foil condensers and a select 12 AX7 LPS tube for clear, dynamic audio.
Shure's innovative A56D Microphone Drum Mount sets a new standard for versatility. Compact in design, the A56D can be used in a multitude of positions for accurate microphone placement. Live, or in the studio, this universal clamp can be mounted virtually anywhere, including drum rims and racks, microphone stands, and cymbal stands. This reduces the stage clutter that is associated with traditional mic stand set-ups, while promoting greater placement accuracy.
The GoldMike Mark2 retains a hybrid solid state and tube construction to combine the best of both worlds.The transistor stage is composed of single transistors in a class A design. The circuitry is fully discrete, and each transistor is completely optimized for its specific task. You will not find any IC’s in this preamplifier stage because they cannot be optimized for this specific application to the degree we aimed for.This all new discrete class A transistor stage is a genuine innovation in the entire preamplifier market at this price level. Features : Frequency response ‹10Hz bis 90kHz (-3dB) THD+N (Input level -30dBu, 30dB Gain) 0,016% Noise (A-w., R=40Ohm, 30dB Gain) -91,2dBu Dynamic range (30dB Gain) 110dB E.I.N. 128dBu Max. output level (sym., XLR+Jack) +26,8dBu Slew rate solid state stage 200V/µs
The Shure Beta 91 is specifically designed for kick drums and other bass instruments. The Beta 91 combines superior "attack" and "punch" for studio quality sound, even at the extremely high sound pressure levels encountered inside a kick drum. Its boundary effect design produces a strong, solid low-end response that has been specifically tailored for heavy bass applications. The microphone's cardioid pattern provides outstanding gain-before-feedback and excellent rejection of unwanted sound, making the Beta 91 ideal for live concert applications. The low profile design of the Beta 91 eliminates the need for external mounting hardware - just throw it in your kick drum and play. FEATURES Frequency response shaped specifically for kick drums and other instruments Wide dynamic range for use in high SPL environments Low-profile design requires no external mounting hardware Detachable cable for easy storage Legendary Shure quality, ruggedness, and reliability
The Beta 98H/C is a premium cardioid condenser instrument microphone that clamps onto the bell of wind instruments or onto the rim of percussion instruments. The integrated gooseneck and ratcheting swivel joint allows the mic to be easily positioned and secured, and an isolation shock-mount reduces the transmission of instrument 'key noise' and other mechanical noise. A gooseneck angle brace is included to provide better retention of the microphone placement during more active performances. FEATURES The Beta 98 H/C and WB98 H/C feature transformerless preamplifier circuitry which improves linearity across the full frequency range. The pickup pattern provides high gain-before-feedback and excellent rejection of unwanted noise. Its high maximum sound pressure level (SPL) enables it to handle the extreme demands of brass, woodwind and percussion instruments. The Beta98H/C features a 3 m (10 ft.) high-flex cable with attached preamplifier (XLR connection) The WB98H/C features a 1.6 m (5.3ft) high-flex cable terminating in a 4-pin mini-connector, for use with wireless bodypack transmitters Tailored frequency response for open, natural sound reproduction Compact, lightweight construction provides a low degree of visibility Gooseneck, ratcheting swivel joint and gooseneck angle brace allow for optimum placement and fixed positioning Legendary Shure ruggedness and reliability
The API 550 EQ played a major part in the history of music recording in the USA during the 60's and 70's. Originally conceived for use in API's consoles, this latest 550 "B" version is a continuation of the original 1967 550 through the 550A with one additional filter band and several new frequencies. Incorporating API's exclusive circuitry and proprietary components (such as the legendary API 2520 op-amp), the 550B artfully blends the past with the present. So many hit records still depend on the unique 550 sound, that the 550B will be an invaluable tool you will turn to again and again. The API 550B—unlike any other you will ever use.Many EQ's today offer a huge assortment of complex features, but the API 550B provides exactly the right number of controls to the professional engineer. Deceptively simple at first glance, the 550B's four EQ bands are overlapped significantly to aid in dual roles as problem solver and sweetening device. Each band offers 7 switchable filter frequencies spanning 4 to 5 octaves, selected through experience by a "who's who" list of the industry's most proficient engineers. This re-issue design has been taken from the original blue prints and spec control drawings from the API archives.Features: 4 bands of our famous sounding equalizationEach band offers 7 API selected frequency centersReciprocal and repeatable filtering12 dB of boost/cut per bandEQ Band 1 and 4 offer shelf/peak switching"Proportional Q" narrows filter Q at extremesTraditional API fully discrete circuit designHigh headroom +30 dB clip levelRe-issue of 1967 API 550 EQ with an extra band
