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JBL JRX 218S. 18 in. compact subwoofer. - 350 W (continuous), 1400 W (peak) power capacity. The rugged enclosure is constructed from 19 mm (.75 in) MDF (Medium Density Fiberboard) using advanced adhesives and mechanical fastener technology for durability and improved low-frequency performance.The enclosure is covered in black carpet. A top mounted, cast aluminum 36 mm pole mount receptacle can receive an optional SS3BK pole to facilitate use of the JRX218S as a base for a midhigh speaker cabinet. Non-resonant, all steel handles are used. Attractive 18-gauge perforated steel grille protects components from damage. Specifications:Power Rating350 / 1400 WFrequency RangeAt -10 dB: 38 to 300 HzFrequency ResponseAt ±3 dB: 55 to 300 HzSensitivity96 dB SPL (1m)Nominal Impedance4ΩAmplifier Power350 to 700 W into 4ΩCrossover Adjustment30 Hz HPF, 24 dB / octave; 80 to 100 Hz LPF, 24 dB / octaveMaximum SPL127 dBLow Frequency DriverJBL 2043-GInput Connectors1 x Neutrik Speakon NL-41 x 0.25" (6.35 mm) TS phone jack; parallelDimensions (H x W x D)23.5 x 20.3 x 22.0" (605.0 x 508.0 x 551.0 mm)Weight89.0 lb (40.4 kg)
JBL VT 4888. Three-Way High Directivity Midsize Line Array Element. Precision waveguides, Radiation Boundary Integrators, two 2162H 12 Differential Drive low frequency loudspeakers, four 2106H midrange cone transducers, two 2431H compact neodymium compression drivers with 3 diameter diaphragm, axially-symmetrical enclosure, PlyMax engineered panels, integrated rigging, perforated steel grilles with foam backing, six handles. Pre-engineered to accept optional DrivePack self-amplification module with integral signal processing.Combine to form articulated line arrays. Ships with hingebars. Order available ACC Kit to receive dolly and cover. (52.2 kg / 115 lb).
The Roland CM-30 Cube Monitor delivers 30W of audio punch through a rugged, high-quality 6.5" coaxial 2-way speaker with stereo preamp. The CM-30 is designed for home-studio and wide-ranging monitoring applications, but it can be used for live monitoring onstage as well.The Roland CM-30 monitor speaker offers more than enough inputs to simultaneously connect a microphone, a keyboard, a rhythm machine, and a CD player, or to function as a mini-PA rig. It's equipped with 3 input channels, with one XLR mic/line input and 2 additional AUX RCA and stereo mini-phone inputs, making a total of 5 simultaneous inputs possible (4 stereo and one mono input). The Stereo Link function allows 2 CM-30s to be linked for true stereo output, which enables a total of 10 inputs.Sound can be further refined with the Roland speaker's onboard 2-band equalizer. As with all other controls, the EQ knobs are conveniently located on the front panel for quick access.The Roland CM-30 can be easily and safely toted from location to location thanks to its built-in handle grip, protective metal grille cover, and cabinet corner protectors. Other handy features include a stereo headphone jack and mic stand adapter.Features6.5" coaxial, 2-way speaker with stereo preamp30W output3 input channels, with one XLR input for mic/line and 2 additional aux inputsStereo Link function for stereo connection between 2 units, for a total of up to 8 stereo inputs and 2 mono mic/line inputsMetal grille cover, corner protectors, and handle grip for easy transport
Shure MX412D/C, desk condenser microphone with very slim goose neck (30,5cm long), cardioid, switch programmable, status LED, mini cap changeable (modular), incl. Accessories: Wind protection, note: very much, also on Distanzbesprechbar without strong negative influences
Gooseneck cardioid microphone provides elite performance with a 45.7 cm cable and inline preamplifier for use in installed sound reinforcement or AV conferencing. It features Commshield RF Filtering to stop wireless device interference.Designed with dual gooseneck sections for full articulation, the CVG18 provides scalable, high level performance in a wide variety of locations, including podiums and desktops.
The predecessor to the SM57, The 545SD Classic Unidyne® Instrument Microphone is a dual-impedance, unidirectional, dynamic microphone.Shipped connected for low-impedance operation, the 545SD features a silent magnetic reed on/off switch with lock-on option. A favorite for instrument pickup and recording, the 545SD can also be used on lecterns in public address systems.
Shure Super 55 Deluxe Dynamic Vocal Microphone new follow-Up 'Elvis' mic with cardioid polar pattern, stand adapter, improved capsule with reduced feedback/handling noise ratio, Optional Reduction Thread Adapter 104948.
