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Universal Audio 2-LA-2 Twin T4 Leveling Amp : MusiciansFriend : USD3499.0The 2-LA-2 T4 Leveling Amp is not an exact component clone of the classic LA-2A, but a feature-enhanced stereo evolution of its ancestor that elegantly combines two channels of silky, tube-amplified, stereo matched optical gain reduction in one unit. Based on the UREI LA-2A designed by Jim Lawrence and distributed by Bill Putnam of Universal Audio, the new two-channel version designed by Dennis Fink, one of the original engineers at UREI and the mind behind the LA-610 and UREI Time Aligned monitors, takes the LA-2A to the next level. The new 2-LA-2 still retains the original all-discrete Class A circuitry and core "sonic signature" components that made the LA-2A the studio standard compressor in recording studios around the world - and the most emulated compressor as well. With ten tubes and four T4 gain reduction modules, the 2-LA-2 is a breakthrough in optical compression. Featuring two socketed T4 modules on each channel, the 2-LA-2 has switchable slow and fast recovery times. The slow recovery setting delivers the same program dependent, artifact-free gain reduction made famous in the original Teletronix unit used on countless recordings. The new fast recovery option offers more versatility over the original, making the 2-LA-2 Leveling Amp an amazing choice for demanding studio tasks such as stereo bus compression or reigning in the fast transients on drum groups.The rackmountable 2-LA-2 uses only the finest audiophile quality parts, from metal film resistors and WIMA capacitors to custom UA input and output transformers. From drum bus to master bus, vocals to vibraphones, the 2-LA-2 delivers the same authentic, smooth as silk gain reduction you've come to know and trust with the LA-2A, conveniently re-designed into a 2U two-channel package. |
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Furman AR-20 II Voltage Regulator Black : MusiciansFriend : USD1449.95The AR-20 II from Furman regulates voltage to deliver a stable stream of AC power that protects equipment from problems caused by AC line voltage irregularities. No more sags, brownouts, or over-voltages-all of which can cause sensitive electronic equipment to malfunction or to sustain damage. Featuring a generous 20-amp capacity, the AR-20 II regulator accepts any input voltage from 97V to 137V and transforms it to a constant 120V. Voltages beyond this range are also converted to usable levels, unless they are extremely far out of range, in which case the unit will automatically power down to prevent equipment damage.The Furman AR-20 II filters and purifies AC power, reducing line noise linearly and ensuring optimum performance. Your equipment will perform at optimum levels and will be fully protected from spikes and surges by Furman's exclusive SMP+ technology. This virtually maintenance-free surge suppression system incorporates Linear Filtering Technology (LiFT), Extreme Voltage Shutdown (E.V.S.), and high current TVZ MOVs to provide the highest level of power protection available-all without the need for servicing or replacement of the unit. Just install it in your rack and forget about it!The AR-20 II voltage regulator's circuitry monitors the incoming line voltage with each cycle, comparing it to an extremely precise voltage reference, accurate to ±0.15%. The design is not sensitive to small errors in line frequency, making it ideal for use with generators. If a voltage fluctuation requires that a different tap be selected, the new tap is switched electronically at the zero-crossing, to avoid distorting the AC waveform. (Most commercial voltage regulators using multiple-tapped transformers switch taps at uncontrolled times, thereby creating voltage spikes, and often creating clicks that can leak into the audio.)The AR-20 II has twelve outlets on the rear panel and two convenience outlets on the front panel. All outlets are regulated, spike-suppressed, and filtered against radio frequency and electromagnetic interference. The twelve rear outlets are divided into two separate banks with bi-directional filtering for either analog or digital components. There are no controls except for the on-off switch. A digital meter indicates input voltage, while another LED indicates "In Regulation" status (i.e., that the output voltage is within ±5V of 120V). The unit is housed in a compact, dual-space rack mount chassis, 3.5" high and 17.125" deep with rack ears (14.125" deep without rack ears). SMP+ (Series Multi-Stage Protection Plus) Furman's SMP+ surge suppression virtually eliminates service calls. Traditional surge suppression circuits sacrifice themselves when exposed to multiple transient voltage spikes, requiring the dismantling of your system, and repair of your surge suppressor. Not so with SMP+. With Furman's SMP+, damaging transient voltages are safely absorbed, clamped and dissipated-n |
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Furman IT-20 II Balanced Power Conditioner Black : MusiciansFriend : USD1799.95The Furman IT-20 II Balanced Power Conditioner is designed for the most critical, ultra-low noise installations. The IT-20 II can supply 20 amps of balanced AC power for recording studios, broadcast stations, or video production facilities. To understand the incredible need for clean noise-free AC power, it's important to note that today's sophisticated studio equipment features tremendous dynamic range. Most of the signal content that defines high resolution such as harmonics, instrument timbre, high-frequency extension, spatial cues, and fast transient attacks in audio are inherently low in signal level. Further, when AC noise is induced into audio processors, preamplifiers, microphones, powered monitors, computers, and mixing consoles these all important low level signals are distorted or masked. Once signals are masked there is no way to retrieve the lost content. Advanced AC filtering is critical when audio or video resolution is at stake. With Furman's IT-20 II, you will hear audio content and see video images as they were meant to be-pristine. Add to this Furman's SMP non-sacrificial surge suppression, E.V.S. protection, Linear Filtering Technology (LiFT), and laboratory grade digital voltmeter, and you will be assured that AC noise and surges are a thing of the past.Balanced AC Power In much the same way that balanced audio lines can reduce the pickup of hum and other types of electromagnetic interference (EMI), the use of balanced AC power lines in sensitive audio, video, or computer installations can make an enormous difference in system noise and signal integrity. But power distribution in North America, unfortunately, is not balanced. The distribution standards currently in use were derived from practices established over a century ago, when electric power use was limited to lighting and motors-long before any AC noise sensitive applications existed. The emphasis then was on convenience (from the power utilities-standpoint) and safety, but not noise cancellation. The result was a three-wire distribution scheme in which 120V branch circuits have a hot wire and a neutral wire, with the neutral tied to a third wire connected for safety to an earth ground. The third wire does not carry any current unless there is a fault. This unbalanced scheme can create hum in audio circuits for two main reasons. First, the current flowing in the hot wire induces hum in any other nearby wires, which may carry vulnerable low-level audio or video signals. Second, because the impedance of chassis and cable shielding to ground is always greater than zero ohms, ground current flowing from power supply capacitors and from EMI pickup causes a voltage drop at 60Hz and its harmonics. This low level noise becomes part of the audio signals.With a center-tapped isolation transformer, the AC power feeding a studio can be balanced at its source. The current-carrying wires then are no longer "hot" (120V) and "neutral" (0V), but two |
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Furman HA-6AB Headphone/Monitor Amplifier White : MusiciansFriend : USD399.95The HA-6AB Headphone/Monitor Amplifier from Furman is a unique combination of a headphone amp and a conventional power amp. This combination of functions can save the expense of an extra power amp in many recording studios.The HA-6AB is basically an economical 20-watt per channel stereo amplifier. Unlike a conventional power amp, it has six headphone outputs (stereo phone jacks) on the front panel, each with an associated volume control. When used for overdubbing or rehearsal, this provides more than adequate loudness in all headphones (even older low-impedance models), and allows you to set your own comfortable volume level. When the overdubbing is complete and you remove your headphones, the HA-6AB can power the tape playback through either (or both) of two sets of studio monitor speakers, selected by pressing front panel pushbuttons.The HA-6AB also features a convenient input level control on the left side of the front panel. A pair of yellow LEDs-one for each channel-light up whenever signal is present (threshold -28 dBu). Another pair of red LEDs show an overload condition in either channel.20 watts per channel make the HA-6AB ideal as a low-distortion headphone driver for the most critical listening situations. The HA-6AB's higher power can drive headphones of any impedance to their full rated listening level, and do so with minimal noise and distortion. Its power capacity is also just right for the small cube reference speakers used in most recording studios as a comparison with the main control room monitors-it can power them without overpowering them. On the studio floor, a set of small monitor speakers driven by the HA-6AB can make a session progress more efficiently by giving you a chance to hear a playback without needing to disconnect yourself from your equipment and walk into the control room.The HA-6AB utilizes an efficient toroidal power transformer for silent operation and low magnetic leakage, as required in a studio environment. It is fully protected against thermal overload, and it can withstand a short circuit on any or all outputs for an indefinite time without damage. |
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Furman RL-I Rack Light with Incandescent Bulbs Black : MusiciansFriend : USD89.95Sturdy Furman RL-1 rack light units mount conveniently into one 19" rack space providing light from two gooseneck lamps. A dimmer switch on the front panel allows you to easily adjust the light to exactly the amount desired. The RL-I is powered by a detachable 6-foot cord with an enclosed 12 VAC power supply inside the AC plug (wall wart). This cord supply is conveniently attached to the rear of the panel by a 2.1mm barrel connection, allowing fast, reliable connection. The RL-I has replaceable heads/bulbs, so you can keep your rack lit indefinitely. |
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Radial 8ox Eight Channel 3-way Microphone Splitter : MusiciansFriend : USD849.99The Radial 8ox is a high performance, 8-channel mic splitter with 3 outputs on each channel: a direct output for 48V phantom return, and auxiliary output with ground lift switch and a transformer isolated output. Although primarily designed for mic signals, the 8ox is equipped with a 20dB pad for line level sources. This makes the rackmountable 8ox highly adaptable for all types of signal splitting and particularly well-suited to accommodate live recording by delivering a transformer isolated audio signal path for the recording engineer while providing a direct feed to the front of house and monitor consoles.For maximum flexibility, several connector options are available: Inputs may be accessed via the front panel using standard XLRs or on the rear panel with choice of 25-pin D-subs wired to the TASCAM standard or Euro screw-down terminal connectors. Outputs include D-Subs and Euro connectors, which are also located on the rear panel. These make it easy to connect to popular multitrack recording systems while providing easy termination for permanent installations. Because it is 100% passive, it does not require any power to make it work and maximum durability is ensured with heavy-duty 14 gauge steel construction throughout. Comes standard with a custom wound Radial transformer. The Radial 8ox is a great sounding splitter that's easy to use, compact and convenient. |
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Radial ProD8 Eight Channel Rackmount DI : MusiciansFriend : USD799.99The Radial ProD8 is a high-density rackmount 8-channel 19" direct box specifically designed to interface keyboards and pre-recorded backing tracks to the PA system with redundant inputs for live performance backup. The ProD8's input panel is equipped with two A-B 1/4" inputs per DI channel for main and back-up sources, throughput for personal monitoring and an effects loop that allows both A-B sources to share the same effects for each channel. The output panel features a XLR connector, -15dB input pad selector and ground lift witch. A 180° polarity reverse switch is internally mounted and factory set with pin 2 hot. Completely passive, the ProD8 employs eight custom wound Radial transformers that are linear from 20Hz to 18kHz and able to withstand highly dynamic levels from sources such as digital samplers and drum machines without flinching. To reduce interference from outside magnetic fields, the transformers are equipped with a mu-metal-nickel outer shield thus reducing phase distortion to an absolute minimum. For greater system setup flexibility, the Radial ProD8 DI Box features a reversible set of rack ears that allows the 1/4" input panel or the XLR output panels to be position at the front or back, depending on the system engineers preference. |
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Radial ProAV2 Stereo Direct Box : MusiciansFriend : USD169.99The Radial ProAV2 is a passive direct box specifically developed with the audio-video integrator in mind. It has full two-channel stereo functionality.To eliminate the need for various adaptor, a "Swiss Army" array of connections are provided, including 1/4" for instruments, RCA and 1/8" connectors for consumer electronics and computers, and a +4dB XLR input for professional systems. Front panel connectors can also be used as thru-puts to allow multiple patch points.Custom wound transformers are employed, which are able to withstand exceptionally hot levels while maintaining linearity from 20Hz to 18.5kHz. The resulting smooth Bessel curve is warm and natural, making the ProAV2 Passive DI box particularly adept at handling digital sources that can sound harsh. Transformer isolation adds the benefit of eliminating ground loops that cause audio hum and buzz and video hum bars or snow. |
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Grace Design m906 5.1 Monitor Controller : MusiciansFriend : USD5595.0Versatile, sonically invisible monitor system that enables you to hear and manipulate the finest detail. Features the same high-resolution as the acclaimed GD mic preamps, with balanced and unbalanced analog 5.1 inputs, multiple balanced stereo analog inputs, plus digital 5.1 and stereo inputs.As of 5/27/05, new software updates with a host of new features are available from Grace Design website for the m906. Downloading these requires a special cable which, if you do not have, is available free of charge from Grace Design by contacting their Boulder office. If you do not have internet access, the downloads will be provided to you on CD, also free of charge. |
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Grace Design m904 Stereo Monitor Controller : MusiciansFriend : USD2795.0Combines multiple balanced and unbalanced analog and digital inputs with precision level controls for two pairs of studio monitors and dual headphone outs. As of 5/27/05, new software updates with a host of new features are available from Grace Design website for the m904. Downloading these requires a special cable which, if you do not have, is available free of charge from Grace Design by contacting their Boulder office. If you do not have internet access, the downloads will be provided to you on CD, also free of charge. |
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Grace Design m902 Reference Headphone Amplifier : MusiciansFriend : USD1595.0Professionals and audiophiles alike will be floored by the high-performance 24-bit/192kHz DAC, which includes a unique s-Lock dual-stage PLL (Phase Lock Loop) for extremely low intrinsic jitter and rock-solid digital performance. A full set of analog and digital inputs are available, all of which are selectable via a front panel rotary switch. At the core of the m902 is meticulously designed, high-current transimpedance amplifier circuitry which effortlessly drives even the lowest impedance headphones. Familiar recorded material becomes at once transparent and alive, and critical details in editing and mastering become obvious and easy to manipulate. |
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Grace Design M801 8-Channel Studio Preamp : MusiciansFriend : USD4275.0The Grace Design model m801 8-Channel Studio Preamp delivers unmatched audio performance with massive headroom and ultra-wide bandwidth which contribute to a markedly open, musical character. The m801 is designed to effortlessly resolve even the lowest level ambient information, resulting in a sonic picture of astonishing clarity and detail, which serves to capture the essential character of the music being recorded.The m801's signal path has been hot-rodded to be fully balanced from start to finish, resulting in wider dynamic range, while new higher current output drivers enable even longer cable runs without signal loss. Included on each channel is a dedicated ribbon microphone switch, which shifts the preamplifier's entire gain range up 10dB while deactivating 48V phantom power and bypassing the decoupling capacitors. And we've added an additional set of 8 channel balanced outputs for sending signals to a secondary recorder, workstation or console.While its predecessor now takes its place in pro audio history, the new m801 faithfully furthers the tradition of breathtaking audio performance and perfect reliability in a beautiful and functional 8 channel package. |
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Groove Tube SUPRE Stereo Tube Microphone Preamplifier : MusiciansFriend : USD1600.0The SuPRE is a two-channel stereo microphone and instrument preamplifier that uses a high resolution tube signal path for legendary Groove Tubes tone and response. It features variable transformer impedance settings on each channel (300/600/1200 ohms), with 4 high quality Nickel core input and output transformers. The rackmount SuPRE preamp provides a hefty 72dB of gain on each channel, using 4 specially selected GT pentode/triode dual element vacuum tubes (2xGT6922 dual triodes and 2x GT6CH8 pentode/triode tubes). Designed for both tracking and stereo mastering, the SuPRE implements precision and closely matched components to ensure perfect stereo imaging. The SuPRE preamplifier's front panel packs in a lot of control features while remaining cleanly laid-out and easy to use. An input selector selects between rear panel Line or Mic inputs, while a front panel Instrument input automatically overrides the rear panel jacks when an instrument is inserted. A 3-position attenuation switch drops mic levels, selectable at 0dB, 15dB and 30dB, while dedicated switches for Polarity Reverse and 75Hz Hi-Pass Filtering are provided. SuPRE's +48V phantom power is available individually on each channel. Large custom rotary variable attenuators control gain over the available 72dB range. The Groove Tubes Supre's two large custom VU meters, each with individually adjustable range control, allow for 0Vu line-up with virtually any outboard gear. |
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Nady GEQ-215 2-Channel 15-Band Graphic Equalizer : MusiciansFriend : USD79.95One of the finest graphic equalizers on the market today, the rackmountable GEQ-215 was developed using the expertise of professional sound engineers and working musicians. Manufactured for superior performance and flexibility, this compact and durable all-steel chassis design provides optimum audio control for all live and recording applications, plus ultimate operating convenience and maximum reliability. |
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Nady DMP-2 Dual Microphone Preamp : MusiciansFriend : USD69.95The Nady DMP-2 dual channel mic preamp works with any professional microphone and provides ultralow noise, superb transient response and transparent, distortion-free performance that is substantially better than that of stock console preamps.Includes XLR I/O jacks, Power OFF/ON/+48V Phantom Power 3-way switch, selectable integrated limiter, dual Gain controls, Power ON and dual Peak LED indicators. Rugged lightweight all-metal enclosure designed for maximum long life and optimum portability. Ppowered by 9V Alkaline or NiMH battery. |
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TC Helicon VoiceDoubler Automatic Vocal Doubling and Overdub Tool : MusiciansFriend : USD499.0It takes skill, time and punch-ins to create a properly doubled vocal track in the studio and it's nearly impossible to accurately create the effect in live performance. The pitch and timing cues that tell your brain how many people are singing are subtle and complex. Imagine a front-of-house effects processor that creates up to four humanized overdubs - live! With TC-Helicon's VoiceDoubler, overdubbed vocals can be "tight and intimate" or "loose and lively." What's more, TC-Helicon includes amazing emulations of classic de-tune, microshift and chorus effects. VoiceDoubler, with its timeless combination of natural and effected doubling, finally makes live vocals sound like the CD. |
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Nady SMPS-1X Phantom Power Supply Black : MusiciansFriend : USD19.99The Nady SMPS-1X Phantom Power Supply delivers reliable 48V phantom power for condenser microphones in a compact, durable, all-metal housing. More compact than the SMPS-1 power supply, and comes with a hanging box with OSHA hole. |
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Furman RR-15X Power Conditioner : MusiciansFriend : USD39.99The Furman RR-15x Power Conditioner is the perfect low-cost AC power solution for many rackmount systems. Install an RR-15x in the top slot of your rack, and the eight switched AC outlets in the rear panel will power up and protect all your equipment up to a 15-amp load.The RR-15x conditioner protects your delicate electronic equipment by combining high voltage varistors (MOV) surge and transient suppressors. The fast-acting suppression circuit quickly responds and clamps transient voltages to safe levels. The RR-15x is NRTL/TUV listed. Circuit Breaker For safety, a circuit breaker is provided on the front panel. If the total load on the Power Distributor (combining all outlets) exceeds the 15A (or 1800 watt limit), the circuit breaker will trip. If this happens, it may be easily reset by pushing in the button. There is no need to replace fuses.Switches The RR-15x has a convenient master switch for the rear outlets which glows when the power is on. |
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ART TubeFire 8 FireWire Recording Interface : MusiciansFriend : USD399.99The ART TubeFire 8 FireWire Recording Interface is an excellent 8-channel preamp for recording direct-to-drive to FireWire equipped Macs or PCs. Fitting nicely into a single rack unit,TubeFire 8 has 8 quality second-generation Class-A vaccuum tube mic preamps and eight balanced outputs. Every input channel has both XLR and 1/4-inch TRS balanced inputs with, 70db of gain, -10db Pad, high pass filter, phase invert, clip indicators, and wide range LED meter for monitoring levels. These warm, tube driven mic/line inputs provide clean, quiet gain and a high-level of transparency.On the flip side, the ART TubeFire 8 can be turned into a reliable multichannel audio output for your computer through its high-quality D/A converters and 8 balanced outputs. You can use the headphone output or for low-latency input monitoring, or you can combine the channels for an integrated mono or stereo mix for general monitoring of audio playback from the computer. Either way, you'll be impressed with the quality of the sound you're getting.As a bonus, TubeFire 8 is packaged with Cubase LE software. |
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dbx DriveRack 260 with RTA-M Reference Mic : MusiciansFriend : USD1099.94The DriveRack 260 with RTA-M Reference Microphone includes the DriveRack 260 Complete Equalization and Loudspeaker Management System and the DBX RTA-M Reference Microphone. The 260 DriveRack essentially becomes the only device that you will need between the mixer and the power amps. DriveRacks are all-inclusive loudspeaker management systems versatile enough to suit any sound reinforcement, monitoring, or install application.DriveRack 260 DriveRack 260 Complete Equalization and Loudspeaker Management System The DriveRack 260 offers 2 independent channels of processing power with a linkable 28-band graphic EQ, industry-standard dbx stereo compressor module, feedback eliminator, and the 120A Subharmonic Synthesizer on the input signal path. 6-channel output system includes parametric EQs, PeakStopPlus limiters (to provide protection against speaker blowouts), and alignment delay. Setup Wizard gets you up and running quickly and GUI software control provides easy PC-based control.RTA-M Reference Microphone The DBX RTA-M Reference Microphone is omnidirectional, and has a flat frequency response, making it ideal an a measurement microphone. The RTA-M was designed to work with the DBX DriveRack Loudspeaker Management Systems for feedback elimination in venues and studios. |
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Universal Audio UAD-Nevana X2 : MusiciansFriend : USD1499.0The UAD-Nevana X2 is a collection of hardware-powered plug-ins inspired by the renowned Rupert Neve.For over 50 years, Neve has been involved in sound engineering. As technology improved over the years, Mr. Neve was constantly creating new products, from building his own radios in the 40s to introducing "moving fader automation" in the 70s. So innovative was he that he was named "Man of the Century" by Studio Sound magazine in 1999 and named #1 in "Top Ten Audio Personalities of the 20th Century" by it readers, ahead of names like Ray Dolby, Sir George Martin, and Les Paul. The only officially licensed Neve plug-in solution, UAD-Nexana X2 gives your DAW the power of seven Neve emulators, including the 1073/SE, 1081/SE, 33609/SE, and 88RS Channel Strip in AU, VST, and RTAS plug-in formats. Use the plug-ins separately and your computer turns into a mixer with all the sonic qualities and feel of the vintage Neve consoles-the kind used by Sir George Martin back in the day and by a veritable who's who list of artists at places like The Village Recording Studios today. Or, combine them to make your own personalized Neve console. Either way, you're getting a high-caliber virtual mixing environment with the flourish of classic hardware.As if they needed to sweeten the deal, you'll also get a $200 voucher good for any Powered Plug-ins at my.uaudio.com. Enjoy the musical marriage of old school and new school recording with UAD-Nevana X2. |
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Universal Audio UAD-Xpander Xpress : MusiciansFriend : USD499.0One of the world's first ExpressCard audio digital signal processing expansion system for Mac OS X or Windows Vista laptops, the UAD-Xpander features an ultra-fast ExpressCard 34 connection (2.5Gbps differential serial link). Showcasing the same DSP power as its top-selling siblings, the UAD-1 & UAD1e series of desktop products, it allows you to mix sessions from 44.1khz to 192k and expand your powered plug-in library without bogging down your computer to increase your setup's portability. While it works at full PCI Express bandwidth, this DSP expansion system leaves slower USB and FireWire connections to handle dongles, audio I/O, and hard drives. The UAD-Xpander comes with UA's base set of 14 plug-ins (1176SE compressor, Pultec EQP-1A EQ, Realverb Pro, CS-1 Plug-in Suite channel strip and Nigel Guitar Plug-in Suite) and is compatible with all of UA's Powered Plug-Ins. In fact, with this UAD-Xpander Xpress package, you'll get a $500 voucher good toward the purchase of any of UA's premium collection of mixing and mastering plug-ins available 24/7 at my.uaudio.com. |
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Universal Audio UAD-Xpander Xpert : MusiciansFriend : USD799.0The UAD-Xpander is the world's first ExpressCard audio digital signal processing expansion system for Mac OS X or Windows Vista laptops. The Xpert gives you an ultra-fast ExpressCard 34 connection (2.5Gbps differential serial link). Displaying the same DSP power as its best-selling siblings, the UAD-1 & UAD1e series of desktop products, you can mix sessions from 44.1khz to 192k and expand your powered plug-in library without slowing down your computer. While it works at full PCI Express bandwidth, it leaves more sluggish USB and FireWire connections to handle dongles, audio I/O, and hard drives. The UAD-Xpander gives you UA's base set of 14 plug-ins (1176SE compressor, Pultec EQP-1A EQ, Realverb Pro, CS-1 Plug-in Suite channel strip and Nigel Guitar Plug-in Suite) and is compatible with all of UA's Powered Plug-Ins. In fact, this UAD-Xpander Xpert package encourages you to increase your collection with the inclusion of a $1000 voucher toward the purchase of any of UA's premium collection of mixing and mastering plug-ins available 24/7 at my.uaudio.com. |
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Universal Audio UAD-Xpander Xtreme : MusiciansFriend : USD2199.0The UAD-Xpander Xtreme package combines the world's first ExpressCard audio digital signal processing expansion system for Mac OS X or Windows Vista laptops with every UA Powered Plug-in available in UAD software version 4.5x and its previous incarnations. The UAD-Xpander's ultra-fast ExpressCard 34 connection (2.5Gbps differential serial link) has the same DSP power as its popular siblings, the UAD-1 & UAD1e series of desktop products, letting you mix sessions from 44.1khz to 192k. While it works at full PCI Express bandwidth, it leaves more sluggish USB and FireWire connections to handle dongles, audio I/O, and hard drives. Normally, the UAD-Xpander only comes with UA's base set of 14 plug-ins (1176SE compressor, Pultec EQP-1A EQ, Realverb Pro, CS-1 Plug-in Suite channel strip and Nigel Guitar Plug-in Suite). With this Xtreme package, you get over 15 more plug-ins to play with, including two Neve equalizers, the Roland RE-201 Delay, Boss CE-1 Chorus, Plate 140 and DreamVerb Reverbs, and six additional compressors.If speed and selection are important factors in your DAW then the UAD-Xpander Xtreme package is your solution. |