Few equalizers enjoy the respect and admiration of the coveted API 550A. Designed by the now legendary Saul Walker in the late 60's, the discrete 550A was first used as a modular OEM equalizer. As the industry rapidly embraced the sonic quality of the 550A, it quickly found it's way into many custom console designs by Frank DeMedio and other leading engineers. Many of these consoles are still in use today.Forty years later, the 550A remains the standard against which other EQ's are measured, and it has played a major role in the recording industry for decades. Still copied but never duplicated, the 550A became API's standard channel module EQ when the company began manufacturing consoles in 1971. With virtually all existing units spoken for, popular demand for this EQ resulted in API finally resuming production in 2004.With the long-awaited reissue of this unit, an EQ that has had such a part in the history of recording is continuing to make history in today's music. FEATURES3 bands of classic API equalization Each band offers 5 API selected frequency centers Reciprocal and repeatable filtering maximum 12 dB of boost/cut per band EQ Band 1 and 3 offer shelf/peak switching "Proportional Q" narrows filter Q at extremes Traditional API fully discrete circuit design High headroom +30 dB clip level
The R 1 Active MKIII is a very cool mic that combines the best of two worlds; the warmth of a ribbon and the stability of a F.E.T. buffer ampilier. This means that you can use the R1 Active MKIII with long cables and virtually any pre-amp featuring 48V phantom power.A clean and clear sound, yet warm and punchy is what the R1 Active MKIII will deliver in most cases. We love it on drums, as an ambience mic or in pairs for O.H. pickup, but it sounds great on most instruments.The R1 Active MKIII is in fact a very versatile mic even suitable for some sensitve vocal recording! And even more so now when the mk3 version includes switches for low cut and 10dB pad.
Dangerous Music's Source is the all-in-one portable monitoring system project studio engineers have been waiting for! The Dangerous Source gives you access to a complete set of audio sources, including USB and AES digital audio, as well as a balanced XLR and an 1/8" stereo input (perfect for your iPod!).Separate source selections for your headphones and monitors will certainly also come in handy when collaborating with artists. If the complexity of your monitoring setup has you tied in knots, check out the Dangerous Source.Portable, studio-grade monitor controllerThe Dangerous Source pops into your backpack and fits right under your laptop. If you're a producer, engineer, DJ, or video editor who's always on-the-go, it's great to have access to studio-quality monitoring on the road. Dangerous Music's studio monitoring products are well regarded amongst audio pros, and you know when they set out to design a portable monitor controller, it's going to have the right stuff.Flexibility - it's a beautiful thingThe Dangerous Source lets you listen to any combination of four input sources; you get two speaker outputs and two headphone outputs. You can let the singer hear her own personal headphone mix, for instance, from the Analog 2 input - while you monitor the real mix, coming in from your computer via the USB input (which can run up to 24-bit/192kHz). The Dangerous Source gives you the monitoring flexibility to handle virtually any monitoring situation that might crop up.Dangerous qualityDangerous Music is renowned for their no-compromise designs and build-quality, and the Dangerous Source lives up to this reputation. The company's products have earned the fierce loyalty of legions of audio pros the world over. When you add the Dangerous Source to your audio rig, you know that you're making an investment in great sound that will give you many years of use.Dangerous Music Source monitoring system Features:Hear everything, anywhere, so you can mix it right the first time.Portable monitor control for both speakers and headphones.Monitor Digital, (2) Analog and USB sources separately or simultaneouslyFits beneath a 13" laptop or rack installable (kit optional)Two speaker outputs can be engaged simultaneously, or use one as a dedicated subwoofer out.Headphones and speakers can monitor single or multiple sources - different choices for the producer and artist.Two analog inputs: 1/8" mini stereo & XLR/TRS combo jack.Two digital inputs: AES/SPDIF and USBUSB IN, up to 24-bit/192kHz for Windows and Mac (plug and play in OX X 10.7)Third stereo output to send to Front of House or final mixdown
24bit/192kHz FireWire / USB 2.0 Audio Interface and 28/16 digital mixer with FX, DSP (EQ, compressor and reverb), new CueMix console, 2x mic/guitar inputs with internal hardware limiter, 48V phantom power, 8x balanced line I/Os & 2x XLR main outputs, 2x sends, 2x ADAT I/O, S/PDIF RCA I/O (24bit/96kHz), MIDI I/O, Word Clock I/O, 2x headphone outputs. Compatible with Mac & PC. Dimensions: 19" x 1U.