The Legendary Shure "Green Bullet" Harmonica Microphone!Here's the Shure 520DX, dubbed the "Green Bullet" - a legend in its own right! This famous harmonica microphone is the perfect tool for live performers. The Shure 520 DX "Green Bullet" boasts a handy volume control knob at the base of the microphone so it's easy to adjust your levels mid-peformance. And, the 520DX's attached cable offers a standard 1/4-inch phone plug so you can connect your harp mic to whatever high impedance device your needs require. A favorite of harmonica players around the world, take the stage confidently with the Shure 520DX "Green Bullet" harmonica microphone.A trusted harmonica legendThe Shure 520DX, known affectionately as the "Green Bullet," has seen countless stages across the world. In fact, it's already a legend among harmonica players - especially among blues players. Its signature green and chrome die-cast casing was countoured to fit perfectly between your harmonica and your hands. And, true to Shure form, you can bet the 520DX Green Bullet sounds great, too.Handy volume knob on base of microphoneBuilt for the stage, the Shure 520DX has a convenient volume level control built right into it. That way, it's easy to make quick level adjustments mid-performance without taking your mind off your performance or your hands off your harp.
Shure WH20TQG, Dynamic Headset,Frequency range from 50 - 15.000 Hz, TQG-Conector, incl. Cableclamp and Windscreen, for Shure Wireless-Systems.
Shure WH20XLR - headworn dynamic microphone, cardioid polar pattern, XLR plug, includes windscreen.
Listening from multiple sources through multiple sets of monitors is the norm in professional studio. Managing all this can be a time-consuming and often a noise-ridden, confusing mess. With the Big Knob, you have complete control of all your sources and monitors without the annoying problems. Easily select from various sources and sets of monitors at the push of a button and control your level from one (big) knob.Mackie Big Knob Passive; Monitor Controller for up to two Monitor Pairs and two Stereo-Sources; passive +4dB Signal path ; big Volume Knob; Switch for Mute, Dim, Mono, Monitor and Signal Source; Connections: 2x Stereo Line-Input 1/4" Jack balanced, 2x Stereo Monitor-Out 1/4" Jack balanced; Housing: sturdy steel; Dimensions: 142 x 137 x 79 mm, Weight: 1 kg
The Shure SM58® unidirectional (cardioid) dynamic vocal microphone is designed for professional vocal use in live performance with switch, sound reinforcement,and studio recording. It has a tailored vocal response for a sound which is a world standard for singing or speech. A highly effective, built-in sphericalfilter minimizes wind and breath "pop" noise. A cardioid pickup pattern isolates the main sound source while minimizing unwanted background noise. Rugged construction, a proven shock-mount system, and a steel mesh grille ensure that even with rough handling, the SM58 will perform consistently,outdoors or indoors. SM58-LC : Cable not included
The SM94 is a unidirectional electret condenser microphone tailored to the instrument miking needs of professional musicians and sound engineers in both live performance and sound recording. Its smooth, flat frequency response is free of either a presence peak or a low-frequency rolloff, making it a perfect choice for all types of musical instruments. The SM94 is equally at home in sound reinforcement systems or in sound studios and motion picture/ TV scoring stages. When used with the optional wind-screen, the SM94 can be used by vocalists and speech-makers who desire a wide, flat response with minimum coloration.A sensitive mic with a wide, flat response ideal for live amplified and acoustic instruments.Extremely well-suited for reproduction of stringed instruments, woodwinds and cymbalsAA battery or phantom powerInternal shock mountWide dynamic rangeSmooth, flat frequency responseUniform Cardioid condenserFrequency response: 40 to 16,000 Hz
The Shure SM58® unidirectional (cardioid) dynamic vocal microphone is designed for professional vocal use in live performance, sound reinforcement,and studio recording. It has a tailored vocal response for a sound which is a world standard for singing or speech. A highly effective, built-in sphericalfilter minimizes wind and breath "pop" noise. A cardioid pickup pattern isolates the main sound source while minimizing unwanted background noise. Rugged construction, a proven shock-mount system, and a steel mesh grille ensure that even with rough handling, the SM58 will perform consistently,outdoors or indoors. SM58-LC : Cable not included
The legendary Shure SM57 microphone is exceptional for musical instrument pickup and vocals. With its bright, clean sound and contoured frequency response, the SM57 is ideal for live sound reinforcement and recording. It has an extremely effective cardioid pickup pattern which isolates the main sound source while minimizing background noise. In the studio, it is excellent for recording drums, guitar, and woodwinds. The SM57’s outstanding performance, legendary reliability, and diversity of application make this "workhorse" the choice of performers, producers, and sound engineers worldwide. SM57-LCE : Without Cable
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 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 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