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Audient BR-10 Black Series Rack System for Audient Black Signal Processors : MusiciansFriend : USD950.0The Audient BR-10 can accommodate up to 10 Black Series signal processors. The integrated rear connector panel allows the modules to be freely installed in a sequence that suits the user's requirement. The last 4 slots can hold either analogue modules or up to 4 Black ADC analog-to-digital converter modules. Power to the Black Rack is provided via the external Black PSU power supply.Audient Company HistoryWhile British-based Audient is fairly new on the scene (1998), the company's founders have quite a respectable pedigree. Co-founder David Dearden has worked with David Manley (original owner of Manley Laboratories), Eddie Offord (Emerson, Lake and Palmer, Yes), and was involved in building a custom console and private studio for John Lennon for his Imagine sessions, followed by studios for George Harrison, Ringo Starr, Gus Dudgeon (producer, Elton John, David Bowie), and Chris Squire of Yes. After three years with MCI and two years with Soundcraft, David Dearden and Gareth Davies (also from Soundcraft) formed DDA (Dearden Davies Associates), a maker of high-quality analog consoles. When DDA became part of the Klark Teknik Group, he also designed the Midas XL200 live sound console and did the initial concept and design of the Midas H1000 console. In 1997 he rejoined with Gareth Davies to form Audient, whose products are typified by high performance, intelligent ergonomics, and transparent sound quality. Notable users of Audient gear include Pete Townshend's Eel Pie Studio, England's Royal Academy of Music, and Abbey Road Studios. |
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Audient Black Pre Microphone Preamp : MusiciansFriend : USD450.0Black Pre features transformer-balanced mic and line inputs and a discrete, single-ended Class A signal path. A front panel mounted 1/4" jack is provided for the high-impedance instrument/digital input box. The microphone preamp has separate switched gain controls for the mic and line inputs, as well as a 10dB-range fine trim gain control. A continuously variable, 12db/octave high-pass filter, polarity switch, 48V phantom power and peak level indication via a 12 segment LED display are also provided. The proprietary HMX control adds musically relevant harmonics, providing a character reminiscent of classic vacuum tube designs. |
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Audient Black EQ Equalizer : MusiciansFriend : USD450.0The Black EQ by Audient features switched frequency, Enhanced Slope high-frequency and low-frequency shelving controls, a switched frequency (1.5kHz/3kHz) Presence/Absence band, and a sweep frequency Lo Mid band. The Lo Mid and Presence/Absence bands can be switched between reciprocal and Constant Q modes to allow either wide band equalization or wide-band boost with narrow-band cut (notching) characteristics.The Black Equalizer's overtone function adds a low-frequency band-specific harmonic coloration to the signal path, adding definition to the low frequencies while letting the high-end frequencies pass through uncolored and pure. The Glo function adds a side chain compression path to the low-frequency band to dynamically tighten or thicken the bass content. The 3-position Tilt switch provides a subtle change to the tonal balance by gently sloping the overall frequency response. The effect on the tonal balance is to lighten or darken an otherwise well-equalized balance. |
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Audient Black Comp Audio Compressor : MusiciansFriend : USD450.0The Black Comp by Audient is a Class-A transformer-balanced optical compressor and limiter. The Overcomp function allows a large amount of pre-compression to be added to the signal, with some stunning results possible where an increase in the energy of the signal is desired. The compressor's Smooth function switches the side-chain characteristic into a dual mode where a relatively slow RMS-sensing circuit allows a gentle leveling of the signal while a peak-sensing stage pulls down any peaks that pass through. Gain reduction or output level can be monitored via the VU meter at the top of the module and a link mode allows 2 or more Black Comp modules to form a stereo or multi channel compressor and limiter.Audient Company HistoryWhile British-based Audient is fairly new on the scene (1998), the company's founders have quite a respectable pedigree. Co-founder David Dearden has worked with David Manley (original owner of Manley Laboratories), Eddie Offord (Emerson, Lake and Palmer, Yes), and was involved in building a custom console and private studio for John Lennon for his Imagine sessions, followed by studios for George Harrison, Ringo Starr, Gus Dudgeon (producer, Elton John, David Bowie), and Chris Squire of Yes. After three years with MCI and two years with Soundcraft, David Dearden and Gareth Davies (also from Soundcraft) formed DDA (Dearden Davies Associates), a maker of high-quality analog consoles. When DDA became part of the Klark Teknik Group, he also designed the Midas XL200 live sound console and did the initial concept and design of the Midas H1000 console. In 1997 he rejoined with Gareth Davies to form Audient, whose products are typified by high performance, intelligent ergonomics, and transparent sound quality. Notable users of Audient gear include Pete Townshend's Eel Pie Studio, England's Royal Academy of Music, and Abbey Road Studios. |
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Audient Black ADC Analog to Digital Converter : MusiciansFriend : USD450.0The Audient Black ADC Converter uses the latest Super High Performance converter technology to provide 24-bit/192kHz conversion in a compact form that fits into the Black Rack. The Black ADC can be used as a standalone converter for external devices as well as for the analog modules within the rack. On the rear panel, the module has analog inputs as well as an AES/EBU output XLR, and a Wordclock input. On the front panel, SPDIF, Toslink, and an additional AES/EBU XLR connector are provided.Audient Company HistoryWhile British-based Audient is fairly new on the scene (1998), the company's founders have quite a respectable pedigree. Co-founder David Dearden has worked with David Manley (original owner of Manley Laboratories), Eddie Offord (Emerson, Lake and Palmer, Yes), and was involved in building a custom console and private studio for John Lennon for his Imagine sessions, followed by studios for George Harrison, Ringo Starr, Gus Dudgeon (producer, Elton John, David Bowie), and Chris Squire of Yes. After three years with MCI and two years with Soundcraft, David Dearden and Gareth Davies (also from Soundcraft) formed DDA (Dearden Davies Associates), a maker of high-quality analog consoles. When DDA became part of the Klark Teknik Group, he also designed the Midas XL200 live sound console and did the initial concept and design of the Midas H1000 console. In 1997 he rejoined with Gareth Davies to form Audient, whose products are typified by high performance, intelligent ergonomics, and transparent sound quality. Notable users of Audient gear include Pete Townshend's Eel Pie Studio, England's Royal Academy of Music, and Abbey Road Studios. |
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Audient Mico Dual-Channel Mic Pre with HMX and Variphase : MusiciansFriend : USD700.0The Audient Mico is a compact, feature-packed twin mic preamp with built-in ultra-high quality ADCs, making it an ideal front-end for desktop users. The front-end design is Audient's renowned balanced discrete Class A design which is also used in the ASP008 and the ASP8024 mixing consoles, guaranteeing outstanding sonic transparency and detail. Mico preamp also features one channel of the unique HMX harmonic sculpting technology from the Audient Black Pre making the creation of vintage-style character and complexity as simple as turning one knob. For recording a single source with twin mics or mic plus digital input, the Variphase control on Mico's second channel allows precise phase alignment (or creative mis-alignment) of the two signal paths.Audient Company HistoryWhile British-based Audient is fairly new on the scene (1998), the company's founders have quite a respectable pedigree. Co-founder David Dearden has worked with David Manley (original owner of Manley Laboratories), Eddie Offord (Emerson, Lake and Palmer, Yes), and was involved in building a custom console and private studio for John Lennon for his Imagine sessions, followed by studios for George Harrison, Ringo Starr, Gus Dudgeon (producer, Elton John, David Bowie), and Chris Squire of Yes. After three years with MCI and two years with Soundcraft, David Dearden and Gareth Davies (also from Soundcraft) formed DDA (Dearden Davies Associates), a maker of high-quality analog consoles. When DDA became part of the Klark Teknik Group, he also designed the Midas XL200 live sound console and did the initial concept and design of the Midas H1000 console. In 1997 he rejoined with Gareth Davies to form Audient, whose products are typified by high performance, intelligent ergonomics, and transparent sound quality. Notable users of Audient gear include Pete Townshend's Eel Pie Studio, England's Royal Academy of Music, and Abbey Road Studios. |
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Solid State Logic XLogic E Signature Channel : MusiciansFriend : USD2499.99The E-Signature Channel offers two distinctive EQ options coupled with the most musical dynamics processor available in either the analogue or digital domain. With the addition of the no-holds-barred sound of an SSL Listen Mic compressor and the groundbreaking tube emulation preamp option, the E-Strip delivers a front end with the versatility and flexibility to capture and enhance any musical performance that needs a distinctive 'vintage' character.In late 1979 an audio legend was born. The Solid State Logic 4000E Master Studio System forever changed how records would be recorded and mixed. Within less than three years, every major studio worldwide featured at least one room with an SSL E-Series console. A new generation of Producer/Engineers could now work on projects on a global basis with their console of choice simply by carrying a computer disk containing all the session data from studio to studio. One key element made this possible: the E-Series channel strip.The E Channel Strip featured an unparalleled design whose sonic performance was equivalent to any outboard preamp or processing unit then available. This was further enhanced by carefully conceived channel routing options that provided simple access to a vast range of advanced dynamics and EQ processing configurations that normally would have required a rat's nest of patch cords to achieve.Over the years the console went through many circuit revisions and enhancements eventually evolving into the latter G and G+ series consoles. However, the sonic subtleties of those early consoles are very much desired and impossible to re-create without the necessary design expertise within SSL.The success of the E Series sound was borne out by the rapid change in drum sounds that occurred on recordings from that period, all which took advantage of the compressors and gates in every channel. When used together with the side-chain trigger options, rhythm tracks literally jumped out of the speakers. So much so that all the early manufacturers of digital reverbs attempted emulations of the classic Solid State Logic analogue gated ambience mic drum sound with various degrees of success.The SSL E-Series EQ also played a major role in the aggressive guitar sounds of the post-punk era with ranges that immediately matched the key frequencies bands of miked guitar amps. The versatility of the processing received further positive critical endorsements as established European Broadcasters installed SSL consoles in their prestigious classical music studios and concert halls.The XLogic E Signature Channel was extensively researched from SSL's design archives to accurately recreate the sound of the channel strip shipped with the groundbreaking first generation consoles installed at the beginning of the 80's.As even then, the design was continually evolving in response to user feedback, various key modifications have been incorporated into the SSL E Strip's front-panel switched options. |
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Solid State Logic XLogic Multichannel Compressor : MusiciansFriend : USD7495.0The XLogic Multichannel Compressor is a 2U rack-mounting six-channel compressor designed to provide extremely flexible control over a 5.1 channel mix, or to be used as two separate compressors when working on stereo material. The compressor design is very similar to that found in the XL 9000 console center section, but with additional controls to provide the flexibility that modern 5.1 productions require. The signal path is balanced and DC coupled through out: this ensures extended bandwidth, low noise and low distortion. This brings the dual benefits of spectacular surround audio performance with a universally acclaimed compressor characteristic. The unit contains two separate compressors. Normally the upper one controls the left, center, right and surround channels and the lower one the LFE channel, but the DUAL STEREO switch reassigns the controls so that the lower set control the surround channels and the upper set control left, center, right and LFE channels.The SIDE CHAIN TRIM controls allow different thresholds to be set for left/right, center, surround and LFE channels. The centet and surround ISO switches bypass the respective compressor channels completely. A six channel Master Fader and Autofade control provide overall level control of the mix.5.1 mixing presents a number of challenges to the engineer that are not present when working in stereo. This is essentially because the signal content can vary hugely between speakers - both in level and frequency content unlike stereo material where the two channels are normally similar in both level and content. This presents a number of potential problems including:•The LFE channel will almost certainly require different attack and release times and different thresholds from the other channels. •Depending on the material you may or may not want some channels to be compressed. •Conversely you may want some channels to be compressed but not to contribute to the overall compression. •You may want channels to have different thresholds. •With five speakers it is possible have signals panned so that they are the loudest signal in the room but not the loudest signal in any one speaker.The XLogic Multichannel Compressor is designed to give you a flexible but easy to use set of tools to deal with all these potential problems. |
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Solid State Logic XLogic Alpha-Link Analogue I/O : MusiciansFriend : USD2695.0The XLogic Alpha-Link Audio I/O range is one of the best-kept secrets of pro audio (well, not any more). Offering incredible bang for the buck, the Alpha Link range provides 24 channels of transparent SSL AD/DA conversion at less than half the price of 16 channels of competing professional-level converters. Another important thing to remember is that in order to do great conversion, you have to know how to do great analog and who knows analog better than SSL?The Alpha Link AX shares an almost identical feature set to the Alpha Link MADI AX (see # 180183) but strips away the MADI functionality to deliver a super ADAT Lightpipe-based SSL enhanced AD/DA solution that hits an impressive price-to-performance ratio giving you 24 channels of analog AD/DA and 24 channels of ADAT lightpipe I/O simultaneously. The Alpha Link AX can also be used as a standalone format converter. Setup Guide The Alpha Link AX does not have internal DSP mixing, which means you can t mix all 24 inputs to a single stereo output with the Alpha Link AX alone. For that kind of functionality, you'll need a PCIe card such as the RME HDSPe RayDAT (see #500413), which gives you 4 x ADAT I/O or 36 channels ADAT audio at 24-bit/48kHz (more than enough for the Alpha Link) and, it also gives you RME's TotalMix DSP software. This will give you an extremely powerful and professional solution for your digital audio workstation.Another recommended setup would be for those want to use a mixing console with their DAW, such as the Toft ATB-24A (#580040), which would provide a complete AD/DA-analog recording and mixing setup. Another unit that we recommend with this setup would be a D-Sub/TT patchbay such as the Switchcraft 9625 TT Patchbay (#501601) with Planet Waves Modular Snakes (#334007 & 334008) for quick and easy setup. |
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Solid State Logic XLogic Delta-Link MADI HD : MusiciansFriend : USD3675.0The XLogic Delta Link MADI HD is a professional MADI-to-Pro Tools HD converter for studio, live, and broadcast applications. With XLogic Delta Link MADI HD, Multichannel Audio Digital Interface audio equipment like routers, digital mixing consoles, and converters can now be directly interfaced with Pro Tools HD, providing simplified interconnectivity and significant cost reductions, eliminating the need for complicated format conversion workarounds.MADI HD Reduces Costs A single Delta Link MADI HD can take the place of up to four Digi 192 Digital I/O's, delivering dual feeds of 64 channels of digital audio interconnection from a single hardware interface. MADI HD further reduces cost by using an efficient single cable interconnect system. It also occupies significantly less physical rack space than equivalent systems.Simpler system setup and integration Direct connectivity between Pro Tools DSP cards and MADI cards means efficient simple system configuration. Fibre Optic MADI allows distances up to 1000 meters between the Pro Tools system and other MADI equipment. Remote audio routing to and from Pro Tools is possible in conjunction with MADI routing equipment. |
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A-Designs HM2EQ HAMMER Dual-Mono 3-Band Tube Equalizer : MusiciansFriend : USD2425.0The HM2EQ is a world-class tube/hybrid 3-band equalizer with a dual-mono design. The A-Design's HAMMER is built to sound musical for larger EQ functions typically found on expensive mastering EQs. It features continuously variable boost and cut controls, but with fixed frequency settings. The HAMMER is engineered with a filtering system that allows the even harmonics to flow through the 12AT7 tubes, filtering out unwanted noise.Some notable users who've dropped the Hammer on their tracks are "Golden Ears" Bruce Maddocks, who's mastered mastered Hans Zimmer film scores for Pirates of the Caribbean, The Last Samurai, and Batman Begins, and renowned engineer/producer Ronan Chris Murphy (King Crimson, Terry Bozio) who says, "The Hammer is all about gorgeous smooth top and high mids. It totally opens up the top and brings high mids forward in a really pleasing way. . . . I am just not used to being able crank the top on the rock cymbals so much and have them stay so smooth. Another engineer I really respect described the EQ as "the best EQ" he had ever used . . ."The unit is housed in a 2U metal chassis with an aluminum faceplate and features a toroidal power transformer. Each channel features identical controls, including switches for bypass, high cut and low cut, as well as six large aluminum rotaries for the EQ section - knobs for the LF (30/50/100/200/300/400), MF (250/500/1.2k/1.6k/2k) and HF (2.5k/3.5k/5k/7.5k/10k/15k) bands, plus accompanying knobs offering ñ13dB of boost/cut for each frequency range.Connections to and from the product are accomplished on the rear panel via a pair of balanced Neutrik XLR input jacks and pair of balanced XLR output jacks.The HM2EQ is designed for applying broad-shaping EQ across many octaves while sounding beautiful without adverse effects on tone. Very low noise floor. It also has hi-cut at 8Khz and lo-cut at 84Hz filters. There is no other EQ available quite like this.Channel Strips of the Stars: Dylan 3D DresdowPrimarily a mixer these days, Dylan Dresdow s list of credits includes Black-Eyed Peas, Usher, Michael Jackson, Fergie, and Flo Rida. Dylan was kind enough to share his some of his gear secrets for processing background vocals and kick drum. For my BG vocal chain, I typically use the Crane Song STC-8 compressor into the HAMMER EQ. Sometimes I'll run a high-pass filter pre compression. The (A Designs Audio) EM-PEQ (#241581) usually ends up on my "'main" kick drum track. I can get more punch and click out of it, versus a typical Pultec EQP-1. I used these setups for songs I've mixed recently for Usher ("Revolver", "What's Your Name?"), Michael Jackson ("Starting Something remake 2008"), Fergie ("Clubsy Remix", "Pick It Up"), and Flo Rida ("Ayer"). Channel Strips of the Stars: Ted Perlman Ted Perlman, renowned Grammy-winning producer, musician, arranger, engineer, and progra |
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Focusrite Platinum ComPounder Compressor/Limiter/Gate : MusiciansFriend : USD749.99The Platinum ComPounder is a high-performance, dual-mono compressor/limiter/gate, designed for the quality-conscious audio professional and project studio owner. This heavily featured unit is a useful tool for any style of music. The combination of high quality compression with the powerful Bass Expander, make this unit beneficial for any dance music engineer, musician, or club installer.High specification compressor The compressor in the ComPounder features Class-A amplification and a custom VCA circuit design derived from the legendary Red 3 Dual Compressor/Limiter, resulting in superb sound and very low distortion. Soft-and Hard-Knee compression curves and a wide ratio control that takes you beyond infinity for that classic pumping sound, means you have substantial control over compression. With the unique Bass Expander section you can make kick drums and bass riffs far more powerful and effective. The bass expander circuit uses a unique wire-wound inductor to generate extra bass harmonics, fattening up low frequency signals. Add to this the single Huge feature and be afraid, be very afraid!Gate / Expander The unique Opto-circuit featured in the ComPounder's two Gate/Expander sections ensures quiet operation with no pops or clicks. With a complete set of controls you have accurate control over gating, and the expand switch ensures professional noise reduction on difficult audio tracks such as vocals.High performance opto-limiter A matched pair of high quality Optos offers improved performance over standard VCA limiter designs which tend to add high levels of distortion, even when they are not limiting. The Limiter features a Class-A low-distortion design and accurate threshold control to ensure quality precision limiting. The limiter enables you to prevent overload when recording via the optional A/D.True Stereo Linking The link feature enables the ComPounder to act as a true stereo processor, enabling complete stereo control of every parameter. When switched to "link," the left channel becomes the master section and controls both left and right compressor and limiter sections simultaneously. Unlinking allows you to operate the unit as a dual-mono device, processing two separate channels independently. |
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Focusrite ISA-828 8-Channel Mic Pre-amp : MusiciansFriend : USD2999.99The Focusrite ISA-828 eight-channel microphone pre-amplifier provides eight original ISA transformer-based pre amps in a single robust 2U chassis. Offers you the Focusrite signature sound at its lowest cost-per-channel to date.The eight ISA-series transformer-based microphone pre amps, with switchable impedance and direct instrument inputs, are complemented by eight line inputs, eight line outputs, and an optional eight-channel 192kHz ADC. The preamps feature exactly the same vintage microphone preamplifier design as the original ISA110 module from Focusrite's critically acclaimed Forte console (including the original Lundahl L1538 transformer and bespoke zobel network). Thanks to its convenient 25-pin D-Type connectors, the ISA828 integrates quickly and seamlessly with ProTools HD, as well as other popular hard disc recorders and mixing desks.The microphone input stage includes a variable impedance circuit, allowing the user to switch between four carefully selected input impedance settings. The original ISA 110 setting is supplemented by three further impedance settings to either perfectly match the pre amp with any microphone, thus maximizing level, or to use different settings creatively to shape the sound of the microphone being used.The four front panel instrument inputs also feature high and low impedance options to provide a comprehensive and accessible DI solution. Insert points are also featured on every channel, should the need arise to place extra processing between the pre amp and converter, Vintage design high pass filters are also provided on every channel, ideal for eliminating unwanted low frequencies without affecting the rest of the audio signal.The ISA828's optional eight-channel 192kHz ADC is the first audio ADC to utilize Texas Instruments Burr-Brown Pro Audio Amplifiers and Flagship Analog to Digital Converter PCM4220 chips. This cutting-edge technology is encompassed within Focusrite's own custom analogue circuitry to provide eight channels of unparalleled A/D conversion, delivering a dynamic range of 122dB and jitter at < 250 picoseconds.Finally, every channel features a six LED input meter, complete with precise meter trim. Metering has been designed to utilize the same reference points as Digidesign's HD system and provides clear and accurate input metering independent of the DAW. |
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Focusrite ISA-828 A-D Card : MusiciansFriend : USD849.99The Focusrite ISA-828's optional eight-channel 192kHz A-D Card is the first audio analog-to-digital converter (ADC) to utilize Texas Instruments Burr-Brown Pro Audio Amplifiers and Flagship Analog to Digital Converter PCM4220 chips. This cutting-edge technology is built into Focusrite's own custom analogue circuitry to provide eight channels of unparalleled A/D conversion, delivering a dynamic range of 122dB and jitter at < 250 picoseconds. |
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Boss GT-Pro Guitar Multi Effects Processor : MusiciansFriend : USD699.0The Boss GT-Pro Effects Processor is an incredibly powerful rack processor. It boasts dual COSM processor effect engines and an I/O section that includes XLR outs, three sets of send/returns, and a USB port for data exchange and audio flow. Its dual COSM amp-modeling engine allows you to construct towering tones by combining any two of the 46 amp models-then layer, switch, or pan between them as you play. Amp channels and effects can even be controlled according to how hard you play. The Solo switch gives you instant access to a companion lead tone.As the top of GT line, the GT-Pro provides 44 effects categories with 200 preset- and 140 user-patch locations. Choose from compressors, overdrives, delays, reverbs, choruses, EQs, wahs, and dozens of other BOSS-quality effects-including a sitar and acoustic guitar emulator. The GT-Pro also has ultraflexible effects routing. Internally, the 13 effects blocks can be configured in any order you desire; externally, a trio of stereo effects loops plus an array of assignable outputs enable the most flexible signal-routing configurations. |
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Focusrite LIQUID4PRE 4-Channel Mic Pre-amp : MusiciansFriend : USD3699.99Focusrite's new LIQUID4PRE four-channel microphone preamplifier utilizes the Liquid Channel's proven Liquid technology. It's the marriage of a hugely flexible analog front-end with cutting-edge dynamic convolution DSP to deliver the sounds of 40 vintage and classic microphone preamplifiers across all four channels. Augmented by fully digital controls and remote software control over Ethernet, LIQUID4PRE provides the ultimate fluid multichannel front-end.99 unit setup memories provide total recall of every parameter across all four channels, delivering instant multiple user presets and a comprehensive backup of session settings. These memories can be managed via either the hardware, or LIQUID4PRE's dedicated control software, LIQUID4CONTROL. This intuitive software application places comprehensive pre-amp control inside the DAW. Communication between LIQUID4PRE and the DAW flows via Ethernet, with LIQUID4CONTROL providing comprehensive management of multiple LIQUID4PREs. A similar ProTools TDM/RTAS plug-in allows integrated remote control via ProTools hardware and software, including Icon and Venue systems, providing all the benefits of a ProTools TDM/RTAS plug-in, such as comprehensive automation and session integration.The unique Harmonics and Session Saver features from The Liquid Channel are also provided across all four LIQUID4PRE channels. The adjustable harmonic distortion circuit accounts for variance in the vintage originals, but can also be used creatively to vary the sound of each preamp. Session saver is a unique automatic gain control circuit that intelligently reduces the input level to help avoid critical overs. Each channel also features a classic Focusrite high-pass filter, phantom power, and phase reverse, available directly from the front fascia independently for every channel. These controls sit alongside the four large information display screens which, as well as providing in-depth information of settings, also display huge digital VU meters, providing accurate, responsive and easy-to-read metering. An additional feature essential for the LIVE sound arena is Operator Lock, which guarantees secure use in public arenas by locking the front panel controls to help avoid any unwanted alteration of preamps settings, including gain.AES and ADAT optical digital inputs and outputs are provided as standard to integrate with a variety of digital I/O setups. However, an optional EtherSound eight-channel card is also available, providing effective connectivity for large studios, post production installs, and live sound engineers using EtherSound. Multiple unit set ups are easily configured for remote control via LIQUID4CONTROL utilizing an Ethernet hub. With a third Slave ADAT input, audio from two LIQUID4PREs can be routed directly to a single optional EtherSound card, or at 48kHz, all eight channels can be routed to a single ADAT light-pipe output.Finally, the Focusrite site features its own dedicated online emulations l |