The Manley MASSIVE PASSIVE is a two channel, four band equalizer, with additional high pass and low pass filters. Passive - refers to the tone shaping part of the EQ design not using any active circuitry. Only metal film resistors, film capacitors and hand-wound inductors sculpt the sound. Super- beefy, hugely-high-headroom, Manley all-tube make-up gain amplifiers deliver your tunes into the next realm. Creating natural, organic, acoustic tone can only be done with an equalizer that shapes the signal with natural methods. The Massive Passive uses simple passive components and exploits their natural qualities rather than forcing a complex circuit to meet an arbitrary clinical or scientific goal. Manley knows that recording and mastering equalizers are used by artists for artistic goals and they balanced this design with a little more art than science. The Massive Passive is intended both for the most radical EQ sometimes needed for tracking as well as the most subtle shadings for vocals and mastering. It is designed to be a fundamentally different EQ but with the best strengths of Pultecs, choice console EQs, parametrics and graphics. The difference is that this EQ allows twice as much EQ with half the colouration. It allows massive HF boosts without sibilance problems and unbelievable fatness without mud. This is unique. Being different also gives it some quirks and idiosyncrasies that will spark your creativity.The main features of the Manley MASSIVE PASSIVE include:Perhaps the ultimate studio EQ for tracking instruments, mastering and delivering powerful tonal control with characterAll-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 trimsEach band can be bypassed or set to boost or cut. This provides twice the control resolution over conventional EQs. It also eliminates the problem of a centre detent not guaranteeing flat responseEach band is capable of 20 dB of boost or cut combined with amazing headroom and freedom from clippingSteep LP and HP filters for maximum effectiveness and achieved passively for minimal coloration. The minimum slope is 18 dB/octave and the 18kHz filter was designed for 60 dB/octaveModular design that allows future upgrades and special functionsTransformer balanced floating outputs for ease of installation and a touch of desirable flavourIns and Outs Balanced XLR and 1/4 inch (accepts unbalanced)Level +4 dBm nominal, internal switches for -10 operationBypass Switch bypasses EQ and tube circuits (not hardwire)44 Frequencies (roughly 1/4 octave spacing)Frequency Range: 22 Hz to 27 kHzEQ Boost/Cut Range : 20 dB boost, 20 dB cutNominal Q range: 1.5 to 3 (uniquely active in shelf modesFrequency Response: +/- 2 dB: 8 Hz to 60 kHzMaximum Output @ 1.5% THD +37 dBv; + 26dBv @ 20 HzTHD and Noise (1kHz @ +4 dBm): 0.06%Noise Floor (referred to + 4dBm): -85 dB (A Weight)Dynamic Range: 120 dBTube Complement: 5751 x 2, 6414 x 4Power Consumption 72 wattsSize (3U): 19 x 5.25 x 10 inchesWeight: Unit 21 lbs. Shipping weight: 27 lbs
The Dangerous Monitor ST is a remote-control accessed input source switcher/speaker switcher/cue system/talkback system /headphone amplifier all in a one rack space package. FEATURESAnalog stepped-attenuator volume control 4 input sources3 speaker outputsProgrammable input gain offsetsInput level compensation for –10dBV and +4dBu sourcesInput 4 has continuously variable level offsetProgrammable output level offsets Assignable subwoofer outputProgrammable subwoofer level offsetSelectable subwoofer filteringComprehensive speaker Mute and SoloFlexible stereo cue system with main and auxiliary inputsOnboard cue power ampTalkback system with dual control and dedicated slate output SR unit has selected source output