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Focusrite Liquid4Pre EtherSound (ES) Card : MusiciansFriend : USD1399.99This EtherSound output card allows 8 channels of audio over Ethernet, providing effective connectivity for large studios, post production installs, and live sound engineers using the Focusrite Liquid4Pre EtherSound. |
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Grace Design m201 Microphone Preamp : MusiciansFriend : USD2125.0The Grace Design m201 Microphone Preamp delivers unmatched audio performance, with massive headroom, ultra-wide bandwidth and a very open, musical character. The signal path has been hot-rodded to be fully balanced from start to finish, resulting in a wider dynamic range, while high-current output drivers enable even longer cable runs without signal loss. The rackmountable m201 mic preamp translates a sonic picture of astonishing clarity and detail, which serves to capture the essential character of the music being recorded.A ribbon mic mode is now included, which shifts the gain range up 10dB while deactivating 48V phantom power, bypassing the decoupling capacitors and optimizing the input impedance. Each channel has an 'input mode' rotary switch which selects between a standard 48V phantom input, ribbon mic mode, a front panel DI input or optional DPA high voltage inputs (130V or 190V). Included is a M + S (mid side) decoder circuitry with a built-in width control. The front panel width control is wired with a precision 12 position rotary switch which provides a range from 100% mid (mono) to 30% mid / 70% side. The ultra-precision summing and difference amplifiers feed a set of dedicated outputs, which allows simultaneous recording of discrete mid and side signals as well as the stereo matrix.The front panel mounted HI-Z inputs are designed to accommodate a wide variety of high impedance input sources, making the m201 preamplifier an excellent choice as a DI box which will flawlessly preserve the sound of any plugged-in instrument. Imagine the same resolution and detail as Grace Design microphone preamplifiers available for DI recording situations. Additionally, Grace Design will be offering the m201 with a state-of-the-art 24-bit/192kHz A/D converter option (retrofitable), rounding the m201 off as the ultimate transparent input solution for any recording facility.(Sold separately) |
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SMPro Audio TB 101 Tube Mic Preamp : MusiciansFriend : USD149.0The Red Valve series TB 101 tube mic preamp is a single-channel valve mic preamplifier that features switchable phantom power, phase reverse, -20dB pad, optical compressor, and fully functional EQ, all housed in a single 1/2U rack-sized chassis.Tailored for use in the home project studio, the Red Valve TB 101 is perfectly suited for use as a front end mic input for your digital recorder or any other application requiring mic preamplification. |
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SMPro Audio SM TB 202 Twin-Channel Tube Mic Preamp : MusiciansFriend : USD249.0The Red Valve series TB 202 is a twin channel tube (12AX7) mic preamp that features independent switchable phantom power, phase reverse, -20dB pad, optical compressor, and fully functional EQ all housed together in a single 1U rackmount chassis.Tailored for use in the home recording studio, the SM Pro Audio Red Valve TB 202 is perfectly suited for use as front end microphone inputs for your digital recorder or any other application requiring mic preamplification. |
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SMPro Audio DI4v 4-Channel Direct Injection/Line Mixer : MusiciansFriend : USD79.0The DI4v features 4 channels of unbalanced to balanced converters with 10dB pad and earth lift selector provided per channel.The DI4v is suitable for many applications right out of the box, but the addition of a built in line mixer (Volume and Pan control for each channel and master volume) makes the DI4v value series a unique product solving many problems in the audio field.If you are a keyboard player, electronic drummer, PA/studio owner, pro musician or a hobby player, the DI4v will find a place in your rack. Imagine running your 4 keyboards or modules on stage directly onto the DI4v and being able to send off balanced signal to the front of house rig while providing your own dedicated monitoring mix . . . all on a single rackmount direct injection box/line mixer!You will be amazed at how often you'll use the DI4v. SMPro Audio even included a headphone amplifier so you can monitor your own signal. |
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SMPro Audio DI-1 Direct Injection Unit : MusiciansFriend : USD34.95The SMPro Audio DI-1 is a direct injection unit that will insure audio signals reach their intended destination in studios or on the road. Delivers signals in balanced format and free from unwanted noise.Connect the output from electric guitars, bass amplifiers, keyboards, etc., directly to a console mixer without the use of a microphone. Built for toughness and reliability, the DI1 has all the features of a fully featured gig-ready workhorse DI unit. |
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SMPro Audio HP6 6 Channel Headphone Amplifier : MusiciansFriend : USD119.0The HP6 is a 6 channel headphone amplifier that can monitor up to 4 independent stereo sources with the flick of a switch. Featuring 6 high powered stereo headphone amplifiers each with independent volume control, the HP6 satisfies all your headphone monitoring needs. In addition, each amplifier can select its source from up to four stereo input signals connected at the rear of the unit. |
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Blue ROBBIE Tube Microphone Preamp : MusiciansFriend : USD1299.99Elegance and simplicity are the driving forces behind Blue's design philosophy, and the ROBBIE tube premap is no exception. This Class-A discrete tube microphone and instrument preamp features the same technical build quality and commitment to excellence for which Blue is known. Yields excellent detail with extremely low noise and ultrahigh gain. The warm, robust tube gain stage is the perfect enhancement for condenser microphones. Frequency response is 10Hz to 100kHz, ±2dB. |
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Focusrite Liquid Mix DSP Card : MusiciansFriend : USD299.99This DSP expansion card will increase the maximum channel count for your Focusrite Liquid Mix at higher sample rates. Most engineers agree that higher resolution digital recording sounds better. But the fact is, no matter how powerful your processor is, the higher the resolution, the lower your plug-in count. With the Liquid Mix DSP card, you can have more plug-ins at high resolution - and with plug-ins, more is always better. |
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Musicians Gear Vinyl Restoration Package : MusiciansFriend : USD149.0This affordable bundle is an excellent solution for DJ's or audiophiles who want an easy way to transfer their vinyl to a computer with the best sound-quality results. The combination of ART's USBPhonoPlus v2 USB computer interface and Bias' SoundSoap 2 software, you can turn all your treasured 12" single LPs and other vinyl records, into an easy to manage and transfer electronic file, and clean up any noise blemishes, like clicks and pops, in the process. Read on to learn more about each product and what it can do for you. ART USBPhonoPlus v2 USB audio interface The USBPhonoPlus v2 is a low-cost USB computer interface for transferring analog and digital audio source—especially from a turntable—to your computer. The USBPhonoPlus v2 adds more convenient pre- or post-monitor source selection and a variable headphone level control to the already successful low noise RIAA standard A/D interface package.The device is fully compliant with the USB 1.1 specification and uses USB adaptive mode for playback and USB asynchronous mode for audio recording applications enabling a successful transfer from LP to a digital format every time. Optical TOSLINK inputs and outputs, as well as S/PDIF inputs, allow it to act as a convenient digital audio-to-USB interface and/or standard line-level analog audio/USB conversion tool. Housed in a robust, black anodized-aluminum case, the USBPhonoPlus v2 audio interface can be powered by either an external power supply or directly from a PC-based USB host port for added convenience. It ships with a CD-ROM of the audio recording utility Audacity.Bias SoundSoap 2 BIAS SoundSoap 2 scrubs audio squeaky clean. Best of all, while the software uses incredibly advanced technology to do its magic, you don't need to be an audio expert. Just click the one-step Learn Noise button, and watch it automatically clean your audio. Or fine tune the intuitive controls for even more professional results in just seconds.SoundSoap's Noise Tuner control helps you tune in the hiss and other background noise you want to remove, much like tuning in a radio station. The Learn Noise button will automatically set this control for you. Or, if you like, you can grab it and adjust it manually. The only button you really need to know is Learn Noise. In less than 3 seconds, the software will automatically profile any noise in your signal and adjust the Noise Tuner and Noise Reduction knobs to their ideal settings.The optimal amount of noise reduction is set automatically (once you click the Learn Noise button). You can also manually adjust the noise reduction. A low setting is good for subtle noise control; for bigger problems, just crank it up and listen to the noise evaporate. Just how much cleaning is taking place? The unique Wash Window lets you listen and watch while it goes to work. The left side of the SoundSoap Display shows the unprocessed signal, while the right side shows it after it's been cleaned up. (Blue |
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ART Voice Channel Tube Mic Preamp : MusiciansFriend : USD429.0The ART Voice Channel is the answer to your recording and computer audio interface needs. Built to provide the ideal all-in-one input solution for analog or digital recording, the ART VoiceChannel is a true second-generation discrete Class-A microphone preamp capable of providing clean quiet gain while maintaining incredible transparency. An integrated fully variable powerful dynamics processor subtly controls transients and noise of the most demanding sources while the VoiceChannel's semi-parametric EQ offers wide tunability. For added versatility the EQ can be patched before or after the dynamics processor while separate insertion jacks allow you quick quiet in-line connectivity to external signal processing gear immediately after the mic pre-amp, before the EQ and dynamics processor in the signal path. Another insert patch point exists just before the A/D converters. Choose between a wide range of outputs including balanced analog output, 44.1 KHz to 192 KHz AES/EBU, S/PDIF, ADAT and USB. Both analog and digital meters provide a detailed indication of audio levels. |
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ART PRO VLA II Tube Compressor : MusiciansFriend : USD299.0The Pro VLA by ART is a tube driven Vactrol-based Compressor/Leveling amplifier designed to excel in any professional audio application, including tracking, mixing, mastering, live sound or broadcast situations. By using an opto-electronic design, (as opposed to a more typical VCA driven level detection circuit) the Pro VLA II allows more compression to be added to an audio source with a more natural, musical sounding output and virtually transparent dynamic leveling. This VCA-less design coupled with a 12AT7 vacuum tube in the gain stage makes the Pro VLA II tube compressor the ideal dynamic control device for critical studio and live sound applications.These are the differences between the Pro VLA and the Pro VLA II:1. Enhanced Link mode In link mode, CH1 output control acts as a master output level and CH2 becomes a Balance control. This optimizes the Pro VLA II for use as a mastering processor.2. Active balanced outputs. The old VLA has balanced outputs that have 6dB more gain than when using them in the unbalanced mode. This shows up as an error when using the VU meter to compare the input and output level.3. LED output meter. a. Always monitors the output level allowing the user to view Both input and output levels at the same time. b. LED meter indicates both average level plus Peak hold.4. Attack and Release knobs vs. switches. The Old VLA compressor has switches that allow the user to adjust the attack time between "Fast" (~1mSec) and "Normal" (~10mSec). The release switch can be set to "normal" (200mSec) and "Auto" (program dependant, but rather long an average). a. Attack time as ranges from .25mSec to 50mSec b. Release time ranges from 0.15Sec to 3Sec. (This is program dependant at shorter release rates). c. Improved detector that lowers low frequency distortion at fast release rates.5. Improved package a. Rounded front panel machined to countersink all knobs and level meters. b. Re-enforced ears. c. Led lit switch caps. d. Heavier chassis and cover ruggedized for longer life on the road.6. Lower noise. a. +4dBu/-10dBv mode switch optimizes the unit for Pro OR consumer operating system levels. b. Toroidal transformer reduces mechanical and electrical hum. c. Tweaked Tube circuit for better dynamic range. d. Increased transformer shielding.7. Increased ranges on Threshold and Output gain. This allows the user a wider range of operation. a. Old threshold = -20 to +15, New Threshold range = -30dB to +20dB. b. Old Output gain max = +10dB, New output Gain = +20dB8. LED lit VU meters. No more dark meters due to blown out bulbs.9. All of the pots have detents. a. Imparts a more professional feel. b. Makes settings more repeatable. |
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ART S8 8-Channel Balanced Mic Splitter : MusiciansFriend : USD239.0The ART S8 can be used to split eight balanced low impedance microphone signals into sixteen (eight pairs). Each channel of the S8 Microphone Splitter provides one direct output and one transformer isolated output from a single microphone, making it the ideal signal splitting solution for dividing mic signals for separate Front-of-House monitor mixes, or for remote recording applications. The direct outputs pass phantom power from the main mixer to the microphones for use with condenser microphones. The S8 includes a ground-lift switch on each isolated output to reduce hum due to ground loops between connected AC-powered units. For versatility the S8 mic splitter also features an attenuator pad switch on each input that can be used to connect preamplified signals to the two microphone-level outputs on each channel. Typical preamplified signals would originate from instrument preamplifiers, mixers, keyboards, etc.With such an extensive history of making audio processors, ART has consistently set new industry standards and watched competitors follow their innovation and the ART S8 Microphone Splitter is no exception. ART continues to set the bar for high-quality audio products at a reasonable cost to audio enthusiasts of all types. |
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ART HeadAmp6PRO 6-Channel Headphone Amp : MusiciansFriend : USD199.0The ART HeadAmp6PRO is a six-channel stereo headphone amplifier that includes a six-channel auxiliary input section that can be used to provide the popular "more-me" function on each headphone mix. Each output channel also features a dual-function balance control which will pan between the left and right sides of the main signal bus, or vary the mix between the main signal bus and the auxiliary input for that respective channel.Bass and treble controls are included on each output channel for fine-tuning the tone. Outputs include both front- and rear-panel stereo 1/4" TRS jacks for ease of installation and quick patching capability. Two mono select buttons on each channel select between four operating modes: Stereo, Mono Left, Mono Right, and Mono Both (left and right) for versatile monitoring solutions.The main outputs for each channel of the headphone amplifier are rear-mounted stereo TRS jacks wired in parallel with the corresponding output jacks on the front panel. Front-panel, rear-panel, or both front- and rear-panel outputs can be used simultaneously to drive headphones or be used as feeds to additional headphone amplifiers in a distributed audio network.Input options include XLR and 1/4" TRS balanced inputs with matching Thru jacks for bridging multiple HeadAmp6Pro units. An additional front-panel stereo 1/4" TRS jack for quick patch override of the rear panel inputs is included for quick insertion of any stereo source. Eight-segment LED level indicators provide visual feedback of the signal level on all channels as well as the main signal bus. |
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ART SyncGen Wordclock Sample Rate Generator : MusiciansFriend : USD129.0The ART SyncGen is a simple-to-use, inexpensive way to improve the performance of your digital recording equipment while eliminating pops and clicks that result from synchronization timing errors in recording systems.A word-clock generator will centralize all of the timing of various pieces of digital equipment, reducing accumulated timing errors between the individual units that make up a digital recording chain. Designed for maximum versatility, the ART SyncGen converter will provide stable, sample-accurate time-based reference and can connect to digital audio equipment with either BNC word-clock or coaxial S/PDIF inputs. The ART SyncGen also acts as a system tester by confirming the status of BNC word-clock cables and terminations and can verify which pieces of gear are internally terminated. The ART SyncGen will also test proper cable connections to ensure total system accuracy. |
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ART SplitCom Pro 2 Way Mic Splitter / Combiner : MusiciansFriend : USD35.0Use the ART SPLITCom Pro to split or combine balanced low-impedance microphone signals.As a splitter The SPLITCom Pro mic splitter provides one direct-coupled output and one isolated output from a single microphone. Applications include sending the direct output to the main or FOH mixer, and the second isolated output to a monitor or recording mixer. The main mic output passes phantom power from the main mixer to the MAIN MIC INPUT for use with condenser microphones. Phantom power is blocked from passing to the isolated mic output.As a combiner The SPLITCom Pro provides one output from two microphone inputs. The Phase switch can be used to invert the relative phase of the isolated mic input. Applications include dual miking of percussion instruments, choirs, and instrument amplifiers. Phantom power passes through each output to its respective input, (Main to Main, Isolated to Isolated), however phantom power is blocked from passing between the Main and Isolated signal paths. Only the audio passes between the Main and Isolated signal paths (it is present on all inputs and outputs).The ART SPLITCom Pro includes a Ground switch, which, in the Lift position, will provide full galvanic isolation between the Main Mic Input (& Output) and the Isolated Mic Input (& Output) to reduce noise due to ground loops between connected AC-powered units. |
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ART ProSplit High Performance Mic Splitter : MusiciansFriend : USD50.0The ART ProSplit mic splitter provides one direct output and one transformer isolated output from a single microphone. Applications include sending the direct output to the main or front-of-house mixer, with the second isolated output being sent to a monitor or recording mixer. The direct output passes phantom power from the main mixer to the microphone for use with condenser microphones. The ART ProSplit includes a ground-lift switch on the isolated output to reduce noise due to ground loops between connected equipment. For versatility, the ProSplit also features an attenuator pad switch on the input that can be used to alternately connect a preamplified (line-level) signal to the two microphone-level ProSplit outputs. |
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SMPro Audio Nano Patch Passive Volume Attenuator : MusiciansFriend : USD59.0Building on the success of the original M-Patch and M-Patch 2 passive attenuators, the Nano Patch is a super-compact, desktop-sized passive volume attenuator, entering the market as one of the smallest around. Perfect for working with stereo signals from soundcards, CD players, pre-amps, and mixers, it is designed to allow precise level adjustments to analog audio source material. Featuring balanced combo XLR/TRS input jacks and TRS outputs, mute switch, and a good sized rotary volume encoder, it's simply one of the most affordable improvements you could ever make to your studio.The Nano Patch really comes into its own when connected between your computer audio interface/soundcard master outputs and a pair of active (powered) monitor speakers. One of the benefits of passive volume attenuation is that you no longer have to control volumes with your software's master volume fader. Reducing levels from your software only reduces the audio bit depth. It is better to keep your software masters at unity and attenuate the audio to your active monitors with a passive controller like the Nano Patch. This way you can maintain maximum audio resolution and reduce the amplitude of your monitoring volume with the confidence that the sonic integrity of your audio is not compromised. No active circuitry, buffers, transistors, batteries, or power supply of any kind can interfere with the main passive output of the Nano Patch. It simply delivers attenuated signal. Pure. Simple. Transparent.The device's rotary control (the same pot as used in our M-Patch 2) allows precise level adjustments within 1dB from 0 to -40dB. In addition, the Nano Patch features completely balanced operation with its combo XLR/TRS input jacks, and TRS outputs.A simple problem solver, you use the Nano Patch anywhere you need to trim gain; ie, reduce the volume of analog audio signals. For example, you could use one to trim the output of a microphone preamp. With its high-quality potentiometer, the SMPro attenuator passes signal more accurately, and sounds better than most built-in volume controls. The possibilities are endless. |
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PreSonus DigiMax D8 8-Channel Preamplifier : MusiciansFriend : USD399.95The DigiMax D8 is an 8-channel preamplifier featuring 8 award-winning class A XMAX mic preamps with 24-bit ADAT digital output. All eight preamps include variable trim control, 48V phantom power, ultra-fast acting LED metering and 20 dB pad. In addition, 2 instrument inputs are located on the front panel for direct Hi-Z instrument input. Balanced TRS direct analog outputs are located on the rear panel for routing and flexibility. The DigiMax D8 also includes word clock sync input for ultra-low jitter and robust synchronization.The DigiMax D8 is the perfect solution to add eight professional microphone preamplifiers to any digital recording system with ADAT optical lightpipe expansion capability including Digidesign's HD and 003 systems, RME, YAMAHA, Alesis, Mackie, and many others.8 XMAX Class A PreamplifiersAll XMAX preamplifiers are built with the same three elements:High Voltage — The XMAX preamplifier runs on power rails of 30V. Most off the shelf op amp based designs run on power rails of 10V to 18V. Higher voltage power rails deliver more headroom, deeper lows, smoother highs and an overall fuller sound.Discrete — No op amps. Only transistors, resistors and capacitors. Op amps add noise, coloration and harshness to a signal. Discrete designs deliver ultra low noise and transparency.Class A — When a circuit is running in Class A mode the circuit is always in an "on" state operating at its optimal voltage requirements. Class A mode has zero crossover distortion and delivers purer, clearer and more musical sonics than class A/B designs which are found in most op-amp circuits.The net result of the XMAX preamp design is high headroom, low noise, wide dynamic range and wide frequency range, and most importantly, musicality and transparency - smooth highs, solid deep lows, and everything in between. |
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PreSonus Digimax D8 B Stock : MusiciansFriend : USD349.0The DigiMax D8 is an 8-channel preamplifier featuring 8 award-winning class A XMAX mic preamps with 24-bit ADAT digital output. All eight preamps include variable trim control, 48V phantom power, ultra-fast acting LED metering and 20 dB pad. In addition, 2 instrument inputs are located on the front panel for direct Hi-Z instrument input. Balanced TRS direct analog outputs are located on the rear panel for routing and flexibility. The DigiMax D8 also includes word clock sync input for ultra-low jitter and robust synchronization.The DigiMax D8 is the perfect solution to add eight professional microphone preamplifiers to any digital recording system with ADAT optical lightpipe expansion capability including Digidesign's HD and 003 systems, RME, YAMAHA, Alesis, Mackie, and many others.8 XMAX Class A PreamplifiersAll XMAX preamplifiers are built with the same three elements:High Voltage — The XMAX preamplifier runs on power rails of 30V. Most off the shelf op amp based designs run on power rails of 10V to 18V. Higher voltage power rails deliver more headroom, deeper lows, smoother highs and an overall fuller sound.Discrete — No op amps. Only transistors, resistors and capacitors. Op amps add noise, coloration and harshness to a signal. Discrete designs deliver ultra low noise and transparency.Class A — When a circuit is running in Class A mode the circuit is always in an "on" state operating at its optimal voltage requirements. Class A mode has zero crossover distortion and delivers purer, clearer and more musical sonics than class A/B designs which are found in most op-amp circuits.The net result of the XMAX preamp design is high headroom, low noise, wide dynamic range and wide frequency range, and most importantly, musicality and transparency - smooth highs, solid deep lows, and everything in between. |
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Universal Audio LA-610 Tube Recording Channel Signature Edition : MusiciansFriend : USD1999.0The LA-610 brings UA's legendary vintage all-tube luxury sound into a modern channel strip format by combining the 610 Mic-Pre/EQ/DI section and a T4 Opto-compressor into a single 2U unit with a ground-breaking price.The 610-tube preamp, DI, and EQ is from UA's TEC award winning 6176 and is based on the legendary console modules developed by Bill Putnam in the 60's. Countless classics have been recorded using these preamps, noted for their musical character and warmth.The simple operation and program dependent nature of the LA-610 T4 compressor provides the same extremely musical control that has made the LA-2A such a well-loved classic for over 40 years.The LA-610 packs tremendous sonic versatility and is an ideal front-end for tracking with modern DAW's and the serious project studio looking to get the UA sonic experience : real quality and character at an accessible price.In collaboration with Dennis Fink, one of the original UREI© analog design engineers, the LA-610 was carefully designed to deliver the essence of the "LA" sound but without the costs of being an exact LA-2A component clone. The LA-610 uses three 12AX7A's, a single 6072A and a single 6AQ5 tube for amplifier warmth and overall tonal balance.After the preamp section, the LA-610 offers a new T4 optical compressor. The electro-optical detector or "T4 cell," is the very heart and soul of the Teletronix LA-2A. The unique combination of electroluminescent panel and photo-resistors inside the T4 cell are the crucial circuit components that give both these compressors their signature sound. |
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TC Electronic Desktop Konnekt 6 FireWire Audio Interface : MusiciansFriend : USD199.0Anyone familiar with the T.C. Electronics' Konnekt line of interfaces knows they offer high-quality recording features. This addition to the family, the Desktop Konnect 6, continues that trend but is in a smaller footprint size FireWire audio interface allowing you to focus more on your performance than worrying about messing with complicated technology. It gives you all the features you'll need, like an advanced Monitor control, IMPACT mic pre with excellent I/O options, and the top-notch M40 Studio Reverb to instantly record instruments and vocals into your Mac or PC.Monitor Control The volume control on the Konnekt 6 Interface is the knob that you'll use all the time. Therefore, it is great that it sits right where you want it: always within reach. With a volume control independent from the computer - between the computer and the active speakers - you can always turn down the volume, no matter what your computer does.High resolution meter The high resolution gives you precise information about levels. With clear level indication, you can always monitor the level of the input signal and know if you're near clipping. You can also choose to use the meter for mastering purposes.Reverb for tracking For monitoring convenience, the reverb is available as part of your monitor mix. You can control the reverb level directly from the top panel of Desktop Konnekt 6,and you can set reverb parameters using the control panel on the computer.Direct monitor mix Use the direct monitor knob to control the direct monitor level directly from the top panel of Desktop Konnekt 6. Together with the DIM switch and the MONO switch you have all the monitor functions you need at hand.Scenes With Scene select you can easily access three independent scenes or "setups". The three default presets are for Microphone and guitar, two guitars/basses, and stereo line signal.Control panel The control panel gives you full control over your monitor mix, including the M40 Studio Reverb.IMPACT and I/O When it comes to quality of the I/O section, Desktop Konnekt 6 has no compromises and matches its big brothers in the Konnekt range.IMPACT mic pre T.C. Electronics is renowned for its mic preamps, notably ranking among the finest mic preamps on the market. Desktop Konnekt 6 comes with a high-caliber IMPACT preamp which makes recording a vocal or instrument pure joy.Hi-Z guitar/line inputs Equipped with the same instrument inputs used in T.C.'s high-end guitar processors, Desktop Konnekt 6 offers studio-quality guitar recordings. These two high-impedance inputs will surely match the quality of your guitar, maintaining the tone and sound on the recording. Headphones The headphone output has its own powerful amplifier and a separate converter, which makes you able to assign separate mix signal independent from what you hear in your monitor speakers.Balanced outputs The two balanced outputs match any powered or non-powered speaker monitors.M40 Studio Reverb Built |
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TC Electronic Digital Konnekt x32 FireWire Audio Interface : MusiciansFriend : USD1499.0Digital Konnekt x32 is every studio's missing link, integrating digital equipment with computer-based recording setups. It is a utility product fitting the needs of project studios and other digital setups in need of a 'Swiss army knife" in digital signal handling. It features FireWire connection to and from your DAW, and it allows efficient routing and conversion between multiple digital formats and sample rates. The Digital Konnekt x32 interface also provides extra features such as analog outputs, scene recall, convenient monitoring and front panel lock.All the tools in one toolbox Up until now, the pro audio market has only seen single-function units such as format and sample rate converters, patchbays, and audio interfaces offering digital signal handling. Never before have these essential functions been incorporated into a single platform linking your entire fleet of digital devices to your DAW. With Digital Konnekt and the Integrator plug-in, you can now fully utilize your trusted and favorite digital hardware tools within your DAW system. Featuring T.C.'s plug-in streaming technology, the Integrator plug-in (VST and AU) facilitates seamless integration of all external units with your recording setup; once connected, adding the unique sound of your most beloved digital external hardware unit is just a mouse click away. With the built-in latency roundtrip measuring feature and your DAWs latency compensation, your projects will not suffer from latency introduced by the external hardware either.Digital Patchbay Tired of re-wiring over and over again? With Digital Konnekt x32, you connect your digital hardware once, make the wiring that fits your setup requirements, and you're good to go. All subsequent routing takes place from the front panel.Format converter The x32 audio interface provides efficient format conversion between units using ADAT, SPDIF, TOS, and AES/EBU digital formats. Any input format can be converted into either of the listed formats and aligned to any sample rate ranging from 44.1kHz to 96kHz.Audio interface Two FireWire connections enable you to connect this audio interface to a computer. It streams 16 channels of audio to and from the computer, and is compatible with other T.C. Electronics audio interfaces.Integrator plug-in The Integrator plug-in makes integration of external hardware into your DAW environment seamless. It offers a "plug-in" audio routing representation of your external hardware, e.g. Reverb4000, Finalizer, System6000, etc. Since Integrator operates like a normal VST/AU plug-in, it can be inserted on any track, as a send effect, or on the master output of your host application.Integrator operates like a normal VST/AU plug-in, so it can be inserted on any track, as a send effect, or on the master output of your host application. It works with up to four Konnekt audio interfaces at a time, so if you have more interfaces, simply select the one that the external hardware is atta |
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TC Helicon VoiceTone Double Overdubbing Pedal : MusiciansFriend : USD249.0With the TC Helicon VoiceTone Double Overdubbing Pedal you can now afford high-quality vocal processing that starts at the stage and is exclusively under your control. The VoiceTone Double is a vocal pedal that creates up to 4 humanized overdubs - live! The pitch and timing of these overdubbed vocals can be tight and intimate or loose and lively. 10 professional authored effects banks offer a slightly different take on the various natural and effected doubling sounds with 3 patches. Includes pristine emulations of classic microshift, chorus, and detune. With a simple push of a button you can switch from such effects as 2 Voices, 4 Voices, Mod, Overdub+Mod, 1 Octave, Group Octave, Subtle, Effected, Showcase, and even Rap. TC Helicon VoiceTone Double gives singers creative control of the pitch, timing and levels of each patch. During performance, you can toggle between 2 patches with Part A and B switches. Easy to connect and use, the VoiceTone Double Overdubbing pedal comes with mic level XLR I/O in stereo and mono, which provide a wide input range for dynamic mics and extra hot condenser microphones. The clean studio-quality mic preamp includes phantom power. Simply by plugging in a microphone, you can easily produce a combination of natural and effected doubling that finally makes live vocals sound like a CD.Each pedal in the TC Helicon VoiceTone line has a unique purpose, yet they complement each other perfectly. Their studio-quality sound, ready-for-action construction, and unobtrusive size let you carry VoiceTone pedals with your favorite mic to the gig, whether it's a club or a concert hall. And operation couldn't be easier. You'll get the sound you want in seconds, instantly boosting your performance the very first night you use a TC Helicon VoiceTone pedal. Up till now, only the most successful singers have taken their producer, live engineer, back-up singers, and vocal coach on the road, but now it's your turn to bring your vocal posse with you and ensure that your message, and, more importantly, your sound, is heard.The quality of the VoiceTone design is apparent in its studio-caliber audio algorithms, transparent converters, and fastidious analog audio design, which lead to a smooth sound that makes you sound your best. Because of its sturdy construction the TC Helicon VoiceTone Double Overdubbing Pedal will stand up to any rough treatment you give it onstage or in the rehearsal room. |
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Audient ASP-8ADAT - ADAT Digital Interface Card : MusiciansFriend : USD600.0The Audient ASP-8ADAT ADAT Digital Interface Card adds functionality to the Audient ASP008 8-Channel Variable Impedance Mic Preamp (sold separately). The ASP-8ADAT ADAT Digital interface Card provides a 48 Hz ADAT lightpipe digital output with selectable Sample rate and Dither making the ASP008 an ideal "front-end" for any DAW or ProTools system. |
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TC Helicon VoiceTone Harmony-M Vocal Effects Pedal for Keyboard : MusiciansFriend : USD299.0The TC Helicon VoiceTone Harmony-M is a vocal effects pedal that is designed for singers who are also keyboard players. The Harmony-M pedal listens to the MIDI input and your voice to follow the music. Harmony-M includes classic "notes" and "chord" harmony control modes. Features 1/4" TRS mic level I/O, as well as input for an optional footswitch so the VoiceTone can be placed on the keyboard for easier access. The TC Helicon Harmony-M has a tone switch for engaging the adaptive live engineer effects that dynamically polish vocal tone by connecting the stereo outputs to the mains. Harmony-M simultaneously gives you 2 backup harmony singers and realistic vocal doubling with effortless MIDI control. Also included are live engineer effects that automatically optimize your vocals with adaptive compression, EQ, and de-essing. All of this is fed into rich reverb and delay processors. While you focus on your music, TC helicon Harmony-M backs you up with fully-produced vocal sound. Feel like you're wrestling with others over your sound? From the moment you plug your mic into VoiceTone Harmony-M, you're in control of the tone and effects on your voice. Harmony-M arrangement algorithms follow your playing and singing to provide musically correct harmony. With the harmony pedal's straightforward controls, it's easy to step through presets and switch between A/B user settings. The TC Helicon Harmony-M is like having a skilled engineer sensitive to your every note, ready to polish your vocal tone. Each effect pedal in the TC Helicon VoiceTone line has a unique purpose, yet they complement each other perfectly. Their studio-quality sound, ready-for-action construction, and unobtrusive size let you carry TC Helicon VoiceTone pedals with your favorite mic to the gig, whether it's a club or a concert hall. And operation couldn't be easier. You'll get the sound you want in seconds, instantly boosting your performance the very first night you use a VoiceTone pedal. Up til now, only the most successful singers have taken their producer, live engineer, back-up singers and vocal coach on the road. Now it's your turn to bring your vocal posse with you and ensure that your message and your sound are heard.Quality is evident in every aspect of the TC Helicon VoiceTone pedal design. Studio-caliber audio algorithms, transparent converters, and fastidious analog audio design lead to a smooth sound that makes you sound your best. The TC Helicon VoiceTone Harmony-M pedal's rugged construction means it can stand up to rough treatment onstage or being kicked around a rehearsal room floor, |
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TC Helicon VoiceTone Harmony-G Vocal Effects Pedal for Guitarists : MusiciansFriend : USD299.0The TC Helicon VoiceTone Harmony-G is a studio-quality vocal harmony effects pedal designed for guitar players. The Harmony-G pedal takes the need for programming completely out of the equation, since your guitar playing tells Harmony-G what notes to harmonize. Adaptive mixing and harmony arrangement algorithms follow guitar and voice, and produce realistic harmonies without pre-programming. A guitar AutoMix function provides acoustic guitar players with a balanced mix of vocals, guitar, and effects. The VoiceTone harmony-G pedal's straightforward controls enable you to go further and arrange voicing and effects changes in your songs by stepping through 10 presets with A/B settings as you perform. VoiceTone Harmony-G also features XLR mic level I/O, a guitar input, and pass-thru for separate amp and guitar tuner inputs. Each effect pedal in the TC Helicon VoiceTone line has a unique purpose, yet they complement each other perfectly. Their studio-quality sound, ready-for-action construction, and unobtrusive size let you carry TC Helicon VoiceTone pedals with your favorite mic to the gig, whether it's a club or a concert hall. And operation couldn't be easier. You'll get the sound you want in seconds, instantly boosting your performance the very first night you use a TC Helicon VoiceTone pedal. Up til now, only the most successful singers could take their producer, live engineer, back-up singers and vocal coach on the road. Now it's your turn to bring your vocal posse with you and ensure that your message, and your sound are heard.Quality is discernible in every aspect of TC Helicon VoiceTone pedal design. Studio-caliber audio algorithms, transparent converters, and fastidious analog audio design lead to a smooth sound that makes you sound your best. It just wouldn't be enough to make a product that helps you sound this good without making sure it can stand up to rough treatment onstage or in the studio. TC Helicon designers gave the VoiceTone Harmony-G vocal effect pedal sturdy construction to survive being moved and stepped under conditions found on the road. |
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Lexicon PCM96 Stereo Reverb/Effects Processor : MusiciansFriend : USD2999.0Lexicon's PCM96 Professional Stereo Reverb/Effects Processor features a wide array of rich, complex reverb algorithms with related delays and effects. The single rack-space PCM96 integrates seamlessly into the modern studio as a control-only DAW insert or FireWire streaming hardware plug-in. Following in the tradition of the venerable PCM60 and PCM70 signal processors, the Lexicon PCM96 offers a comprehensive selection of legendary Lexicon reverbs and effects, including the return of Lexicon's prized Concert Hall reverb. Appearing for the first time are Room and Hall algorithms, plus an assortment of mono reverbs and effects. Selectable, reversible reflection patterns, multimode filters, and "infinity switches" provide additional capabilities with both the classic and new reverbs and effects.With two channels XLR analog and two channels XLR AES/EBU digital I/O, as well as MIDI, Wordclock, Ethernet and Firewire connectivity, the PCM96 is equally suited for studio or live use. In any application, the PCM96 Reverb and Effects Processor provides versatility and sound that is unmistakably Lexicon.Lexicon's famous reverbs and reputation for quality ensure the PCM96 will reside in large and small studios around the world. The seamless DAW capability means it can easily become a part of your recording studio too. UPDATE: As of 11/20/08 there have been some new functionality and improvements made to make the PCM96 even better.New Functionality 1. A new set of pitch algorithms have been included. The new pitch shift algorithms in the PCM96 support both practical shifting and shifting for special effects. a. The VSO algorithm can be used to help bring that choir up to pitch or to correct the pitch shift created by common video conversions—all the while maintaining a solid stereo image. b. The Multivoice pitch algorithms combine multiple shifters with Lexicon's powerful delay architecture to create climbing pitch ladders, shifted echoes, voice doublers, along with many other wild or subtle effects. 2. PCM96 plug-in compatibility with Steinberg Cubase and Nuendo. (Cubase LE4 has been extensively tested) Improvements Discovery speed has been increased significantly with improved stability. Streaming Driver stability has been improved. Front panel hangs have been eliminated. Fixed backward compatibility problems. Fixed automation hangs/crashes. Eliminated many DAW hangs and crashes. 88.2 kHz streaming sessions are working. Plug-ins work properly on Mac's with multiple users. |
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TASCAM SS-R1 Solid State Flash Recorder/Player : MusiciansFriend : USD599.0The SS-R1 is TASCAM's affordable single-rack-space Compact Flash recorder for the installation market. Designed for applications that previously used a cassette or MiniDisc recorder, the SS-R1 records in WAVE or MP3 formats to Compact Flash media. The recorder includes balanced and unbalanced audio inputs and outputs, RS-232 and parallel control and a wired remote control. |
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TASCAM SS-R1 Solid State Flash Recorder/Player Factory B-Stock : MusiciansFriend : USD529.0The SS-R1 is TASCAM's affordable single-rack-space Compact Flash recorder for the installation market. Designed for applications that previously used a cassette or MiniDisc recorder, the SS-R1 records in WAVE or MP3 formats to Compact Flash media. The recorder includes balanced and unbalanced audio inputs and outputs, RS-232 and parallel control and a wired remote control. |
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TASCAM SS-CDR1 Solid State CD Recorder / Player : MusiciansFriend : USD999.0The Tascam SS-CDR1 is a solid state recorder that combines Compact Flash and Compact Disc recording into a single rackspace. Designed for applications that previously used a cassette or MiniDisc recorder, the SS-CDR1 records in WAVE or MP3 formats to Compact Flash media. A slot-loading CD transport is provided for recording, MP3 conversion, and audio transfer. The CD recorder includes balanced and unbalanced audio inputs and outputs, RS-232 and parallel control ports and a wired remote control. |
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TASCAM SS-CDR1 Solid State CD Recorder/Player Factory B-Stock : MusiciansFriend : USD849.0The Tascam SS-CDR1 is a solid state recorder that combines Compact Flash and Compact Disc recording into a single rackspace. Designed for applications that previously used a cassette or MiniDisc recorder, the SS-CDR1 records in WAVE or MP3 formats to Compact Flash media. A slot-loading CD transport is provided for recording, MP3 conversion, and audio transfer. The CD recorder includes balanced and unbalanced audio inputs and outputs, RS-232 and parallel control ports and a wired remote control. |
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Solid State Logic X-Rack VHD Microphone Preamp : MusiciansFriend : USD875.0The Solid State Logic X-Rack VHD Microphone Preamp is an input module that has a front end combining classic SSL character with Solid State Logic's new Variable Harmonic Drive circuit. You get a time machine of overdrive characteristics.What is VHD?It may look like just another knob, but SSL's VHD (Variable Harmonic Drive) preamp is far from a traditional linear gain control - it's more like a time machine of overdrive characteristics.When VHD is used in conjunction with the input gain control, a huge variety of preamp sounds can be created, from gentle warming to serious distortion. At relatively low input gain settings the VHD Pre preamps deliver transparent signals with all of the sonic fidelity you'd expect from SSL. As the input gain setting is increased, more of the signal is passed to the Variable Harmonic Drive circuit, increasing the intensity of the effect from subtle to extreme. By adjusting the VHD control the distortion characteristics can be shifted from 50s valve-style overdrive (if the VHD selection control is turned fully anti-clockwise for 2nd harmonic distortion) to 70s transistor-style grit (if the VHD selection control is turned fully clockwise for 3rd harmonic distortion) or a blend of the two.As a feature of Duality, XLogic E Signature Channel and XLogic Alpha Channel, VHD is used in studios around the world and is rapidly establishing itself as the go-to' tool that allows modern producers to achieve a sound that evokes the sonic heritage of SSL while adding a strong contemporary edge. |
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Solid State Logic XLogic X-Rack Stereo Bus Compressor Module : MusiciansFriend : USD2195.0Solid State Logic made the XLogic X-Rack Stereo Bus Compressor Module to be a simple unit with a simple purpose: to make complete mixes sound bigger, with more power, punch and drive. The Stereo Bus Compressor Module brings this classic audio glue to you with spectacular SuperAnalogue audio performance. |
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Solid State Logic Pro-Convert Digital Audio Project Translator Software : MusiciansFriend : USD595.0Solid State Logic Pro-Convert is a new software application designed to improve workflow and make it easier for producers to use their Digital Audio Workstation of choice. Pro-Convert is audio project translation software that facilitates the exchange of entire projects between audio applications. The application is designed to make it much easier and quicker to move projects between producers or facilities where different audio applications are in daily use. Pro-convert is designed to remove the creative and technical constraints presented by an industry standard' DAW environment.For commercial music facilities Pro-Convert means the ability to streamline the process of opening projects created within a broader range of DAW environments. For the creative producer Pro-Convert means being able to begin projects within your private studio using the DAW that is the best creative fit for the way you want to work, secure in the knowledge that you can easily transport your project for collaboration or mastering. For Commercial Post facilities, Pro-Convert means the ability to easily import music and material created within a diverse range of DAW environments for mixing. For large scale Post Production projects or facilities where multiple producers contribute to a single production process, production teams can enjoy significantly streamlined workflow.Pro-Convert effectively supports over 40 different audio applications (see the Format Overview page for details) each of which has a very different feature set and method of implementing specific features. There are therefore a great many permutations of conversion that might be undertaken using Pro-Convert. Some applications have extensive feature sets, others do not. It is not always possible to convert specific features between selected applications it is possible for us to provide a definitive list of which features are available for translation with each key application; that list is available in our online help file and on the Format Table web page. Our online help file also provides additional detail regarding advantages or limitations of specific leading applications so please read any sections of particular interest to you. |
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Sabine Navigator System Processor 3X6 W/ Micpre : MusiciansFriend : USD989.99The Sabine Navigator System Processor offers more choices for maximum flexibility. Choose your base model: full front panel control or blank front panel. Then choose your options: Microphone Preamps, Digital Audio I/O, or Wall Panel Remote Ready. All Navigators offer fast setup of your production audio rig, easy and secure configuration of your commercial or worship sound system, and complete signal routing for multi-room venues. Configure the Navigator to match your application and let it steer your way to a better sounding system.Unlimited DSP The Navigator Series is a complete multi-input/output digital system processor designed for commercial installation and production audio. Navigators use 32-bit (40-bit extended) floating point processors and high-performance 24-bit digital converters. All functions operate concurrently and are controlled simultaneously. There is no need to compile any files or settings, and the powerful Analog Devices SHARC processors handle the DSP processing. Best of all, you never run out of resources. All functions work together, so go ahead and set FBX feedback control filters on every input and compressors on every input and output no problem.Navigator's blank front panel versions include Sabine's Automatic Mic Mixing function, with independent control of mic priority, attack, release, threshold, and gain on each channel. Combined with the FBX Feedback Exterminator the Navigator will provide more gain before feedback than conventional automatic mic mixers.Better Control As the name implies, the Navigator is all about control. The Navigator Remote Control software provides a heads-up display of all systems status and fast access to all parameters. This highly intuitive interface allows you to choose from two main views: Matrix or Mixer. The Mixer view is especially useful with the addition of the microphone preamps. If you can run a mixer, you can run this software.Equally powerful is the front panel control for those times when you need full access at the rack position. When integrating the Navigator as part of a larger system, choose USB, RS232, or Ethernet as your connection protocol. Serial and Ethernet-based touch screen control is also possible with all Navigators. The NAVRC-100 Wall Panel Remote is an attractive 2-gang remote control that is wired to the Navigator for trouble-free remote control. Programmable Menu and Value switches can be assigned to most of the Navigator functions, and the built-in, backlit LCD displays the name of each menu and preset. The Wall Panel Remote makes for a very powerful control system, and allows for multiple control points for multiple Navigators which can be mounted strategically throughout the installation.Superior Audio Quality One of the pioneers in the field of digital signal processing, Sabine's research and development into digital filtering technology provides an edge in both sound quality and reliability. The FBX Feedback Exterminator is one of the many in |
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Sabine Navigator System Processor 2X4 W/ Micpre : MusiciansFriend : USD799.99The Sabine Navigator System Processor offers more choices for maximum flexibility. Choose your base model: full front panel control or blank front panel. Then choose your options: Microphone Preamps, Digital Audio I/O, or Wall Panel Remote Ready. All Navigators offer fast setup of your production audio rig, easy and secure configuration of your commercial or worship sound system, and complete signal routing for multi-room venues. Configure the Navigator to match your application and let it steer your way to a better sounding system.Unlimited DSP The Navigator Series is a complete multi-input/output digital system processor designed for commercial installation and production audio. Navigators use 32-bit (40-bit extended) floating point processors and high-performance 24-bit digital converters. All functions operate concurrently and are controlled simultaneously. There is no need to compile any files or settings, and the powerful Analog Devices SHARC processors handle the DSP processing. Best of all, you never run out of resources. All functions work together, so go ahead and set FBX feedback control filters on every input and compressors on every input and output no problem.Navigator's blank front panel versions include Sabine's Automatic Mic Mixing function, with independent control of mic priority, attack, release, threshold, and gain on each channel. Combined with the FBX Feedback Exterminator the Navigator will provide more gain before feedback than conventional automatic mic mixers.Better Control As the name implies, the Navigator is all about control. The Navigator Remote Control software provides a heads-up display of all systems status and fast access to all parameters. This highly intuitive interface allows you to choose from two main views: Matrix or Mixer. The Mixer view is especially useful with the addition of the microphone preamps. If you can run a mixer, you can run this software.Equally powerful is the front panel control for those times when you need full access at the rack position. When integrating the Navigator as part of a larger system, choose USB, RS232, or Ethernet as your connection protocol. Serial and Ethernet-based touch screen control is also possible with all Navigators. The NAVRC-100 Wall Panel Remote is an attractive 2-gang remote control that is wired to the Navigator for trouble-free remote control. Programmable Menu and Value switches can be assigned to most of the Navigator functions, and the built-in, backlit LCD displays the name of each menu and preset. The Wall Panel Remote makes for a very powerful control system, and allows for multiple control points for multiple Navigators which can be mounted strategically throughout the installation.Superior Audio Quality One of the pioneers in the field of digital signal processing, Sabine's research and development into digital filtering technology provides an edge in both sound quality and reliability. The FBX Feedback Exterminator is one of the many in |
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Sabine Navigator System Processor 2X4 : MusiciansFriend : USD729.99The Sabine Navigator System Processor offers more choices for maximum flexibility. Choose your base model: full front panel control or blank front panel. Then choose your options: Microphone Preamps, Digital Audio I/O, or Wall Panel Remote Ready. All Navigators offer fast setup of your production audio rig, easy and secure configuration of your commercial or worship sound system, and complete signal routing for multi-room venues. Configure the Navigator to match your application and let it steer your way to a better sounding system.Unlimited DSP The Navigator Series is a complete multi-input/output digital system processor designed for commercial installation and production audio. Navigators use 32-bit (40-bit extended) floating point processors and high-performance 24-bit digital converters. All functions operate concurrently and are controlled simultaneously. There is no need to compile any files or settings, and the powerful Analog Devices SHARC processors handle the DSP processing. Best of all, you never run out of resources. All functions work together, so go ahead and set FBX feedback control filters on every input and compressors on every input and output no problem.Navigator's blank front panel versions include Sabine's Automatic Mic Mixing function, with independent control of mic priority, attack, release, threshold, and gain on each channel. Combined with the FBX Feedback Exterminator the Navigator will provide more gain before feedback than conventional automatic mic mixers.Better Control As the name implies, the Navigator is all about control. The Navigator Remote Control software provides a heads-up display of all systems status and fast access to all parameters. This highly intuitive interface allows you to choose from two main views: Matrix or Mixer. The Mixer view is especially useful with the addition of the microphone preamps. If you can run a mixer, you can run this software.Equally powerful is the front panel control for those times when you need full access at the rack position. When integrating the Navigator as part of a larger system, choose USB, RS232, or Ethernet as your connection protocol. Serial and Ethernet-based touch screen control is also possible with all Navigators. The NAVRC-100 Wall Panel Remote is an attractive 2-gang remote control that is wired to the Navigator for trouble-free remote control. Programmable Menu and Value switches can be assigned to most of the Navigator functions, and the built-in, backlit LCD displays the name of each menu and preset. The Wall Panel Remote makes for a very powerful control system, and allows for multiple control points for multiple Navigators which can be mounted strategically throughout the installation.Superior Audio Quality One of the pioneers in the field of digital signal processing, Sabine's research and development into digital filtering technology provides an edge in both sound quality and reliability. The FBX Feedback Exterminator is one of the many in |