Enjoy exceptional sound in a minimalist style. The Denon CEOL-N10 Hi-Fi-Network CD Receiver with HEOS music streaming, Bluetooth® and Alexa voice control is the perfect compact stereo for all your musical desires. With the Denon CEOL-N10 your sound possibilities are nearly endless. Listen to your favourite CD, stream your playlists via Spotify, Deezer Premium or Tidal, go multi-room with the built in HEOS technology, using Bluetooth® or your network. Enjoy Internet Radio and AirPlay2. And the most convenient thing: Control this Mini HiFi system easily via your voice with Amazon Alexa voice compatibility. It's a thousand things. It's cool, it's CEOL. Select the sound or source you like, turn up volume, skip to the next track – all this and more you can do with simple voice commands. Since the CEOL-N10 Mini System is compatible with Amazon's Echo devices and Alexa Voice Service, it'll literally read your every wish from your lips. CEOL-N10 is built for optimum sound performance with a completely re-engineered two-way speaker configuration that improves clarity and musical accuracy. You will hear every instrument clearly with enthusiast quality. Every room in your home can have its own HEOS sound. Or, group multiple HEOS compatible devices and speakers to fill the house with the same song , using your home network. With HEOS, multi-room means multiple options. Have it all at your fingertips with the intuitive HEOS App. The CEOL-N10 comes in a compact design that complements your style. The beautiful Denon mini system is available in a black, white and grey high-quality matte finish. The sophisticated industrial design of the CEOL-N10 blends seamlessly into your home and pairs with your aesthetic preferences. CEOL-N10 is fast and intuitive to set up, taking just minutes from unboxing to filling your home with beautiful music. Just follow the simple instructions and connect to your favourite streaming services with ease. Or just pop in a CD. The choice is yours. Play your personal music collection – even in high-resolution. The CEOL-N10 Network-Receiver supports all major streaming formats. All the great music services are fully integrated. Set the mood that's just right for the moment. Specifications :High quality power output : 2 x 65 WCD Compatibility: CD / CD-R/RW / WMA / MP3 : / / / Tuner: FM (RDS) / AM : / Network Audio Streaming : Spotify Connect* / Tidal* / Deezer* / others * : / / / AirPlay 2 : Internet radio : tuneinHEOS Multiroom and Streaming : Voice Control - Works with Amazon Alexa : Auto Power On by optical input signal : TV remote learning : (update)Bluetooth / aptX / NFC : / / USB Audio (Front) / Made for iPod / Made for iPhone : / / USB-A: DSD / WAV / FLAC / AIFF / ALAC : 5.6 / 192 / 192 / / 192Ethernet / WiFi : / WiFi setup: WPS / WiFi Sharing : / Lossy Formats: MP3 / WMA / AAC : / / Lossless formats: FLAC HD / ALAC / WAV / AIFF / DSD : / / / / Gapless Playback : (FLAC, WAV, DSD)Tone Control: Bass / Treble / Balance : / / MaxxBass / MaxxTreble : / Low Noise OELD display : 3 lineClock : Sleep Timer : Programmable Timer: Once / Daily : / Digital Optical In / Out : 2 / 0Subwoofer PreOut : Speaker Terminal: push type / Screw Type : / Power Output (6 ohm, 1kHz) : 60 W / 4 ohmsNumber of channels : 2Freq. Response (Analogue In) : 20 Hz 20 kHzSignal to Noise Ratio (audio) : 86dBTotal Harmonic Distortion (audio) : 0.1(1kHz/5W/ 4 ohms)Frequency Range FM : 87.5 108 MHzSignal to Noise Ratio (Mono/Stereo) FM : 74/70 dBTotal Harmonic Distortion (Mono/Stereo) FM : 0.3 / 0.4%Remote Control : RC1222Power Consumption in W : 55Standby Consumption in W : 0.4Maximum Dimensions (W x D x H) in mm : 280 x 305 x 108Weight in g : 3.4