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Sabine Navigator System Processor 4X8 : MusiciansFriend : USD1369.99The Sabine Navigator System Processor offers more choices for maximum flexibility. Choose your base model: full front panel control or blank front panel. Then choose your options: Microphone Preamps, Digital Audio I/O, or Wall Panel Remote Ready. All Navigators offer fast setup of your production audio rig, easy and secure configuration of your commercial or worship sound system, and complete signal routing for multi-room venues. Configure the Navigator to match your application and let it steer your way to a better sounding system.Unlimited DSP The Navigator Series is a complete multi-input/output digital system processor designed for commercial installation and production audio. Navigators use 32-bit (40-bit extended) floating point processors and high-performance 24-bit digital converters. All functions operate concurrently and are controlled simultaneously. There is no need to compile any files or settings, and the powerful Analog Devices SHARC processors handle the DSP processing. Best of all, you never run out of resources. All functions work together, so go ahead and set FBX feedback control filters on every input and compressors on every input and output no problem.Navigator's blank front panel versions include Sabine's Automatic Mic Mixing function, with independent control of mic priority, attack, release, threshold, and gain on each channel. Combined with the FBX Feedback Exterminator the Navigator will provide more gain before feedback than conventional automatic mic mixers.Better Control As the name implies, the Navigator is all about control. The Navigator Remote Control software provides a heads-up display of all systems status and fast access to all parameters. This highly intuitive interface allows you to choose from two main views: Matrix or Mixer. The Mixer view is especially useful with the addition of the microphone preamps. If you can run a mixer, you can run this software.Equally powerful is the front panel control for those times when you need full access at the rack position. When integrating the Navigator as part of a larger system, choose USB, RS232, or Ethernet as your connection protocol. Serial and Ethernet-based touch screen control is also possible with all Navigators. The NAVRC-100 Wall Panel Remote is an attractive 2-gang remote control that is wired to the Navigator for trouble-free remote control. Programmable Menu and Value switches can be assigned to most of the Navigator functions, and the built-in, backlit LCD displays the name of each menu and preset. The Wall Panel Remote makes for a very powerful control system, and allows for multiple control points for multiple Navigators which can be mounted strategically throughout the installation.Superior Audio Quality One of the pioneers in the field of digital signal processing, Sabine's research and development into digital filtering technology provides an edge in both sound quality and reliability. The FBX Feedback Exterminator is one of the many in |
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Sabine Navigator System Processor 4X8 W/ Micpre : MusiciansFriend : USD1499.99The Sabine Navigator System Processor offers more choices for maximum flexibility. Choose your base model: full front panel control or blank front panel. Then choose your options: Microphone Preamps, Digital Audio I/O, or Wall Panel Remote Ready. All Navigators offer fast setup of your production audio rig, easy and secure configuration of your commercial or worship sound system, and complete signal routing for multi-room venues. Configure the Navigator to match your application and let it steer your way to a better sounding system.Unlimited DSP The Navigator Series is a complete multi-input/output digital system processor designed for commercial installation and production audio. Navigators use 32-bit (40-bit extended) floating point processors and high-performance 24-bit digital converters. All functions operate concurrently and are controlled simultaneously. There is no need to compile any files or settings, and the powerful Analog Devices SHARC processors handle the DSP processing. Best of all, you never run out of resources. All functions work together, so go ahead and set FBX feedback control filters on every input and compressors on every input and output no problem.Navigator's blank front panel versions include Sabine's Automatic Mic Mixing function, with independent control of mic priority, attack, release, threshold, and gain on each channel. Combined with the FBX Feedback Exterminator the Navigator will provide more gain before feedback than conventional automatic mic mixers.Better Control As the name implies, the Navigator is all about control. The Navigator Remote Control software provides a heads-up display of all systems status and fast access to all parameters. This highly intuitive interface allows you to choose from two main views: Matrix or Mixer. The Mixer view is especially useful with the addition of the microphone preamps. If you can run a mixer, you can run this software.Equally powerful is the front panel control for those times when you need full access at the rack position. When integrating the Navigator as part of a larger system, choose USB, RS232, or Ethernet as your connection protocol. Serial and Ethernet-based touch screen control is also possible with all Navigators. The NAVRC-100 Wall Panel Remote is an attractive 2-gang remote control that is wired to the Navigator for trouble-free remote control. Programmable Menu and Value switches can be assigned to most of the Navigator functions, and the built-in, backlit LCD displays the name of each menu and preset. The Wall Panel Remote makes for a very powerful control system, and allows for multiple control points for multiple Navigators which can be mounted strategically throughout the installation.Superior Audio Quality One of the pioneers in the field of digital signal processing, Sabine's research and development into digital filtering technology provides an edge in both sound quality and reliability. The FBX Feedback Exterminator is one of the many in |
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Sabine Navigator System Processor 3X6 : MusiciansFriend : USD839.99The Sabine Navigator System Processor offers more choices for maximum flexibility. Choose your base model: full front panel control or blank front panel. Then choose your options: Microphone Preamps, Digital Audio I/O, or Wall Panel Remote Ready. All Navigators offer fast setup of your production audio rig, easy and secure configuration of your commercial or worship sound system, and complete signal routing for multi-room venues. Configure the Navigator to match your application and let it steer your way to a better sounding system.Unlimited DSP The Navigator Series is a complete multi-input/output digital system processor designed for commercial installation and production audio. Navigators use 32-bit (40-bit extended) floating point processors and high-performance 24-bit digital converters. All functions operate concurrently and are controlled simultaneously. There is no need to compile any files or settings, and the powerful Analog Devices SHARC processors handle the DSP processing. Best of all, you never run out of resources. All functions work together, so go ahead and set FBX feedback control filters on every input and compressors on every input and output no problem.Navigator's blank front panel versions include Sabine's Automatic Mic Mixing function, with independent control of mic priority, attack, release, threshold, and gain on each channel. Combined with the FBX Feedback Exterminator the Navigator will provide more gain before feedback than conventional automatic mic mixers.Better Control As the name implies, the Navigator is all about control. The Navigator Remote Control software provides a heads-up display of all systems status and fast access to all parameters. This highly intuitive interface allows you to choose from two main views: Matrix or Mixer. The Mixer view is especially useful with the addition of the microphone preamps. If you can run a mixer, you can run this software.Equally powerful is the front panel control for those times when you need full access at the rack position. When integrating the Navigator as part of a larger system, choose USB, RS232, or Ethernet as your connection protocol. Serial and Ethernet-based touch screen control is also possible with all Navigators. The NAVRC-100 Wall Panel Remote is an attractive 2-gang remote control that is wired to the Navigator for trouble-free remote control. Programmable Menu and Value switches can be assigned to most of the Navigator functions, and the built-in, backlit LCD displays the name of each menu and preset. The Wall Panel Remote makes for a very powerful control system, and allows for multiple control points for multiple Navigators which can be mounted strategically throughout the installation.Superior Audio Quality One of the pioneers in the field of digital signal processing, Sabine's research and development into digital filtering technology provides an edge in both sound quality and reliability. The FBX Feedback Exterminator is one of the many in |
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Sabine Graphi-Q2 Multi-Function EQ 2X2 : MusiciansFriend : USD1049.99The Graphi-Q2 combines 8 indispensable audio products into one very affordable, all-digital package with an easy-to-use hands-on interface. With the touch of a fader you can shape your frequency response using the GRQ2's 31-band digital graphic EQ. Need more control? Use the parametric EQ to control your filter width, depth and frequency. Time-align your speakers with the digital delay. Manage your system gain with the GRQ2 digital compressor/limiter. Finally, add 3 to 9dB of extra gain and automatic feedback control with Sabine's patented FBX technology.This interface has an instant hands-on, front panel control. RS-232 remote computer control, 20 onboard program memories, and remote switching via contact closures are standard. The Graphi-Q2 gives you a high level of control and superb audio quality at a low price.No Limits on DSP Power. You will never run out of DSP power because all Sabine Graphi-Q2 functions run concurrently. Set as many filters as you need, and add as much gain management and delay as the job requires. There are no meters showing DSP usage, because you will never run out of power.Sabine's 24-bit A/D and D/A give the cleanest audio possible, and Analog Devices' 32-bit floating-point SHARC digital processor powers every GRQ2, allowing simultaneous use of these eight essential functions:31-band digital grahic EQ, with 6 or 12 dB range The interface has the patented FBX Feedback Exterminator: up to 12 FBX SmartFilters with Quick & Quiet Setup Mode Parametric Filters, up to 12 with full graphic editing High- and low-cut filters Crossover: 1x2, with Bessel, Linkwitz-Reily, and Butterworth filters, slopes to 48 dB Limiter: Full-featured, including hard limiting for speaker protection Compressor: Full-featured, switchable to stereo or mono Delay: up to 1 second delay, adjustable in 20 microsecond incrementsUpgraded Graphi-Q2 Features: Crossover: Perfect for speaker control in mains and monitors Mixed control for the front panel: Selectively enable control for each function on the front panel GRQ2 Remote Software: Compatible with all versions of Graphi-Qs Channel-specific preset save and recall: Create presets to apply to either channel, or both Graphic Editing of Parametric Filters: Real-time filter drawing GRQ2 Remote Software: Compatible with all versions of Graphi-QsFlexible Control Front panels: The GRQ-3122 provides a hands-on, "analog style" front panel control for your digital graphic EQ, high- and low-cut filters, FBX, Compressor, and Delay. Sabine's Tweek 'n' Peek gives you an instant readout of your every move on the front panel.The GRQ2 digital delay provides precise speaker alignment, with 20-microsecond resolution, at the touch of a button. And you get dedicated bypass switches for FBX, EQ and Delay with built-in LED indicators.Sabine's Graphi-Q2 Remote Control Software gives you instant access to all front panel controls and to an additional layer of functions. You can view and |
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Sabine Graphi-Q2 Multi-Function EQ 1X2 : MusiciansFriend : USD649.99The GRQ2 combines eight indispensable audio products into one very affordable, all-digital package - with an easy-to-use hands-on interface. With the touch of a fader you can shape your frequency response using the GRQ2's 31-band digital graphic EQ. Need more control? Use the parametric EQ to control your filter width, depth and frequency. Time-align your speakers with the digital delay. Manage your system gain with the GRQ2 digital compressor/limiter. Finally, add 3 to 9 dB of extra gain and automatic feedback control with Sabine's patented FBX technology.This interface has an instant hands-on, front panel control. RS-232 remote computer control, 20 onboard program memories, and remote switching via contact closures are standard. A high level of control and superb audio quality at a low price.No Limits on DSP Power. You will never run out of DSP power because all GRQ2 functions run concurrently. Set as many filters as you need, and add as much gain management and delay as the job requires. There are no meters showing DSP usage, because you will never run out of power.Sabine's 24-bit A/D and D/A give the cleanest audio possible, and Analog Devices' 32-bit floating-point SHARC digital processor powers every GRQ2, allowing simultaneous use of these eight essential functions:31-band digital grahic EQ, with 6 or 12 dB range Patented FBX Feedback Exterminator: up to 12 new FBX SmartFilters with Quick & Quiet Setup Mode Parametric Filters, up to 12 with full graphic editing High- and low-cut filters Crossover: 1x2, with Bessel, Linkwitz-Reily, and Butterworth filters, slopes to 48 dB Limiter: Full-featured, including hard limiting for speaker protection Compressor: Full-featured, switchable to stereo or mono Delay: up to 1 second delay, adjustable in 20 microsecond incrementsUpgraded Graphi-Q2 Features: Crossover: Perfect for speaker control in mains and monitors Mixed control for the front panel: Selectively enable control for each function on the front panel GRQ2 Remote Software: Compatible with all versions of Graphi-Qs Channel-specific preset save and recall: Create presets to apply to either channel, or both Graphic Editing of Parametric Filters: Real-time filter drawing GRQ2 Remote Software: Compatible with all versions of Graphi-QsFlexible Control Front panels: The GRQ-3122 provides a hands-on, "analog style" front panel control for your digital graphic EQ, high- and low-cut filters, FBX, Compressor, and Delay. Sabine's Tweek 'n' Peek gives you an instant readout of your every move on the front panel.The GRQ2 digital delay provides precise speaker alignment, with 20-microsecond resolution, at the touch of a button. And you get dedicated bypass switches for FBX, EQ and Delay with built-in LED indicators.Sabine's GRQ2 Remote Control Software gives you instant access to all front panel controls and to an additional layer of functions. You can view and edit frequency response curves, view edits before execut |
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Sabine FBX-SOLO SM820 Digital Feedback Eliminator XLR : MusiciansFriend : USD314.99Let's make this loud and clear: You want more gain? Increased clarity? Automatic feedback control? Want to save some money? Sabine has the answer: The FBX-SOLO, a miniature version of the award-winning FBX-1020P Feedback Exterminator. One SOLO controls feedback on one microphone or instrument - you decide which inputs get precision, automatic feedback control and maximum gain, from one channel to all your channels. New features of the SOLOs include increased headroom, a programmable noise gate, & switchable input/output levels for more versatility.The FBX-SOLO targets feedback without taking a big chunk out of your sound. Digital FBX filters are 10 times narrower than graphic EQ filters. You get back over 90% of the power you lose with a graphic EQ.Like all the FBX Feedback Exterminators, the FBX-SOLO does what no other audio product can do: it automatically detects and eliminates feedback while leaving the sound crystal clear. The patented algorithm distinguishes music from feedback so it works even during the program, not just at setup time.If you use your 31-band EQ just to shape your sound and let your FBX control feedback, you should expect up to 9 dB more gain and a dramatic improvement in the sound quality. Why? When you pull down a graphic EQ slider to chase feedback, you also pull out a big chunk of your sound. FBX constant-Q filters are 10 times narrower than graphic EQ filters. Narrow filters mean more gain and more clarity. It's that simple.The perfect solution for wireless mics Using the Sabine FBX-SOLO with a wireless mic, you'll be able to move freely without worrying about feedback. Patch it in your monitors and they'll be so loud you may have to turn them down. Get the volume you want with your acoustic/electric instrument or harmonica mic and keep that rich tone. And the built-in noise gate provides the control you need in multi-mic locations like conference rooms and courthouses. Wherever you have an open microphone, the FBX is the most effective and least expensive way to make a dramatic improvement in your sound system.How It Works: Precisely detects feedback frequency Places super-narrow (1/10 octave) digital filter directly on feedback Sets filter just deep enough to remove feedbackWhat You Get: More gain... for the first time you'll have to turn down the monitors! Increased clarity and intelligibility - narrow filters get the feedback and leave your sound untouched Automatic feedback control - in setup and during the performance Targeted feedback control - aim the FBX where you need it mostWhich SOLO for you? This SM820 features 3-PIN XLR I/O connectors (2 high balanced), 1 K Ohm nominal input impedance, -10 dBV maximum input/output level at lowest gain, a -15 to +20dB gain range at high output, and 48V switch selectable phantom power.The SL820, by contrast, features 1/4" TRS I/O connectors, unbalanced >1 meg Ohm input impedance, +20 dBV maximum input/output level at lowest gain, a 0 to +35 dB (hig |
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"Sabine FBX-SOLO SL820 Digital Feedback Eliminator with 1/4"" I/O" : MusiciansFriend : USD314.99Let's make this loud and clear: You want more gain? Increased clarity? Automatic feedback control? Want to save some money? Sabine has the answer: The FBX-SOLO Feedback Eliminator, a miniature version of the award-winning FBX-1020P Feedback Exterminator. One SOLO controls feedback on one microphone or instrument - you decide which inputs get precision, automatic feedback control and maximum gain, from one channel to all your channels. Features of the SOLOs include increased headroom, a programmable noise gate, & switchable input/output levels for more versatility.The FBX-SOLO SL820 provides 1/4" I/O for use with acoustic-electric guitars, which tend to be prone to feedback at high stage levels. The SL820 lets you get the most out of your sound while performing at hotter levels. The FBX-SOLO targets feedback without taking a big chunk out of your sound. Digital FBX filters are 10 times narrower than graphic EQ filters. You get back over 90% of the power you lose with a graphic EQ.Like all the FBX Feedback Exterminators, the FBX-SOLO does what no other audio product can do: it automatically detects and eliminates feedback while leaving the sound crystal clear. The patented algorithm distinguishes music from feedback so it works even during the program, not just at setup time.If you use your 31-band EQ just to shape your sound and let your FBX control feedback, you should expect up to 9 dB more gain and a dramatic improvement in the sound quality. Why? When you pull down a graphic EQ slider to chase feedback, you also pull out a big chunk of your sound. FBX constant-Q filters are 10 times narrower than graphic EQ filters. Narrow filters mean more gain and more clarity. It's that simple.The perfect solution for wireless mics Using the FBX-SOLO with a wireless mic, you'll be able to move freely without worrying about feedback. Patch it in your monitors and they'll be so loud you may have to turn them down. Get the volume you want with your acoustic/electric instrument or harmonica mic and keep that rich tone. And the built-in noise gate provides the control you need in multi-mic locations like conference rooms and courthouses. Wherever you have an open microphone, the FBX is the most effective and least expensive way to make a dramatic improvement in your sound system.How It Works: Precisely detects feedback frequency Places super-narrow (1/10 octave) digital filter directly on feedback Sets filter just deep enough to remove feedbackWhat You Get: More gain... for the first time you'll have to turn down the monitors! Increased clarity and intelligibility - narrow filters get the feedback and leave your sound untouched Automatic feedback control - in setup and during the performance Targeted feedback control - aim the FBX where you need it mostWhich SOLO for you? This SL820 features 1/4" TRS I/O connectors, unbalanced >1 meg Ohm input impedance, +20 dBV maximum input/output level at lowest gain, a 0 to +35 dB (high in), +30 |
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dbx DriveRack PX Powered Speaker Optimizer : MusiciansFriend : USD399.95Powered speakers are beautiful things. Everything you need bundled into simple, tidy, portable packages. Just grab 'em and go, right? Well, you may think your powered speaker system is complete, but you're missing half the picture. DriveRack PX is the other half. With the PX, dbx has created a processor specifically tailored for powered speakers.Utilizing dbx's highly-acclaimed DriveRack technology, the PX picks up where your powered speakers leave off. The DriveRack PX Powered Speaker Optimizer has everything you need to get the most out of your stereo powered speaker system. It even includes stereo or mono subwoofer support. With the included dbx M2 measurement mic, Auto-EQ corrects for audible deficiencies in the room environment. Dbx's patented Advanced Feedback Suppression (AFSTM) kills nasty feedback, allowing problem-free operation at higher sound levels, while dbx's patented Subharmonic Synthesizer extends bass response for enhanced bottom end.With all that, you also get classic dbx compression and the protection offered by dbx's graceful PeakStopPlus limiting. Your ears, your audience, and your powered speakers will forever thank you. In spite of all that sophistication, rest assured dbx won't overcomplicate the simplicity of your rig. Dbx's exclusive Setup, Auto-EQ, AFS Wizards, and out-of-the-box support for a host of JBL and other popular powered speakers, make setup a snap. Louder, cleaner, better sound than you thought possible from your powered speakers. |
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Rockman Bass Ace Headphone Amp : MusiciansFriend : USD79.99The high-quality Rockman Bass Ace Headphone Amp features built-in compression, volume control, and auxiliary stereo input/output. You can even route the output to a mixer for recording! The Rockman Bass Ace offers selectable treble/mid boost to add to your sound. |
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Rockman Guitar Ace Headphone Amp : MusiciansFriend : USD79.99The Rockman Guitar Ace headphone amp lets you hear your instrument's dynamic range and clarity to inspire you to "pick up your guitar and play". This high-quality, low-priced headphone amps offers built-in compression, volume control, and auxiliary stereo input/output. You can even route the output to a mixer for recording! The Guitar Ace offers pristine clean, semi, and heavy distortion. |
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Chameleon Labs 7720 Stereo Compressor : MusiciansFriend : USD654.0The Chameleon Labs 7720 Stereo Compressor is based on a trusted design and is electronically balanced, utilizing "THAT Corporation" (formerly DBX) VCA circuitry. It features a low component count in order to provide the cleanest signal path possible. Chameleon Labs has incorporated unique features based on users' suggestions) to make the 7720 more versatile than your average mix bus compressor. A switch allows the meter to indicate either channel's input level, either channel's output level, or the amount of stereo audio signal compression. It has a sidechain, which modifies the control of the compressor with a mono audio signal introduced through the sidechain XLR input. A blue LED gives you a visual indication that the circuit is active and that the sidechain audio is controlled by the compressor, not the left and right audio inputs. The High Pass Filter rotary control allows the sidechain or main audio signal to be equalized to minimize lower frequency audio signals' effect on the compression character of the unit. The HPF also affects the detection circuit, not the actual audio. The selector has six settings. The first setting does not introduce any filtration into the sidechain circuit. The next five settings are 60Hz, 90 Hz, 130Hz, 200Hz and 440 Hz. The high pass filter is designed so that the frequency selected is 3dB down, with a roll-off of 12dB per octave. In addition to the ratio settings common to popular stereo compressors (2:1, 4:1, 10:1), the 7720 feature a 1.5:1 setting. This allows you to maintain control over the dynamics of the input signal without squashing the life out of the mix. |
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Rockman Metal Ace Headphone Amp : MusiciansFriend : USD79.99The Rockman Metal Ace is a high-quality, low-priced headphone amp that offers built-in compression, volume control, and auxiliary stereo input/output. Use it to jam along with your favorite bands. Killer distortion with switchable gain. Sound so heavy, many a serious metal monster have used this thing as a studio direct box or a distortion unit in front of their amps. |
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Focusrite ISA One Classic Single Channel Mic Pre w/ DI : MusiciansFriend : USD799.0The 'ISA One' microphone pre-amplifier delivers Focusrite's prestigious ISA transformer-based preamp in a rugged and portable chassis, at a groundbreaking price. ISA One features the classic vintage microphone pre-amplifier topology from the original ISA110 module, including the Lundahl L1538 transformer and bespoke zobel network. (The original 110 pre amp formed the cornerstone of each channel of Focusrite's legendary Forte console.)The pre-amp is complemented by a line input (XLR and TRS Jack) and an independent D.I. channel, complete with dedicated gain control, active or passive impedance switch, a TRS Jack output for routing to an amp and an independent XLR output on the rear. This flexible independent D.I. makes the ISA One ideal both for engineers wishing to blend a D.I.'d guitar signal with a mic'd guitar cabinet, and for demanding performers who require a single classic solution for both guitar and vocals.A variable impedance circuit has been added, allowing the user to switch between four carefully selected input impedance settings. In addition to the original ISA110 impedance, three further impedance settings allow perfect matching, or creative mismatching of the pre amp with any microphone. ISA One also features an insert point, should the need arise to place extra processing between the pre amp or D.I. and the optional converter. Phantom power, phase reverse and a 75Hz, 18dB/octave high-pass filter are also available from the angled front fascia.Independent input metering for both channels is provided in the form of a moving coil VU meter with variable calibration to suit analogue and digital recording media, alongside two six-LED peak meters; inputs can be metered either pre- or post-insert. The meter calibrations utilise all the same reference points as Digidesign's Pro Tools HD system, allowing effortless line-up.ISA One's headphone output features a dedicated volume control, which delivers an external stereo cue mix, (a simple click track, or a stereo mix feed from an interface or a live console,) fed to the headphones via two TRS jack inputs on the rear of the unit.An optional state-of-the-art stereo A-D converter is also available (the same card as used with the ISA430 Mk II), embodying cutting-edge conversion technology seated within Focusrite's custom analogue circuitry. This optional card can be retrofitted at any time and provides two channels of 24 bit/192kHz A-D conversion with a dynamic range of 119dB.The ISA microphone pre-amplifier was first introduced back in 1985. This transformer-based pre-amplifier formed the first half of the ISA110 mic-pre and EQ module on Focusrite's critically acclaimed Forte console. This console, and the later Studio console were hailed by many as the finest sounding consoles ever built.The ISA microphone pre-amplifier went on to form the cornerstone of all ISA and RED Focusrite products. The topology has never changed, except for the addition of a vari |
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Focusrite ISA One Two Channel 192K A D Card : MusiciansFriend : USD399.99The Focusrite ISA 2-Channel 192kHz A/D Card allows the Focusrite ISA ONE preamp to be used as a high-quality two-channel ADC to convert analog signals to various digital formats (AES, S/PDIF and ADAT). And, since AD should be the last process on your input chain (before recorder), this system lets you to insert a signal processor, such as a compressor or EQ, between the ISA Preamp and the ISA sound card. The ISA 2-Channel 192kHz A/D Card also has connections for word-clock in/out.The card provides optical digital outputs for both ISA One ADC input channels, which operate over the sample frequency ranges 44.1, 48, 88.2, 96kHz (ADAT), 176.4, and 192kHz (S/PDIF). The card features an ADAT-type lightpipe output and S/PDIF TOSlink output connectors. The card also provides AES and S/PDIF format outputs via a -pin D-type connector on the rear panel. The full range of sample rates up to 192kHz are available.* The card can be retrofitted to the ISA One at any time. Installation is simple and can be done by the user with no engineering experience necessary. *To access the digital signals from the 9-pin D-type output connector, an AES or S/PDIF D-type conversion cable must be purchased separately in the following configurations:AES cable: 9-pin D-type to 4 male XLR, S/PDIF cable: 9-pin D-type to 4 male RCA phono |
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Novation Nocturn Intelligent Plug-In Controller w/ Automap Universal 2.0 Software : MusiciansFriend : USD149.0Novation's most affordable hardware controller to date, Nocturn is an intelligent plug-in controller that promises to unleash the full potential of all your favorite instruments and effects. Featuring the latest Automap Universal 2.0 software, exclusive to Novation controllers, Nocturn provides automatic, instant and intelligent control of all automatable plug-ins within every major sequencer, including Pro Tools.Nocturn features eight touch-sensitive rotary encoders, each equipped with a bright eleven-LED ring (ideal for laptop DJ'ing in a dark club environment). These are accompanied by eight user-assignable illuminated buttons and a smooth, professional 45mm cross-fader. The finishing touch is Novation's unique 'speed dial'; a touch-sensitive rotary encoder that instantly takes control of whatever your mouse is focused on!Featuring a revolutionary new 'heads-up transparent control GUI', Automap Universal 2.0 places a transparent control map across your computer screen, to be recalled or hidden at will. Little or no user setup is required and plug-in control can be exactly the way you want it, no matter what music software you use. Just boot up the plug-in and you'll see at a glance how the parameters are automatically assigned to each of Nocturn's controls. An instant click and control 'learn' function is also available for quick re-assigning of controls, or for creating your own controller map in seconds. Multiple page options mean that you can assign a potentially infinite number of parameters for each plug-in.Automap Universal 2.0 also categorises all your control maps. A simple browsing facility lets you review all open plug-ins, then quickly switch to controlling one of them. Automap Universal 2.0 also supports standard MIDI protocol, providing the same transparent display for quick and simple assigning of MIDI parameters. This ensures Nocturn can also turn its hand to controlling a hardware MIDI device, any non-automatable plug-ins, or your sequencer mixer. Once a 'MIDI map' is created, it can be saved and recalled via the same map browsing facility. A growing number of maps will be available to download from www.novationmusic.comNocturn's spacious and tactile control layout, side mounted USB socket and ultra-low profile allow it to sit neatly in front of your QWERTY keyboard or on a larger keyboard such as the SL61. Large, rugged rubber grips hold it steady whilst you let rip with your favorite music software.Combined, Automap Universal 2.0's heads up transparent control GUI and Nocturn's touch sensitive dials remove the pain inherent in controlling multiple instruments and effects, allowing you to flow intuitively from one plug-in to the next, leaving you free to focus on what matter most — your music.• Exclusive Automap Universal 2.0 technology Novation's instant and intelligent control technology leaves you free to focus on what matters m |
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ART Phantom I Studio Mic Power Supply : MusiciansFriend : USD40.0The ART Phantom I is a 48V Phantom power supply for studio microphones. The Phantom I has a wide frequency response and features a female XLR input and a male XLR output. 18V DC power adaptor included.Different condenser microphones specify different amounts of required phantom power. As a rule these ratings can range from 48 volts all the way down to 9 volts. Fortunately, there is some flexibility in terms of matching phantom voltage to your mic. A rough rule of thumb would be "more is better." For example, a 24-volt condenser mic will run perfectly on 48 volts. In fact, mics rated at as little as 9 volts can often operate on 48 volts, but you should check with the manufacturer first. Conversely, a mic will generally perform best driven by not less than its rated voltage so, for a 48V mic, you would obtain best results with 48 volts of phantom power. The Phantom I is a great choice for the above needs. |
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Marantz PMD580 Solid State Compact Flash Recorder : MusiciansFriend : USD1249.0The rackmountable Marantz PMD580 brings advanced network control capabilities to the solid state recorder format; a product category in which Marantz leads the field.A highly versatile solidstate recorder, player and full-fledged network device, with Ethernet LAN and USB connectivity, the PMD580 is designed for broadcast, pro-audio and professional AV applications. Drag and drop file transfer and network remote control, via the PC and Mac compatible web-based GUI, are major features allowing users to set menu parameters, schedule recording events, and transfer and archive audio files.The PMD580 recorder has an internal clock for scheduling recording events; multiple events can be scheduled via the web interface and recorded files can then be downloaded to a local PC/ Mac. Files can also be uploaded automatically to a server or network location, at a user specified time. Ease of use, low maintenance, robust recording media, and network connectivity recommend it where operator skill is minimal, such as in education, government agency and commercial AV applications.Professional audio credentials include balanced analogue and digital AES/EBU I/Os on XLR connectors, as well as unbalanced interfaces, and RS232 control. Recording is selectable between mono and stereo, and linear PCM and MP3 formats - providing .WAV and MP3 file types. For PCM recording, 16 and 24-bit options are available and for MP3, bit rate is selectable between 32 and 384 kbps. Record start and stop times can be scheduled and a pre-record memory buffer enables recording to be activated at the start of an event. The integrated time and date generator automatically stamps all sessions. Network Operation and Control with Record Scheduling With its Ethernet connectivity and internal Web GUI, the PMD580 operates as a website, addressable from any computer on the network, allowing full remote setup and control. This web interface is integral to the design, requiring no extra software and compatible with both PC and Mac network environments. Recording sessions can be scheduled in advance, and recorded files can be downloaded directly to a computer.Automatic Archiving For ultimate convenience, an automatic archiving feature allows the uploading of recorded files to any specified network location, eliminating the need to physically walk the CF card back to the storage server. With the ability to lock out front panel controls and track real time, the user can confidently schedule the day's recording to be archived to a designated computer or server at the end of the day, so the Marantz PMD580 is always ready to handle the next day's activities. And with its FIFO based file deletion, card maintenance can be completely avoided for a fully automated recording system.Professional Quality Digital Recording With a choice of 16 or 24-bit recording in a variety of file formats and quality settings, the PMD580 can handle everything from orchestral music to meetings and lectures with equal aplo |
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Joemeek SixQ Mic Pre with Digital Out : MusiciansFriend : USD499.99The Joemeek SixQ is a mic channel strip that packs a wealth of features into a single rack space studio channel. Now the SixQ mic pre includes a perfectly-matched free JM37DP Large Diaphragm microphone!Joemeek SixQ This single channel mic pre is based on a high-quality Burr-Brown IC, and has 3 bands of highly musical EQ, Joemeek's signature optical compressor, and a front-panel instrument DI making it a highly capable recording instrument. And, along with an analog output, the SixQ microphone preamp also lets you output digitally direct to your sound card or DAW. Digital Interface: The Joemeek Digital Audio Interface provides high quality digital audio outputs. The digital audio outputs are compatible with most digital recorders, as well as Digital Audio Workstations and mixers. S/PDIF format is available from the optical and RCA phono connectors. The Joemeek Digital Interface has highly stable onboard master clocks for low-jitter, hi-fi results. Internal sample rates of 44.1kHz, 48kHz, 88.2kHz or 96kHz are selected by means of rear panel switches. JM37-DP The JM37-DP is a high quality, large diaphragm condenser microphone with Cardioid and Omni patterns. By utilizing FET devices for both preamplifier and output stages, we created a microphone that's destined to be your "go-to" mic for a variety of recording purposes.The JM37-DP's capsule features classic "center-electrode" design, which provides a very smooth, extended frequency response. The design also employs dynamic feedback at the capacitor element, which further enhances the audio quality by eliminating distortion that may occur at high SPL.The large 1.035" dual diaphragms are manufactured from micro-fine Mylar with gold sputtering. The body is machined from solid brass, with connection to the outside world via a 3 Pin XLR connector. Power is supplied via Phantom Power from either your console or microphone preamplifier. An excellent choice for male and female lead vocals, the JM37-DP also excels at recording choir, orchestral and other acoustic instruments. |
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Furman S-5500 Sequencing Power Conditioner : MusiciansFriend : USD399.95Your audio/video components are constantly being bombarded by electromagnetic interference (EMI) and radio frequency interference (RFI) through their power cords. This contaminated power can affect audio/video equipment and will degrade the overall performance of your entire system. Common symptoms of contaminated power include pops, hisses, hums, and visual artifacts.The Furman S-5500 power conditioner is designed to filter this noise, supply clean power to your system, and provide noise isolation between the outlet so that any noise created by an A/V component can not contaminate the power going to equipment plugged into the other outlet banks.Sequential Startup/Shutdown Complex audio/video systems may be susceptible to voltage transients generated internally at start-up/shutdown if all of the equipment is powered on or off at the same time. This can cause speaker "thumps" which are not only annoying but can also damage the speakers. The Furman S-5500 is designed to eliminate these transients by providing a "start-up" delay for the Amplifier outlets and a "shutdown" delay for the Switched Outlet Bank. This allows the components plugged into the Switched Outlet Bank to power-up and stabilize before any amplifiers, powered monitors, or powered subwoofers are turned on. This sequence is reversed during shutdown. The amplifiers, powered monitors, and powered subwoofers turn off, their power supplies drain, and then the equipment plugged into the Switched Outlet Bank is turned off.Voltage Sense Trigger This feature provides an ON/OFF trigger for the S-5500 using a Direct Current voltage signal. The presence of this power signal will turn on the S-5500's switched outlets. When the source component is turned off, the voltage trigger signal is also turned off and the S-5500 power conditioner's shutdown sequence is initiated. An AC adapter of the appropriate voltage, plugged into a switched outlet, may also be used if a DC trigger is not built in.The Furman S-5500 voltage sense trigger input uses a standard 3.5mm (1/8") mini-plug jack. This jack has a built-in electrically isolated switch. If nothing is inserted into the input jack, the voltage sense is bypassed and the Power Button on the front panel has sole control of the startup/shutdown sequence. If a plug is inserted into the input jack, the front panel switch is bypassed and the voltage sense becomes the startup/shutdown trigger. Please Note: The unit needs to be plugged in, and in the powered OFF state before inserting the DC input trigger mini-plug.Automatic Extreme Voltage Shutdown (EVS) Furman's EVS power monitoring circuitry constantly monitors the AC line voltage for unsafe voltage conditions such as prolonged over-voltages and under-voltages (brownouts). These unsafe conditions pose a very dangerous threat to all electronic equipment. If the S-5500 senses an unsafe power condition, it will automatically disconnect your equipment from the power |
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D.W. Fearn VT-1 Single Channel Vacuum Tube Microphone Preamp : MusiciansFriend : USD2400.0Microphone preamplifiers from D.W. Fearn's VT-series will change the way you think of audio quality. The transparency is astounding. Vocals sound smoother, warmer, more intimate, with a compelling presence. Any microphone and any sound will benefit from the improved clarity, definition, and lack of solid-state artifacts. The VT-1 from tube guru D.W. Fearn recreates the sound of classic tube preamps of the 1960s. Modern components and computer-optimized circuitry, unavailable during the vacuum tube era, elevate this design to a new level of performance.The VT-1 preamplifier was designed for optimal sonic quality, reliability, and durability. Like the best tube equipment of the 1950s and '60s, the VT-1 is built on a heavy-gauge aluminum chassis, utilizing point-to-point wiring. Each vacuum tube is selected for minimum noise and microphonics, and maximum sound clarity. The front panel switches control sealed, gold-contact precision relays for all audio switching, eliminating the possibility of dirty contacts degrading the sound and minimizing the internal audio path. Four class-A triode amplifier sections (in two tubes) in each channel comprise the entire active circuit. This surprisingly simple circuit, along with top-quality components and careful design optimization, results in the sonic superiority that the VT-1 has become known for. All over the globe, VT-1 mic preamps are in daily use in the world's best studios, as well as in home project studios, helping many top recording artists achieve the best possible sound.Important Note: Due to heat given off by tubes, D.W. Fearn recommends that you provide at least one rack unit (RU) of space above and below their audio rack products. For proper cooling and a refined look for your rack, we highly recommend using D.W. Fearn Vented Rack Panels (#180296). Dual-channel version D.W. Fearn VT-2 also available (see #180272).History of the VT-1 and VT-2 Vacuum Tube Microphone Preamplifiers One day in 1991 I was going through some old masters in a closet at home and came across a reel from 1968. It was one of the first studio recordings I ever made. I pulled the tape box off the shelf and thought about those days. Although I suspected that the recording might be a bit crude, I remembered that the music was pretty good, so I made a cassette to listen to in the car. I kept forgetting to put the cassette in my pocket for a few days, but finally I remembered to take it. That old recording brought back memories of my first studio and how primitive a setup it was. But listening to that tape was a revelation; some of the sounds were really nice. The vocals were full and warm but still punched through. Acoustic guitars had a depth I don t often hear in current recordings. And the sax solo wow! It ripped through with a grossly distorted but beautifully powerful sound. That recording was done on a 4-track Scully 280 and mixed to a 2-track Scully. My prize microphone was a Neumann U-87 and that s what was |
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D.W. Fearn VT-2 Dual Channel Vacuum Tube Microphone Preamplifier : MusiciansFriend : USD3900.0The VT-series microphone preamplifiers from D.W. Fearn will change the way you think of audio quality. The transparency is astounding. Vocals sound smoother, warmer, more intimate, with a compelling presence. Any microphone and any sound will benefit from the improved clarity, definition, and lack of solid-state artifacts. The VT-2 preamplifier recreates the sound of classic tube preamps of the 1960s. Modern components and computer-optimized circuitry, unavailable during the vacuum tube era, elevate this design to a new level of performance.The VT-2 mic preamp was designed for optimal sonic quality, reliability, and durability. Like the best tube equipment of the 1950s and '60s, the VT-2 is built on a heavy-guage aluminum chassis, utilizing point-to-point wiring. Each vacuum tube is selected for minimum noise and microphonics, and maximum sonic clarity. The front panel switches control sealed, gold-contact precision relays for all audio switching, eliminating the possibility of dirty contacts degrading the sound and minimizing the internal audio path. Four class-A triode amplifier sections (in two tubes) in each channel comprise the entire active circuit. This surprisingly simple circuit, along with top-quality components and careful design optimization, results in the sonic superiority that the VT-2 has become known for.All over the globe, VT-2 preamps are in daily use in the world's best studios, as well as in home project studios, helping many top recording artists achieve the best possible sound.Important Note: Due to heat given off by tubes, D.W. Fearn recommends that you provide at least one rack unit (RU) of space above and below their audio rack products. For proper cooling and a refined look for your rack, we highly recommend using D.W. Fearn Vented Rack Panels (#180296). Single-channel version D.W. Fearn VT-1 also available (see #180271).History of the VT-1 and VT-2 Vacuum Tube Microphone Preamplifiers One day in 1991 I was going through some old masters in a closet at home and came across a reel from 1968. It was one of the first studio recordings I ever made. I pulled the tape box off the shelf and thought about those days. Although I suspected that the recording might be a bit crude, I remembered that the music was pretty good, so I made a cassette to listen to in the car. I kept forgetting to put the cassette in my pocket for a few days, but finally I remembered to take it. That old recording brought back memories of my first studio and how primitive a setup it was. But listening to that tape was a revelation; some of the sounds were really nice. The vocals were full and warm but still punched through. Acoustic guitars had a depth I don t often hear in current recordings. And the sax solo wow! It ripped through with a grossly distorted but beautifully powerful sound. That recording was done on a 4-track Scully 280 and mixed to a 2-track Scully. My prize microphone was a Neumann U-87 and that s what was probably on the featu |
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D.W. Fearn VT-3 Dual Channel Vacuum Tube DI : MusiciansFriend : USD2100.0The VT-3 from D.W. Fearn is a dual-channel, all-triode vacuum tube DI ("direct box") for recording electric or electronic instruments. The inputs are designed to provide the proper load impedance for all instruments that have a 1/4" phone jack output. Tube circuitry provides the very high impedance necessary to capture all the details of these instruments.The outputs of the VT-3 are mic level (150 ohm source impedance at a nominal -30dBV). The VT-3 Direct Box is designed to operate into a high-quality microphone preamplifier like the Fearn VT-1 (#180271) and VT-2 (#180272) Vacuum Tube Microphone Preamplifiers.Operation is very simple: plug the instrument into the 1/4" front panel jack and take the output either from the front panel XLR connector, or a parallel XLR connector on the back panel. A second 1/4" jack provides an output to feed a guitar amplifier when necessary. A ground-lift switch helps eliminate ground loop buzz, and a switchable high-pass filter gently rolls off frequencies below 100Hz when required.The two channels are entirely independent and can be used with two different instruments at the same time.Important Note: Due to heat given off by tubes, D.W. Fearn recommends that you provide at least one rack unit (RU) of space above and below their audio rack products. For proper cooling and a refined look for your rack, we highly recommend using D.W. Fearn Vented Rack Panels (#180296).History of the VT-3 Vacuum Tube DIAs far back as I can remember, taking instruments direct has never sounded very good to me. There always seemed to be a lack of dynamics, and a sterile quality to sounds recorded with a direct box (or DI). The first tube DI that we produced was the VT-I/F Instrument Interface. It was a beautiful piece, in a large, machined-aluminum case that you could drive a truck over. Unfortunately, the cost of that case made it impossible to build the VT-I/F for a reasonable price. Only about 75 were ever made, but the owners loved them, and we kept getting requests for it. After several years of promises to bring out a rackmount version, we finally did so in 2006. The VT-3 is exactly the same as the VTI/F internally, except that we added a switchable high-pass filter and changed tubes from the 6072A (which we use in all our preamps) to the 6N1P, an excellent-sounding tube used in our VT-4 EQ and VT-7 Stereo Compressor.Before beginning the design of the circuit, I spoke to engineers, producers, and musicians about what they felt was lacking in DI boxes. Almost without exception, they all said, It s got to have tons of headroom. How much headroom was enough? I spoke to a number of instrument pickup manufacturers and got an idea of the peak output level of a variety of instruments. These figures were confirmed with an oscilloscope placed directly across the output of various electric guitars, basses, pianos, synthesizers, etc.The first design goal was to accommodate the full dynamic range of sources likely to |
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D.W. Fearn VT-4 Equalizer : MusiciansFriend : USD4400.0The VT-4 equalizer from D.W. Fearn will change the way you think of EQ. It's smooth and sweet, and can be very subtle at mild settings, but quite strong with aggressive use of the controls. Creative use of the low boost and cut will create a powerful bass that has to be heard to be believed. The high boost adds just the right brightness to vocals, guitars — any sound, or even an entire mix. Even with extreme settings, the VT-4 will never sound harsh.This single-channel equalizer uses passive LC circuitry with class-A triode vacuum tube stages for the input and output. The tube circuitry is largely derived from the VT-1/VT-2 mic preamp design, so the equalizer has much the same sonic character as the preamps.The LC-style passive equalization circuitry is based on the classic designs that are still the best-sounding way to achieve high-quality tonal control.The input is line-level, transformer balanced-bridging. An active vacuum tube input section has adjustable gain to accommodate input signals as low as -10 dBm. The input transformer is made by Jensen. The output stage utilizes the same custom Jensen transformer used on the VT-1/VT-2 mic preamps.All controls are stepped for precise repeatability and uniform matching between units. High-quality rotary switches are used with 1% metal-film resistors. All of the audio capacitors are polystyrene or polypropylene. The inductors are custom-made by Jensen Transformers Inc. The D.W. Fearn VT-4 equalizer is constructed of heavy-gauge aluminum, with a 3RU (5.25 inch), 1/4-inch thick front panel, finished in D.W. Fearn red. It matches the VT-1/VT-2 series of mic preamps in appearance and construction.Like the VT-1/VT-2 preamps, the VT-4 Equalizer has been designed to provide an exceptional tool for audio professionals. The design frequencies and curves were determined by ear, after extensive listening to a variety of program material, both individual tracks and overall mixes. The result is a highly musical EQ with plenty of range for enhancing any track or mix.Important Note: Due to heat given off by tubes, D.W. Fearn recommends that you provide at least one rack unit (RU) of space above and below their audio rack products. For proper cooling and a refined look for your rack, we highly recommend using D.W. Fearn Vented Rack Panels (#180296). The History of the VT-4 EqualizerThroughout my career in recording, there have always been a few equalizers that stood out as being exceptional. Among my favorites are the 1970s-era Neve input-strip EQs, and the Trident CB9066 parametric. I began my equalizer development project by first building a series of test circuits, using all the various tone-modification techniques. After listening to a wide variety of equalization circuits, it was obvious to me that the passive inductor-capacitor (LC) circuit was the one that sounded the most musical and natural to me. In thinking about how I use equalization, I realized that having simultaneous boost and cut at the lo |
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Randall RM4 Empty Preamp Chassis without Modules : MusiciansFriend : USD639.0Get the real sound of your favorite amps, not wimpy simulations. The Randall RM4 preamp rackmount chassis holds up to 4 preamps from 11 different modules and then connects to any power amp to build your dream gig rig. The chassis provides a tube-buffered effects loop and parallel effects loop with front-panel mix control. It also includes a series effects loop, front- and rear-panel inputs, pre/post loop outputs, ground lift, MIDI in/thru, and master volume. Though any power amp can be used, the Randall RT2/50 is perfect, offering switchable sets of EL34s and 6L6s for enhanced realism. Choose from the following modules (sold separately) to build your own custom combination of tones: Ultra Module Brown Module Clean Module Dual Treadplate Style Module SL+ Module Plexi Module JTM Module Top Boost Module Tweed Module Blackface Module DLX Module |
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Randall Ultra Module : MusiciansFriend : USD209.0Super hi-gain for all heavy-style tones. Contains 2 - 12AX7s and a 3-band EQ with bright switch, gain, and level. |
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Randall Clean Module : MusiciansFriend : USD209.0Very smooth, warm clean tone — Class A style. Contains 2 - 12AX7s and a 3-band EQ with bright switch, gain, and level. |
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Randall SL+ Module : MusiciansFriend : USD209.0Based on a hot Marshall Super Lead. Includes 2 - 12AX7s and a 3-band EQ with bright switch, gain, and level. |
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Randall Plexi Module : MusiciansFriend : USD209.0Based on Marshall Plexi. Includes 2 - 12AX7s and a 3-band EQ with bright switch, gain, and level. |
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Randall JTM Module : MusiciansFriend : USD209.0Based on the Marshall JTM45. Includes 2 - 12AX7s and a 3-band EQ with bright switch, gain, and level. |
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Randall Top Boost Module : MusiciansFriend : USD209.0Based on a Vox AC30TB. Includes 2 - 12AX7s and a 3-band EQ with bright switch, gain, and level. |
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Randall Tweed Module : MusiciansFriend : USD209.0Based on a '59 Fender Bassman. Includes 2 - 12AX7s and a 3-band EQ with bright switch, gain, and level. |
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Randall Blackface Module : MusiciansFriend : USD209.0Based on a Fender Blackface Twin. Includes 2 - 12AX7s and a 3-band EQ with bright switch, gain, and level. |
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Randall DLX Module : MusiciansFriend : USD209.0Based on the Fender Blackface Deluxe. Includes 2 - 12AX7s and a 3-band EQ with bright switch, gain, and level. |
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Randall RT2-50 50w/50w Stereo Tube Power Amplifier : MusiciansFriend : USD1239.0The Randall RT2-50 is a 50W/50W 2-channel stereo power amp. It can switched via MIDI or is footswitchable with RF4 foot controller. Comes with 6L6s in Channel 1, and EL34s in Channel 2. Each channel has master volume, presence, and density controls; MIDI in/thru; and 4-, 8-, or 16-ohm switch. Paired with RM4 preamps, the switchable channels with different tube arrays let you create classic amp sounds with even greater realism. |
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Randall 4-Button MIDI Footswitch : MusiciansFriend : USD59.99Controls the RM4 and RT2-50 with show-enhancing ease. |
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D.W. Fearn VT-5 Stereo Equalizer : MusiciansFriend : USD7500.0The VT-5 Stereo Equalizer is a dual-channel version of the acclaimed D.W.Fearn VT-4 LC Equalizer (see #180274). The frequencies, steps, curves, etc. are exactly the same. The VT-5 is a true stereo equalizer, with one set of controls that work on both channels simultaneously.This equalizer will change the way you think of EQ. It's smooth and sweet, and can be very subtle at mild settings, but quite strong with aggressive use of the controls. Creative use of the low boost and cut will create a powerful bass that has to be heard to be believed. The high boost adds just the right brightness to vocals, guitars — any sound, or even an entire mix. Even with extreme settings, the VT-5 will never sound harsh.This single-channel equalizer uses passive LC circuitry with class-A triode vacuum tube stages for the input and output. The tube circuitry is largely derived from the VT-1 (#180271)/VT-2 (#180272) mic preamp design, so the equalizer has much the same sonic character as the preamps.The LC-style passive equalization circuitry is based on the classic designs that are still the best-sounding way to achieve high-quality tonal control.The input is line-level, transformer-balanced bridging. An active vacuum tube input section has adjustable gain to accommodate input signals as low as -10 dBm. The input transformer is made by Jensen. The output stage utilizes the same custom Jensen transformer used on the VT-1/VT-2 mic preamps.All controls on the VT-5 equalizer are stepped for precise repeatability and uniform matching between units. High-quality rotary switches are used with 1% metal-film resistors. All of the audio capacitors are polystyrene or polypropylene. The inductors are also custom-made for Fearn by Jensen Transformers Inc. The equalizer is constructed of heavy-gauge aluminum, with a 3RU (5.25 inch), 1/4-inch thick front panel, finished in D.W. Fearn red. It matches the VT-1/VT-2 series of mic preamps in appearance and construction.Like the VT-1/VT-2 preamps, the VT-4 Equalizer has been designed to provide an exceptional tool for audio professionals. The design frequencies and curves were determined by ear, after extensive listening to a variety of program material, both individual tracks and overall mixes. The result is a highly musical EQ with plenty of range for enhancing any track or mix.Important Note: Having many tubes, the VT-5 generates a considerable amount of heat. We highly recommend using D.W. Fearn Vented Rack Panels (#180296) above and below the unit for proper cooling.The History of the VT-4/VT-5 EqualizerThroughout my career in recording, there have always been a few equalizers that stood out as being exceptional. Among my favorites are the 1970s-era Neve input-strip EQs, and the Trident CB9066 parametric. I began my equalizer development project by first building a series of test circuits, using all the various tone-modification techniques. After listening to a wide variety of equalization circuits, it was obvious to me th |