Vocal microphone provides excellent speech reproduction onstage due to its cardioid pickup pattern. It features a wind and "pop" filter for vocals, a wire-mesh front grille, dual-impedance operation, and a silent magnetic on and off switch.The predecessor to the SM58®, The 565SD Classic Unisphere® Vocal Microphone is a dual-impedance, unidirectional dynamic microphone famous for its spot on the Woodstock stage.It features highly effective wind and "pop" filter for vocals and a durable, wire-mesh front grille. Shipped connected for low-impedance operation, the 565SD provides excellent vocal or speech reproduction onstage, and can also be used with public address systems.Features:Versatile, high-quality microphone with sound characteristics similar to the SM58®Selectable dual-impedance operationSilent magnetic reed on/off switch with lock-on optionCardioid dynamicFrequency response: 50 to 15,000 HzSpecifications:Weight: 298 gHeight: 161.0 mmWidth: 51.0 mmFrequency Response: 50 Hz – 15 kHzFrequency Response: TailoredSensitivity: -56.00 dBV/Pa – 1.60 mV/PaTransducer Type: DynamicPolar Pattern: CardioidSwitchable low cut: NoConnectors: 3 Pin XLRAttenuator: NoInterchangeable Capsule: No
The ultra-compact VP83 LensHopper™ is an all-in-one solution for capturing detailed, high-definition audio with full low-end response for professional results every time. For use with DSLR cameras and HD camcorders, the VP83 features a rugged build and true-to-life audio quality, expertly combining form and function. Its easily accessible controls enable quick adjustments for different recording environments.Features:High sensitivity and low self-noise with wide frequency range for natural audio reproductionHighly directional supercardioid / lobar polar pattern that rejects unwanted off-axis audio while clearly capturing the intended sound sourceSuperior RF immunity that avoids unwanted audio artifacts from cellular and RF devicesEasily accessible controls at the back of the microphone:Three-position gain (-10 dB pad, 0, +20 dB boost) to compensate for different recording environmentsLow-cut filter to eliminate background noise and room ambienceDurable and LightweightIntegrated Rycote® Lyre® shock mounting system that provides robust isolation from vibration and mechanical noise (exclusively developed with Rycote for the VP83)Durable, all-metal construction that meets legendary Shure quality standards in an ultra-lightweight design
Shure MX150B/C-TQG Black Cardioid 5mm Subminiature Lavalier Microphone with TQG connector for Shure Bodypacks.The Shure Microflex® MX150 is a professional electret condenser microphone ideal for applications requiring low-profile placement. Fully compatible with all Shure wireless systems, the discreet MX150 offers uncompromising sound quality and high reliability for television broadcasting, corporate lectures, A / V teleconferencing, houses of worship, and sound reinforcement. Specifications:For voice applicationsChangeable equalisation capsCardioidFrequency Response: 20 - 20,000 HzSPL max. 147.5 dB4-pin. TQG plugDiameter: 5.8 mmLength: 11 mmBlack reinforced cableIncluding tie clip and windshield
Clip-on lavalier condenser microphone in a discreet, miniature form factor ideal for professional presentations. Works with Shure wireless systems.Specifications:Discreet, miniature clip-on lavalier microphone for speeches and presentationsCondenser cartridge with cardioid polar patternWorks with all Shure wireless bodypacks featuring TA4F (TQG) connectorsPolar pattern: CardioidFrequency range: 50 - 20,000 HzMax. SPL: 139 dB-43.5 dBV/PaTQG Connector for Shure wireless systems
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.For extended bass response in your studio, the MRS10 Powered Studio Subwoofer delivers powerful low-end reinforcement perfect for when your music hits hard and low. Features:120W RMS / 240W Peak Output Sub With 10'' Composite WooferClass-D Amplification For Responsive & Accurate LF SoundsAdjustable 40Hz To 180Hz Crossover Point Offers Versatile SettingsAll-Wood Cabinet With Rubber Feet Minimises Unwanted ResonanceIdeal For Electronic Music, Hip-Hop & More