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D.W. Fearn VT-7 Stereo Compressor : MusiciansFriend : USD4800.0The D.W. Fearn VT-7 Stereo Compressor has an all Class-A vacuum tube audio path, like all Fearn audio products. The gain reduction elements utilize circuitry that duplicates the sound and characteristics of the finest classic vacuum tube compressors, without depending on tubes that are no longer manufactured. The control circuitry is modern solid-state analog. The two channels may be used independently or linked together for stereo. A built in sidechain high-pass filter may be selected to reduce the compression on bass-heavy material.Controls (each channel): •Threshold •Gain •Attack •Release •Harder/Softer •Separate/Link/Link HPF •The VU meters may be switched between indicating gain reduction or output level.The VT-7 Compressor has a highly transparent sound, although it can be used more aggressively when needed. Artifacts of the compression process are substantially lower than in most other compressors.The two channels may be used independently, or linked for stereo. In addition, a third position on the Link switch inserts a high-pass filter (HPF) in the sidechain to reduce the gain-reduction sensitivity of the VT-7 to low frequencies. This is a gentle roll-off, nominally at 100Hz. This allows a bass-heavy mix to have a better frequency balance, and prevents heavy low-frequency audio from modulating the audio level. The VT-7 is equally adept in tracking as well as a bus compressor. Even jazz and classical tracks can be sent through the VT-7 for some mild gain control without obvious effect other than a significant improvement in the overall sound of the mix.Design Philosophy Like all D.W. Fearn products, the VT-7 stereo compressor is a no-compromise design. From the quarter-inch thick front panel painted with the finest polyurethane finishes to the choice of all components and controls, the VT-7 is built to look as great as it sounds. Fearn build products that last, so they use parts with superior durability and longevity. Fearn products are hand-built by craftsman, one at a time, in the USA.Important Note: Having many tubes, the VT-7 generates a considerable amount of heat. We highly recommend using D.W. Fearn Vented Rack Panels (#180296) above and below the unit for proper cooling.History of the VT-7 Compression Amplifier Compression (or limiting) is sometimes seen as a necessary evil in the recording process. Often it is used to compensate for less than optimum performance or recording technique. However, when used appropriately, there is no question that good-sounding compression can add loudness, power, and improved impact to a recording. Over many years of recording, I have had the opportunity to use and sometimes own some of the best compressors in the world. For the D.W. Fearn line of products, a compressor was obviously important. I began the search for the ultimate compressor design in 1995 and it wasn t until 2004 that I developed the sound I was looking for. There are several ways to achieve compr |
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D.W. Fearn VT-15 Vacuum Tube Recording Channel : MusiciansFriend : USD4950.0The VT-15 Vacuum Tube Recording Channel combines the mic preamp from the D.W. Fearn VT-1, and the DI input functionality of the VT-3, plus the acclaimed dynamics control of the VT-7 Compressor, and the most-often used features of the VT-4 Equalizer.Mic Preamp The mic preamp section has all the features of the VT-1 (#180271) (the single-channel version of the VT-2 (#180272)), plus a built in Line Pad (the same as the LP-1 (#180295), and a front-panel 1/4" jack for an instrument input from an electric or electronic guitar or keyboard.Compressor The compression section is identical to a single channel of the VT-7 Stereo Compressor (#180292), including a switchable high-pass filter in the sidechain to reduce low frequency compression when necessary.Equalizer The equalization section is a scaled-down version of the versatile VT-4 LC Equalizer (#180274). It has a single frequency for each of the LF Boost, LF Cut, HF Boost, and HF Cut. These frequencies were determined by analyzing which were the most often used settings on the VT-4. Approximate equalization frequencies: LF Boost 100Hz, shelving; LF Cut 90Hz, shelving; HF Boost 9.8kHz, with adjustable Q; HF Cut 11kHz, shelving. The controls are continuously variable, from -12dB of cut to +12dB of boost. The HF Q is also continuously variable.Which comes first, compression or equalization? Sometimes you need the compression before the EQ, and sometimes the EQ should come first. The VT-15 does not lock you into only one configuration; a front panel switch allows you to instantly switch from Comp/EQ to EQ/Comp.A full-size true VU meter monitors either gain reduction or output level. The mic/line input connector is a XLR female, and the output is a XLR male, both on the back panel. The Instrument input is a 1/4" jack on the front panel. The D.W. Fearn VT-15 is in a standard rackmount package, 5.25" high (3RU). A rear panel switch allows the VT-15 to instantly be converted from 120 to 240 VAC operation, 50/60Hz.Important Note: Having many tubes, the VT-15 can generate a considerable amount of heat. We highly recommend using D.W. Fearn Vented Rack Panels (#180296) above and below the unit for proper cooling.History of the VT-15 Vacuum Tube Recording Channel With the success of the VT-1/VT-2 Vacuum Tube Microphone Preamplifiers, the VT-4 LC Equalizer, the VT-7 Stereo Compressor, and the VT-I/F and VT-3 Vacuum Tube DIs, there was a great temptation to combine the features of all of these products into one recording channel. But I had a problem with the concept. I did not want to be tied into having the compression come before the equalization, or vice-versa, so a prime design goal was to make the order of the processing switchable. That way the user has a choice of compression before equalization or equalization before compression. Different circumstances require different approaches to processing. Achieving this switching with a minimum of noise and level change was solved quickly, but all the |
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D.W. Fearn PDB Passive Direct Box : MusiciansFriend : USD300.0As a lower-cost alternative to the D.W. Fearn VT-3 Vacuum Tube DI, this single-channel DI box uses the top-of-the-line Jensen direct box transformer in a heavy-duty steel box, finished with the same high-quality paint as the other D.W. Fearn products. It features dual 1/4-inch phone jacks for Instrument and Amp, a Neutrik gold-contact male XLR output connector, and a ground-lift switch.The Passive Direct Box is ideal for recording any electric instrument, such as bass, electric guitar, electronic keyboards, etc. The DI's high-impedance input is designed to properly match any instrument designed to normally feed a guitar amp. The output is 150 ohms, balanced, at mic-level.The PDB Passive Direct Box is an accessory for the D.W. Fearn VT-1 (#180271) or VT-2 (#180272) microphone preamps that provides high-quality direct recording of electric instruments. It may also be used with other mic preamps. The PDB takes a low-level, high-impedance, unbalanced signal (such as from an electric bass guitar) and converts the signal to a mic-level, low-impedance, balanced signal to be fed to a professional microphone preamplifier.•Note that the PDB is not designed to process line-level signals. For that application, the D.W. Fearn LP-1 Line Pad (#180295) would be appropriate. |
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D.W. Fearn LP-1 Line Pad : MusiciansFriend : USD150.0The D.W. Fearn LP-1 Line Pad is a two-channel accessory for use with the VT-1 or VT-2 Vacuum Tube Microphone Preamplifiers (#180271 & 180272) that isolates the amplifier from impedance variations of the line. The LP-1 is simply a high-quality bridging-type line pad that accepts line-level inputs (+4 dBm nominal) and produces a mic level output. The actual pad loss is 45 dB. When used in conjunction with the VT-1 or VT-2 Input Pad (-20 dB), it allows the mic preamp to accommodate line-level signals from consumer-level (-10 dBV) to high professional levels (+10 dBm or more).The LP-1 preamp line pad is packaged in a heavy-duty die-cast aluminum box, painted with the same high-quality red paint and gold silk-screened labels as the other D.W. Fearn products. The Input and Output connectors are gold-contact XLR.The LP-1 is typically used when the subtle signal-modifying characteristics of the VT-1 or VT-2 are needed on a line-level source, such as a previously recorded track, or at the end of a processing chain. Several LP-1/VT-2 owners use the combination on the overall mix. At least one CD mastering facility uses the LP-1/VT-2 in the mastering chain. The LP-1/VT-2 combination can also often be used to effectively salvage tracks that are otherwise too distorted or "edgy" for master use. IMPORTANT NOTE: The LP-1 is not a direct box. In most applications, the LP-1 cannot be used to record an electric or electronic musical instrument such as an electric bass guitar, synthesizer, etc. For direct recording of electric instruments, you need either the D.W. Fearn VT-3 Vacuum Tube DI (#180273), or the D.W. Fearn Passive Direct Box (#180294). |
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D.W. Fearn VRP-1 Red Vented Rack Panel : MusiciansFriend : USD50.0Fearn presents this 1.75 inch (1RU) ventilated rack panel that is painted with the same high-gloss polyurethane paint we use on all our products. The audio rack panel has a small D.W. Fearn logo and vacuum tube icon in gold.The VRP-1 panel is made of high-quality steel, and will match the color of any D.W. Fearn gear made since 2006. (The color may be slightly different for some older units yet the differences in most cases are not too significant.)Fearn recommends that you provide at least one rack unit (RU) of space above and below their audio rack products. This is especially important for the more complex products like the VT-7 Compressor (#180292) and the VT-5 Stereo Equalizer (#180291), which have many tubes and generate considerable heat while operating. |
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Solid State Logic X-Rack XR425 4000 E EQ Module : MusiciansFriend : USD845.0The X-Rack XR425 4000 E EQ Module reproduces the legendary sonic signature of the SSL 4000 E console channel strip that featured so heavily on countless recordings. This is THE sound your have heard on so many hit records of the last 25 years. In fact, according to Billboard magazine, this EQ has been used on three quarters of all hits since its introduction in 1979. The XR425 module is based on the E Series EQ Module and features both of the EQ characteristics found on the classic 4000 E; the uniquely smooth Brown' EQ response characteristics and the sharper Black' response curves.The E Series EQ Module features two different EQs found on editions of the console produced between 1979 and 1987. Each EQ has unique response curves and tonal character. They are distinguished by the colors used on the LF knob caps so the two flavors have become known as the Brown' and Black' EQs. On the E Series EQ Module you can switch between these two different flavors of EQ that have been loved by generations of professional producers. The Brown' EQ, featured on the discontinued SSL E-Signature Channel Strip, is now uniquely available on the E Series EQ Module.A little SSL 4000 E Series console history The 4000 E was the first production console to include EQ (see #180297) and dynamics processors on every channel, as well a stereo bus compressor in the console's center-section (see Stereo Bus Compressor Module (#180241). The console quickly took the lead in music production when engineers discovered that the combination of these three features enabled them to create drums track with more punch, and put vocals, guitars, and bass in your face.A little SSL EQ history Prior to 1987, SSL used the color of the Low Frequency EQ knob caps to indicate which type of EQ was fitted. All consoles were custom built and could feature different combinations of equalizing. The following color codes apply: E Series BROWN: The original SSL EQ fitted to all consoles prior to the summer of 1985. Despite the rumors these equalizers only came in one version. The EQ card was called the 02'.E Series ORANGE: The infamous EQP equalizer. This was a variation on the Brown EQ with controls simulating the curves of a valve type EQ. Very few were sold. This card was named the 132'.E Series BLACK: The last version of the standard E series equalizer. It evolved in the early 1980's from discussions with many top engineers, including Sir George Martin, and proved very popular. The EQ card was called the 242'.G Series: With the arrival of the G Series console in 1987 the color coding was abandoned and the classic SSL end cap color scheme used today was adopted. First introduced in 1987 the original G Series EQ introduced Q characteristics which were proportional to gain settings and had a degree of over shoot when boosting and under shoot when cutting.The current generation of SuperAnalogue console EQ (featured on Duality, AWS 900 + SE & the X-Rack EQ module) |
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Solid State Logic X-Rack XR418 4000 E Dynamics Module : MusiciansFriend : USD845.0The X-Rack XR418 E Series Dynamics Module from Solid State Logic features a compressor/limiter and an expander/gate, both of which return faithfully to the circuitry and key components which define the sound of the original SL 611E Series channel strip from the immortal SSL 4000 E console. A true RMS converter is used in the side chain while the gain element is an all discrete design identical to the Class A VCA chip used in the original unit. The audio compressor contains additional switching options to defeat the over-easy curve and to use a linear release instead of the more usual logarithmic curve. The result is a compressor with three distinct voices, each with its own musical character.A little SSL 4000 E Series console history The 4000 E was the first production console to include EQ (see #180297) and dynamics processors on every channel, as well a stereo bus compressor in the console's center-section (see Stereo Bus Compressor Module (#180241). The console quickly took the lead in music production when engineers discovered that the combination of these three features enabled them to create drums track with more punch, and put vocals, guitars, and bass in your face. Note: Requires and SSL X-Rack (182047) to function. |
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Mackie Onyx 800R 8-Channel Preamp w/192kHz Digital Out : MusiciansFriend : USD1099.99The Mackie Onyx 800R 8-Channel Preamp w/192kHz Digital Out gives you outstanding studio performance. This one rackmount unit features 8 flagship Onyx preamps, audiophile-grade components, analog circuitry, and rugged professional build quality. Variable input impedance; front-panel mic/line switches on every channel; 2 front-panel instrument input jacks; and low cut, phase, and phantom power on every channel deliver flexibility. Immaculate digital connectivity via AES/EBU, ADAT lightpipe, and S/PDIF featuring 24-bit/192kHz A/D converters built to be the best in the industry.8 channels of fantastic-sounding preamps The Onyx 800R is equipped with 8 of Mackie's flagship Onyx mic preamps — which meet or surpass the fidelity and dynamic range of ultra-expensive one- or 2-channel models — but at a much more reasonable cost. Onyx preamps are clear and extremely detailed, with a full-spectrum sound that's absolutely faithful to whatever microphone you're using. Specifically, the Onyx 800R delivers a whopping 123dB of dynamic range and an amazingly low 0.0007% THD. Withÿthis degree of sonic transparency and multiple analog and digital output formats, the Onyx 800R makes an ideal audio interface for direct tracking to MDM, HDR, or software recording applications.24-bit/192kHz digital output The 800R's sample rate selector allows you to choose 32, 44.1, 48, 88.2, 96, 176.4, or 192kHz sample rates or an external clock from the rear panel. You can also select between 24-bit or 16-bit dithered word lengths at the digital outputs. Digital outputs are provided on 2 optical TOSlink connectors using the ADAT lightpipe digital audio format.AES/EBU or S/PDIF formats are available on a DB25 connector, with selection buttons for impedance, pro or consumer status bits, and single-wire (2-channel) or dual-wire (single-channel) operation.Variable mic impedance Channels one and 2 feature an Impedance Select switch, which lets you fine-tune the mic preamp for a wide variety of microphone types. Variable impedance gives you the ability to dial in various sweet spots. The result is multiple sound choices from the same microphone. It also helps you achieve optimum performance from certain types of microphones that may have nonstandard impedance values — such as ribbon microphones or older tube microphones.Mid/side decoder unlocks stereo mysteries Channels one and 2 also provide the option of engaging a decoder for mid-side stereo miking. For the uninitiated, mid-side (or M-S) stereo miking technique not only provides a stereo image of the source, but also allows you to adjust the width of the image by varying the balance between the mid (or mono) and side signals. Mid-side requires the use of 2 microphones, one with a cardioid pickup and one with a figure-8 (bidirectional) pattern. The cardioid microphone (mid) faces forward toward the center of the sound source, while the figure-8 (side) microphone's 2 elements face sideways, perpen |
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Mackie Onyx 800R 8-Channel Preamp with 192kHz Digital Out Factory B-Stock : MusiciansFriend : USD799.99The Mackie Onyx 800R 8-Channel Preamp w/192kHz Digital Out gives you outstanding studio performance. This one rackmount unit features 8 flagship Onyx preamps, audiophile-grade components, analog circuitry, and rugged professional build quality. Variable input impedance; front-panel mic/line switches on every channel; 2 front-panel instrument input jacks; and low cut, phase, and phantom power on every channel deliver flexibility. Immaculate digital connectivity via AES/EBU, ADAT lightpipe, and S/PDIF featuring 24-bit/192kHz A/D converters built to be the best in the industry.8 channels of fantastic-sounding preamps The Onyx 800R is equipped with 8 of Mackie's flagship Onyx mic preamps — which meet or surpass the fidelity and dynamic range of ultra-expensive one- or 2-channel models — but at a much more reasonable cost. Onyx preamps are clear and extremely detailed, with a full-spectrum sound that's absolutely faithful to whatever microphone you're using. Specifically, the Onyx 800R delivers a whopping 123dB of dynamic range and an amazingly low 0.0007% THD. Withÿthis degree of sonic transparency and multiple analog and digital output formats, the Onyx 800R makes an ideal audio interface for direct tracking to MDM, HDR, or software recording applications.24-bit/192kHz digital output The 800R's sample rate selector allows you to choose 32, 44.1, 48, 88.2, 96, 176.4, or 192kHz sample rates or an external clock from the rear panel. You can also select between 24-bit or 16-bit dithered word lengths at the digital outputs. Digital outputs are provided on 2 optical TOSlink connectors using the ADAT lightpipe digital audio format.AES/EBU or S/PDIF formats are available on a DB25 connector, with selection buttons for impedance, pro or consumer status bits, and single-wire (2-channel) or dual-wire (single-channel) operation.Variable mic impedance Channels one and 2 feature an Impedance Select switch, which lets you fine-tune the mic preamp for a wide variety of microphone types. Variable impedance gives you the ability to dial in various sweet spots. The result is multiple sound choices from the same microphone. It also helps you achieve optimum performance from certain types of microphones that may have nonstandard impedance values — such as ribbon microphones or older tube microphones.Mid/side decoder unlocks stereo mysteries Channels one and 2 also provide the option of engaging a decoder for mid-side stereo miking. For the uninitiated, mid-side (or M-S) stereo miking technique not only provides a stereo image of the source, but also allows you to adjust the width of the image by varying the balance between the mid (or mono) and side signals. Mid-side requires the use of 2 microphones, one with a cardioid pickup and one with a figure-8 (bidirectional) pattern. The cardioid microphone (mid) faces forward toward the center of the sound source, while the figure-8 (side) microphone's 2 elements face sideways, perpen |
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Mackie Onyx 400F FireWire Computer Recording Interface Factory B-Stock : MusiciansFriend : USD559.99Jointly designed by the analog engineering experts at Mackie and the digital gurus at Echo Digital Audio, the 400F performs equally well as an ultrahigh-performance studio mic preamp and a superb 192kHz FireWire interface. It features 4 of Mackie's flagship Onyx mic preamps and no-compromise analog circuitry that provide premium audio fidelity, loads of headroom, and impressive sonic depth. With 24-bit/192kHz A/D converters, dual FireWire ports, a 10 x 10 DSP Matrix Mixer the Onyx 400F also makes a killer computer audio interface.With the 400F you also get a full copy of Tracktion audio/MIDI production software and a raft of plug-ins from IK Multimedia, LinPlug, reFX, Raw Materials, Big Tick (PC only), Maxim Digital Audio, and Mackie. |
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Mackie Quad Comp/Gate 4-Channel Digital Compressor/Gate : MusiciansFriend : USD399.99The Mackie Quad Comp/Gate is designed for world-class sound with 4 channels of powerful digital compression and gating. Its compression/limiting and gating/expansion algorithms were written by the gurus at Acuma Labs to provide a very wide range of high-quality, instantly usable settings. With 99 user-definable snapshots for calling up, say, a favorite bass or vocal compression sound, the Quad Comp/Gate makes it much easier to get consistently fast, great-sounding mixes than analog compressor/gates.The Quad Comp/Gate's built-in Key Filtering function provides independent gating and compression based on an adjustable triggering frequency, and features a convenient Key Listen so you can easily dial in and monitor the specific range of frequencies while you're in the mix. A Side Chain input allows triggering the compression/gating using external signals. And the Quad Comp/Gate's "Auto" feature senses input transients to automatically adjust attack and release times - eliminating the "pumping" effect associated with compression triggering.Of course, none of the Quad Comp/Gate's bells and whistles would matter for live sound engineers if it wasn't amazingly fast to use. So the front panel is intuitively laid out with ultrabright 12-segment metering, multicolor backlit buttons and 9 backlit push-button knobs with LED collars to indicate settings from a mile away. You simply press the channel(s) you wish to process and adjust the knobs accordingly. Channels can be operated independently or stereo-linked with a single button press, making global FOH limiting adjustments fast and convenient. For maximum flexibility, the Quad Comp/Gate's rear panel includes both 1/4" TRS and XLR connections, TRS Side Chain send and return, and a Planet Earth power supply, which operates on voltages between 100 and 240V. |
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Mackie Quad Comp/Gate 4-Channel Digital Compressor/Gate Factory B-Stock : MusiciansFriend : USD299.99The Mackie Quad Comp/Gate is designed for world-class sound with 4 channels of powerful digital compression and gating. Its compression/limiting and gating/expansion algorithms were written by the gurus at Acuma Labs to provide a very wide range of high-quality, instantly usable settings. With 99 user-definable snapshots for calling up, say, a favorite bass or vocal compression sound, the Quad Comp/Gate makes it much easier to get consistently fast, great-sounding mixes than analog compressor/gates.The Quad Comp/Gate's built-in Key Filtering function provides independent gating and compression based on an adjustable triggering frequency, and features a convenient Key Listen so you can easily dial in and monitor the specific range of frequencies while you're in the mix. A Side Chain input allows triggering the compression/gating using external signals. And the Quad Comp/Gate's "Auto" feature senses input transients to automatically adjust attack and release times - eliminating the "pumping" effect associated with compression triggering.Of course, none of the Quad Comp/Gate's bells and whistles would matter for live sound engineers if it wasn't amazingly fast to use. So the front panel is intuitively laid out with ultrabright 12-segment metering, multicolor backlit buttons and 9 backlit push-button knobs with LED collars to indicate settings from a mile away. You simply press the channel(s) you wish to process and adjust the knobs accordingly. Channels can be operated independently or stereo-linked with a single button press, making global FOH limiting adjustments fast and convenient. For maximum flexibility, the Quad Comp/Gate's rear panel includes both 1/4" TRS and XLR connections, TRS Side Chain send and return, and a Planet Earth power supply, which operates on voltages between 100 and 240V. |
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Trident S80 Producer Box Stereo Channel Strip : MusiciansFriend : USD2499.99The S80 Channel Strip is a standalone classic-sounding reproduction of 2 Trident Series 80 input channels, with the addition of a 48V phantom power switch, and balanced inserts. The renowned "British EQ" sound derives from the very musical 4-band EQ section with 2 swept mids plus switchable hi and low shelves. Low cut, EQ bypass, mic and line inputs with individual volume controls. Each channel has direct balanced XLR outputs. Left and right XLR bus output via pan and mute controls, with 100mm faders. External power supply for extra low noise. The S80 2 channel mic preamp makes the centerpiece of a powerful mobile studio when combined with a couple of good microphones and a quality recording unit. Cabinet finished in English ash. |
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Trident S100 8-Channel Mixer : MusiciansFriend : USD2499.99The S100 boasts a warm and musical sound with straightforward layout and spotless construction as well as classic Trident EQ from John Oram and a smooth, pure-analog signal path. It's perfect for any digitally processed audio path. It packs 8 mic/line inputs, 3 stereo buses, 8 phantom powered mic preamps, and direct outs on each channel into a 9-space, all-steel rackmount unit.Each channel features an XLR mic/line input, TRS line input, an unbalanced RCA line input, a 1/4" send/receive insert, and a 1/4" direct output. Separate knobs control the level for each input, and there are switches for mic/line select, 48V phantom power, and phase reverse, plus a peak LED. The mic pre provides +50dB of gain.The EQ section provides a sweepable low-cut filter, a fixed high-frequency shelf, a sweepable mid EQ, a fixed low-frequency shelf, and a switched high-cut filter. Each channel also features 3 post-fader and 2 prefader auxiliary sends, a stereo pan knob, 3 stereo bus assign switches, a solo switch (with LED indicator), and a large rotary fader.The master section features a 9-LED level meter and main stereo bus level while the 2 aux stereo busses each have level, solo, and assign controls. The 3 stereo returns each have level controls. The master section I/O, except a headphone jack, are male 1/4" connections on a break-out cable.A D-sub connection allows up to 20 S100s to be linked together. |
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Oram Octa-EQ 8-Channel Equalizer : MusiciansFriend : USD3402.0The Oram Octa-EQ 8-channel EQ boasts the same equalization found in the BEQ Series 24 Console! The EQ is comprised of 4 bands, 2 swept mid bands, high and low switchable shelves (all with ±15dB gain), together with variable low cut and the uniqe Oram Hi-cut filter system. TRS balanced input and output allows a total of 16 channels of professional equalization. Input trim ±20dB with peak indicator. |
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Studio Projects VTB-1 Tube Blend Mic Preamp : MusiciansFriend : USD139.99The new Studio Projects VTB-1 Tube Blend Mic Preamp is the ultimate in low-cost microphone preamplifier technology. Incorporating true class A/B switching, the VTB-1 is a totally discrete circuit. Unique to the VTB-1 mic preamp is the Tube Drive circuit based on a a 12AX7 tube that allows the user to blend as little or as much of the Tube Drive as desired. The Studio Projects VTB-1 allows the user the most flexibility of any mic pre in its price class.The VTB-1 preamp allows you to go from a pristine solid state sound to any combination of Tube Drive you choose - even hard distortion for guitars and bass! The Studio Projects VTB-1 is must-have device as the perfect mic preamplifier for any microphone! |
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Studio Projects SP-828 8-Channel Microphone Preamplifier : MusiciansFriend : USD719.99The Studio Projects 828 is an 8 Channel mic preamp incorporating the latest rev of Burr Brown IC's. The SP828 is also an 8X2 mixer that allows a real time mix of all 8 inputs two a stereo out buss. Housed in a 1U 19" rack. The SP828 has individual outputs on each channel via balanced 1/4" jacks for direct feeds to any recording medium. Both line level inputs on 1/4" balanced jacks, and XLR balanced mic inputs are on the rear panel. When nothing is plugged into the line input of any channel, the mic/line switch of that channel defaults to a 20dB pad switch. The output section has a stereo L/R output control and a headphone input with control for real time monitoring. In addition, there are L/R LED meters and a Solo LED for monitoring. The master section output has L/R outputs on 1/4" balanced jacks, and inserts for the L/R buss. There is a summed mono 1/4" output jack for an external feed. Each unit has an expansion in/out jack to allow for cascading several units together to get up to 32 inputs where all 32 inputs buss to the L/R mix out, while offering 32 direct outputs for remote recording. The new SP828 incorporates an external power supply for clean operation. |
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Drawmer DL 241XLR 2-Channel Compressor : MusiciansFriend : USD745.0The DL241XLR Dual Auto-Compressor incorporates many automatic functions allowing sound engineers to achieve optimum results in minimum set up time. But this Drawmer Compressor doesn't compromise skilled users with limited controls. Its sophisticated design produces a smooth, transparent and warm sonic performance. Facilities available on the DL241XLR include:Expander/Gate Drawmer's unique "Programmed Adaptive Expansion" circuitry allows effective single control operation' producing a fast smooth response and eliminating chatter' on or around threshold. This design differs from that of conventional Expanders in that the Expansion Ratio, Hold Attack and Release continually adapt themselves to the dynamics of the incoming signal. The Expander/Gate provides 80dB range and variable threshold from +20dB to 70dB with an OFF position. Switching is provided for 'Fast' or 'Slow' release characteristics. The 'Fast' mode can be used for instruments with rapid decay times or for additional tightening of the gating effect. The 'Slow' mode is more suitable for vocals and instruments with longer decay times or can be used to smooth over rough fade outs. A single LED indicates gating action.Compressor A full Auto Attack/Release Compressor with variable Threshold and Ratio successfully combines the smoothness of the 'Soft Knee' principle with the precision of a 'Ratio' control. The advantage of this combination is that instead of the onset of compression being sudden at the threshold point the ratio increases over a 10dB input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression._Selectable manual or fully automatic Attack and Release times dramatically extend the application range and user scope of the DL241. Selecting the 'Auto' mode removes the need for manual adjustment and is particularly valuable when the program being treated does not have predictable or consistent dynamics, often the case when processing a complete mix or a virtuoso bass guitar performance. Under manual control the wide range of adjustment available gives the user the ability to create dynamic effects as well as normal compression.Peak Level Zero Response Time', 'Zero Overshoot' circuitry provides an absolute limit to the peak level of the output signal, adjustable from OdB to +16dB above system level. When set to the required level, any excessive peaks will be stopped and the gain momentarily decreased if necessary. The 'Zero Response Time' is essential to avoid unpleasant distortion when mastering for CD or sending any signal to digital equipment._'Zero Response Time' means that the DL241 provides complete protection from even the fastest and shortest signal 'spikes' (overloads), making the unit also ideally suited for speaker system protection in sound reinforcement applications.Metering Comprehensive b |
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Drawmer 1969 ME 2-Channel Mic Preamp : MusiciansFriend : USD2499.99The 1969 Mercenary Edition evolved from a collaboration between two of the audio industry's most established names, Drawmer (UK) and Mercenary Audio (USA). When Ivor Drawmer rose to the challenge of outspoken US producer/engineer Fletcher' of Mercenary Audio to build a special version of the famed Drawmer 1960 (used by Eric Clapton, Madonna, Sheryl Crow, Stevie Wonder, Bryan Adams and thousands of artists around the world) - both sides joined forces and the 1969 Mercenary Edition was born!Based on Drawmer's original 1960 Mic Pre-Amp/Tube Compressor (itself inspired by the classic Fairchild 670), the 1969 offers a host of new features, and more impressively - a completely new sound!Retaining the concept of twin mic pre-amps, the 1969 uses Burr-Brown' op amps for a silkier sound - and a Phase Reverse switch available in Instrument, Mic and Line modes increases versatility. The 1969 employs true Stereo Link operation with channel one's Threshold, Attack and Release controls becoming master to both channels. Stereo Link also offers a BIG position which retains bass frequencies by rolling off the detection signal at 100Hz minimizing undesirable pumping during compression. Output Gain make-up can be independently controlled on each channel._The 1969 Mercenary Edition incorporates new tube circuits designed to add warmth to mic/line signals, and the instrument (DI) pre-amp has its own tube stage enabling classic overdrive effects when inserting guitar, bass and other instruments - true to the original Drawmer 1960 design. |
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Drawmer 1960 Mic Pre/Tube Compressor : MusiciansFriend : USD2149.0Combining eight active tube stages and the low noise and reliability of solid state electronics, the Drawmer 1960 provides the ultimate direct interface between the sound source and the recording medium. The Drawmer 1960 is a two channel unit with each channel comprised of a completely natural sounding "soft knee" vacuum tube compressor and an extremely low noise microphone pre-amplifier with switchable 48 volt phantom power. A further auxiliary instrument pre-amp with EQ is also provided. This powerful combination of the classic valve circuit, offering unsurpassed tonality, and the low noise balanced microphone input with up to 60dB of gain has allowed engineers throughout the world to exploit the full potential of high performance condenser microphones. An example of this would be the direct to digital stereo recording of live classical music without the necessity of a mixing console. The Compressor: Because the compressor is a soft knee type, it requires few controls. Strictly speaking, a soft knee design does not have a rigidly defined threshold but the title 'Threshold' has been retained for the "amount of compression" control for the sake of familiarity. The Threshold range is continuously variable between infinity and -24dB, the theory being that signals below the threshold are essentially unprocessed and the signals exceeding this threshold are subjected to increasing amounts of gain reduction dependent on by how much they exceed the threshold._The attack and release times are switchable rather than being continuously variable and this method of operation falls into line with that of its all valve predecessors. Attack simply offers a-choice of slow, medium and fast whilst release has six settings. Positions one to four have fixed release times whilst positions five and six are two different programme dependent release time modes making the unit ideally suited to programme material with complex dynamics such as complete stereo mixes and vocals. Interestingly, the attack times are further modified by the choice of release setting so the range of choices are wider than it might first appear. Because compression is a form of controlled gain reduction, a stage of make-up amplification follows the compressor section giving a range of +20dB. The VU meters may be switched to monitor either the amount of gain reduction taking place or the output signal level and the two channels may be used either independently or as a stereo pair, depending on the setting of the stereo link switch. The side chain access points may be used to patch in equalisers to enable the compressor to act as a de-esser. As with other Drawmer products, the by-pass switch offers a choice of Normal. By-pass and Side Chain Listen modes so that if you have patched in any additional side chain processing, you can easily monitor what effect it is having. In addition to the balanced microphone and line inputs on the rear of the unit an auxiliary input on t |
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Drawmer 1961 Vacuum Tube Equalizer : MusiciansFriend : USD2149.0Designed to complement the widely acclaimed Drawmer 1960 Mic Pre-Amp Vacuum Tube Compressor, the 1961 Vacuum Tube Equalizer combines low noise circuitry with no fewer than twelve active tube stages to provide two channels of exceptional equalization possessing unique 'personality'. Rather than employ a continuously variable resistor as a means of frequency control, the 1961 utilizes the same rotary 'step' switching system used in vintage designs . This enables the component values for each frequency band to be optimized for uncompromising performance across the entire audio spectrum and also makes setting up more accurate, particularly when treating stereo signals. The design of the 1961 allows the user to control the amount of 'warmth' by deciding how hard to drive the tubes giving a sound as 'clean' as the best discrete solid state designs or as 'hot' as the 'hottest' classic tube designs. The 1961 and 1960 Can be 'interlinked' to provide, in effect, a two channel vacuum tube mixing console, - the perfect mastering or post audio 'sweetening' tool. Facilities available on the 1961 include: Input level A variable input level of -20dB to +20dB ensures compatibility with a wide range of input source material and enables the user to optimize signal level and drive the tubes 'soft' or 'hot' as required. LED bargraph displays give a clear indication of the input signal level.High Pass Filter A variable 12dB/Octave roll-off filter adjustable from - 15Hz to 500Hz section enables the user to remove unwanted low frequencies and sub-sonic noise.Equalization Each channel of the 1961 has four main equalizer sections with six carefully chosen overlapping frequencies and a separate tube stage for increased harmonic clarity. Each section also includes variable band width from 0.3 Octave to 3 Octaves and +18dB of Cut and Boost. BASS frequencies (Hz) 20, 32, 50, 80, 125, 200_LO-MID frequencies (Hz) 100,180, 250, 400, 650,1K_HI-MID frequencies (kHz) 0.5, 0.8,1.2, 2.0, 3.2, 5.0_TREBLE frequencies (kHz) 2.5, 4, 6,10,15, 25 Low Pass Filter A variable 12dB/Octave roll-off filter adjustable from 2.5kHz to 56kHz enables the user to remove high frequency interference or to band limit excessively high levels of high frequencies.Output Stage Two additional tube stages in the output section of each channel allow the user to achieve 'soft clipping' by adjusting the input level control whilst visually monitoring the effect upon the 'Soft' and 'O/L' (Overload) LED's.Bypass In addition to a master bypass switch for each channel each of the parametric and shelving filters has its own separate bypass switch. This not only makes the 1961 very straight forward to set up, by allowing instant A-B comparison ,but also enables the tube output stages to be used to add tube coloration without EQ simply by leaving each channel switched to 'In' and each individual EQ sections |
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Drawmer 1968 Mercenary Edition Tube Compressor : MusiciansFriend : USD1499.0The 1968 is a 1U Tube/FET stereo bus' compressor which by design delivers a transparent open' sound even during periods of heavy compression. Featured on both channels is a switchable BIG' mode which applies less processing to the fundamental low frequency but still disciplines the upward associated harmonics which if untamed can result in a boomy' or boxy' sound. The result - a solid bottom end with enhanced sub-bass and a smoother, wider frequency response overall. |
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Drawmer 1969 Mercenary Edition Mic Pre Amp/Tube Compressor : MusiciansFriend : USD2499.0The 1969 Mercenary Edition, derived from a collaboration between two of the audio industry's most established names, Drawmer (UK) and Mercenary Audio (USA), Fletcher - Producer/Engineer, Mercenary Audio incorporates new tube circuits designed to add warmth to mic/line signals, and the instrument (DI) pre-amp has its own tube stage enabling classic overdrive effects when inserting guitar, bass and other instruments. Retaining the concept of twin mic pre-amps, the 1969 uses Burr-Brown'op amps for a silkier sound - and a phase reverse switch available in instrument, mic and line modes increases versatility. The 1969 employs true stereo link operation with channel one's threshold, attack and release controls becoming master to both channels. Stereo link also offers a BIG position which retains bass frequencies by rolling off the detection signal at 100 Hz minimizing undesirable pumping during compression. Output gain make-up can be independently controlled on each channel. |
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Drawmer Three-Sum Multi-Band Interface : MusiciansFriend : USD895.0The Drawmer Three-Sum Multi-Band Interface gives you the benefits of multi-band processing with the ability to apply different parameters to different sections of the audio bandwidth.Locking in your audio to any one specific multi-band unit can vastly reduce the creative options. The Drawmer Three-Sum opens up a whole new set of options, allowing sound engineers to split the audio into two or three bands and to apply a sonic signature to each part of the audio bandwidth.The Three-Sum employs a high-quality signal path culminating in a variable threshold, brick wall limiter section with bypass facility. To ensure transparency the limiter design is 'two stage', applying different processing to the H.F. content of the material. In applications where the dynamics of the material need to be retained to create an open sound, the limiter is essential for catching peaks.The THREE-SUM has been designed for use in high-end mastering and general recording applications, alternatively, it can transform a project studio, equipped only with 'single band' processors, into a serious multi-band facility. |
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Drawmer DA6 Balanced Distribution Amplifier : MusiciansFriend : USD725.0The Drawmer DA-6 is a six channel stereo (or twelve channel mono) distribution amplifier featuring XLR balanced inputs and outputs with optional transformer balancing where remote amplifiers and recorders are fed from separate power supplies.The distribution of mono and stereo balanced audio signals from a single source to multiple destinations has many applications including multi-zone sound reinforcement installations, live sports events coverage, broadcast studios, video suites, duplication or indeed anywhere high quality audio has to be distributed to a number of locations down long cable runs.The stereo Input features individual left/right level controls with LED bargraph metering enabling the correct balancing of stereo material or two mono signals. Each of the six outputs incorporate further left/right level controls and a Mono/Stereo switch providing the selection of either one stereo output or two mono outputs per channel. This feature allows the DA-6 to function as either a 1 x stereo input/6 x stereo outputs or 2 x mono input/12 x mono output unit or any combination of the two._The output section consists of a Channel Select so that the individual left/right output level of each channel is displayed on the output LED bargraph and can be monitored by the Headphone jack socket. A pair of auxiliary link stereo jack sockets (TRS) are provided via the rear panel for connection to further DA-6 units for the distribution of even more channels. |
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Drawmer DA6X Balanced Distribution Amplifier : MusiciansFriend : USD1795.0The Drawmer DA6X is identical to the DA6 but has output transformers on all 6 stereo outputs. The Drawmer DA-6 is a six channel stereo (or twelve channel mono) distribution amplifier featuring XLR balanced inputs and outputs with optional transformer balancing where remote amplifiers and recorders are fed from separate power supplies.The distribution of mono and stereo balanced audio signals from a single source to multiple destinations has many applications including multi-zone sound reinforcement installations, live sports events coverage, broadcast studios, video suites, duplication or indeed anywhere high quality audio has to be distributed to a number of locations down long cable runs.The stereo Input features individual left/right level controls with LED bargraph metering enabling the correct balancing of stereo material or two mono signals. Each of the six outputs incorporate further left/right level controls and a Mono/Stereo switch providing the selection of either one stereo output or two mono outputs per channel. This feature allows the DA-6 to function as either a 1 x stereo input/6 x stereo outputs or 2 x mono input/12 x mono output unit or any combination of the two. The output section consists of a Channel Select so that the individual left/right output level of each channel is displayed on the output LED bargraph and can be monitored by the Headphone jack socket. A pair of auxiliary link stereo jack sockets (TRS) are provided via the rear panel for connection to further DA-6 units for the distribution of even more channels. |
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Drawmer DL241 Auto Compressor : MusiciansFriend : USD695.0The Drawmer DL241 Dual Channel 'Auto-Compressor' highlights the beginning of a new generation of dynamic processors which set new standards of sonic excellence. Its combination of features, displays and well designed control functions make it an outstanding product for a vast range of broadcast, sound reinforcement, and recording applications.The DL241 'Auto-Compressor' incorporates many automatic functions allowing the engineer to achieve optimum results in the minimum set up time but does not compromise skilled users with limited controls. Its sophisticated design produces a smooth, transparent and warm sonic performance.Facilities available on the DL241 include: Expander/Gate. Drawmer's unique "Programmed Adaptive Expansion" circuitry allows effective 'single control operation' producing a fast smooth response and eliminating 'chatter' on or around threshold. This design differs from that of conventional Expanders in that the Expansion Ratio, Hold Attack and Release continually adapt themselves to the dynamics of the incoming signal. The Expander/Gate provides 80dB range and variable threshold from +20dB to 70dB with an OFF position._Switching is provided for 'Fast' or 'Slow' release characteristics. The 'Fast' mode can be used for instruments with rapid decay times or for additional tightening of the gating effect. The 'Slow' mode is more suitable for vocals and instruments with longer decay times or can be used to smooth over rough fade outs. A single LED indicates gating action. Compressor. A full Auto Attack/Release Compressor with variable Threshold and Ratio successfully combines the smoothness of the 'Soft Knee' principle with the precision of a 'Ratio' control. The advantage of this combination is that instead of the onset of compression being sudden at the threshold point the ratio increases over a 10dB input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression._Selectable manual or fully automatic Attack and Release times dramatically extend the application range and user scope of the DL241. Selecting the 'Auto' mode removes the need for manual adjustment and is particularly valuable when the program being treated does not have predictable or consistent dynamics, often the case when processing a complete mix or a virtuoso bass guitar performance. Under manual control the wide range of adjustment available gives the user the ability to create dynamic effects as well as normal compression.Peak Level. 'Zero Response Time', 'Zero Overshoot' circuitry provides an absolute limit to the peak level of the output signal, adjustable from OdB to +16dB above system level. When set to the required level, any excessive peaks will be stopped and the gain momentarily decreased if necessary. The 'Zero Response Time' is essential to avoid unpleasant distortion |
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Drawmer DL251 Spectral Compressor : MusiciansFriend : USD965.0The Drawmer DL251 Spectral Compressor, incorporates a variable 'Dynamic Spectral Enhancement' (D.S.E.) section which eliminates the problems associated with full band compressors by restoring the high frequency energy lost during the full band compression process. This enhancement circuitry is extremely effective where compression and limiting are employed for broadcast transmission, or across complete mixes in a stereo mixdown situation. Dynamic Spectral Enhancement has many creative applications when recording individual components at the multi-track stage, particularly on acoustic guitar, piano, brass and vocals. Facilities available on the DL251 include:Compressor. The compressor section can be switched to provide either HARD or SOFT knee compression In both the HARD and SOFT modes a Ratio control is available In the SOFT mode the ratio increases gradually over a 10dB 386input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression.Selectable manual or automatic Attack and Release times dramatically extend the application range and user scope of the DL251. Selecting the 'Auto' mode removes the need for manual adjustment and is particularly valuable when the program being treated does not have predictable or consistent dynamics, such as on complete mixes, vocals or 'slapped and pulled' bass guitar. Under manual control the wide range of adjustment available gives the user the ability to create dynamic effects as well as normal compression.Enhance Level. A variable Enhance control can be used to 'dynamically' boost any high frequency energy lost during the full band compression process and has sufficient range to add additional 'Spectral Energy' to the programmed material for creative processing. When no compression is taking place, the 'Dynamic Spectral Enhancement' circuitry is inoperative and so no change is made to the signal. However, as the signal level rises to the point where gain reduction is taking place, the Enhancement system 'kicks in' applying dynamic boost which is directly related to the amount of gain reduction taking place. A front panel switch offers an instant A/B comparison of this feature and a green LED indicates the amount of enhancement taking place.Metering. Comprehensive bar graph displays give 'at a glance' indications of gain reduction, and input/output signal level Gain reduction from 1 dB to -30dB is shown simultaneously with signal level from 20dB to + 15dB Other single LEDs indicate function status of Hard/ Soft compression, Auto Attack/ Release, Side chain monitoring, Bypass, Enhancement, Peak Limiting, Stereo Linking and Power on.Side Chain Listen. A front panel push button with LED status enables the monitoring of any external processing applied to the side chain access connections on the rear panel.Bypass. A fully balanced hard wire bypass connects the input directly to the output |
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Drawmer DL441 Quad Auto Compressor/Limiter : MusiciansFriend : USD1050.0The DL441 Quad Auto Compressor/Limiter captures four channels of Drawmer's innovative DL241 'Auto Compressor' in only 1U of rack space. The inclusion of new sophisticated 'automated' circuitry allows the engineer to precisely control both the dynamic range and 'absolute' peak level of the program instantly, without sacrificing essential control parameters. This perfect balance of features makes the DL441 ideal for use in sound reinforcement and outside broadcast applications where an economy in rack space is essential. Each channel combines a fully professional 'Auto Attack/Release' Compressor with a variable threshold 'Peak Level' Limiter on the output providing a transparent 'endstop'. High resolution bar-graph displays on each channel allow gain reduction and output level to be viewed simultaneously, of particular importance in darkened concert hall or control room situations. Facilities available on the DL441 include:Compressor - The compressor section can be switched to provide either HARD or SOFT knee compression In both the HARD and SOFT modes a Ratio control is available. In the SOFT mode the ratio increases gradually over a 10dB input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression In HARD mode the compressor provides a more precise means of controlling gain, where the ratio as set on the front panel is applied immediately the signal exceeds threshold. This is particularly useful in many broadcast applications. HARD knee compression can also be used creatively as an effect, particularly in the treatment of drum and guitar sounds, or for giving rock vocals a 'compressed sound'.Auto Attack and Release - removes the need for manual adjustment by producing a response which constantly follows the dynamics of the signal. This enables the DL441 to preserve crisp transients without allowing excessive peaks to occur. A smooth yet lively recovery from compression minimizes side effects such as 'pumping' and 'breathing'. This feature is particularly valuable when the program being treated does not have predictable or consistent dynamics, such as complete mixes, vocals or 'slapped and pulled' bass guitar.Peak Level Limiter - 'Zero Response Time', 'Zero Overshoot' circuitry provides an absolute limit to the peak level of the output signal, adjustable from 0db to +16dB above system level. 'Zero Response Time' transparent limiting means that the DL441 provides complete protection from even the fastest and shortest signal overloads, making the unit ideally suited for speaker system protection in sound reinforcement applications. The sophisticated circuitry will also prevent unpleasant distortion when used for digital mastering.Metering - Comprehensive bar graph displays give 'at a glance' indications of gain reduction, and input/output signal level Gain reduction fro |
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Drawmer DS201 Dual Noise Gate : MusiciansFriend : USD675.0The DS201 is a sophisticated dual channel noise gate incorporating a number of features pioneered by Drawmer, which are invaluable to the sound engineer, and not found on conventional noise gates. These features and its "user friendliness" have made it the "industry standard" throughout the world.Setting up noise gates can be tedious and unrewarding. For example, when attempting to separate a signal from unwanted noise or crosstalk that is relatively high in level, spurious triggering of the gate by unwanted components within the sound can be a serious problem. This can often be experienced in the studio when recording a drum kit. If a gate is used to clean up the snare drum sound it is quite likely that the nearby hi-hats will spill into the snare drum microphone and cause the gate to open. Increasing the threshold level may cure this problem, but then there is a very real danger that any quieter snare drum beats may not cause the gate to open at all and the performance can easily be ruined.The DRAWMER solution to this problem is the inclusion of two variable filters, one high-pass and one low-pass, which act upon the side-chain keying circuitry. By setting the output switch to key listen the user can hear the action of the filters and adjust them to reject high frequency spillage from the hi-hats. This now enables the gate to only open on the lower frequencies present in the snare drum.Drawmer pioneered the concept of frequency conscious gating, and the Drawmer DS201 was the first noise gate to include this feature.The very fast attack of the DS201 means that it can open in a matter of micro seconds, thus preserving the natural attack of whatever sound is being gated and the comprehensive envelope controls mean that the gain can be changed at whatever rate best suits the material being processed. With vocals for example, a fairly fast attack is needed so as not to clip the leading consonants but a slower release time will prevent the end of words being clipped off and will also fade out any noise gradually rather than cutting it off abruptly. This latter point is very important as the human ear is far more sensitive to rapidly changing noise levels than to a constant low level noise.Another important role played by the gate is in the reshaping of existing sounds. An example of this might involve a simple sampling delay line used to store a sound to be re-triggered later and added to a mix. A gate can be used to impart a slower attack or faster decay to the sound and careful setting of the decay envelope can effectively hide any noise present at the end of the sample. When using a sampler or drum machine the gate can be considered a triggered envelope shaper, and the wide range allowed by the envelope controls make the DS201 ideal for this application.The unit can be switched to accept a key input, which allows the gate to be triggered externally. An example of this would be to use a snare drum signal to open the gate on a se |
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Drawmer DS404 Quad Noise Gate : MusiciansFriend : USD1035.0The DS404 Quad Noise Gate has been designed to the highest specification to complement the DS201 Dual Noise Gate, acknowledged as the industry standard gate throughout the world. Recognizing that there are many general gating applications which require equipment that is simple to operate and which occupies the minimum of rack space, Drawmer designed the DS404 Quad Noise Gate utilizing new and unique Program Adaptive circuitry. This makes the DS404 ideally suited for use over a wide range of input signals, ranging from drums and other percussive instruments through to vocals, pianos and even complete mixes. Facilities available on the DS404 include:Frequency Sensitive. The provision of variable Low-Pass and High-Pass Filters allows without compromise frequency selective gating. The unit can be switched for either Internal or External Key source and the KEY LISTEN facility enables monitoring of the filter setting.Hard/Soft Gating. Each channel of the DS404 can be operated as a HARD or SOFT gate, providing quite different characteristics. Two coloured LEDs clearly indicate mode status._In the HARD mode the DS404 offers ultra-fast response time, stable triggering with complete freedom from chatter around threshold and a specialized release contour which is ideally suited to drums and other percussive material._In the SOFT mode the DS404 becomes a versatile Expander capable of handling vocals and sub mixes. Drawmer's unique 'Programme Adaptive' circuitry is used to optimise the attack time and ratio as well has having some effect on the manual release setting . A more gentle release characteristic is utilized to complement the SOFT gateThreshold. A fully variable threshold control provides a range from +20dB to -70dB.Release Control. A fully variable release control is provided with release times from 10 ms to 5 sec to ensure that essential envelope control is not sacrificed in exchange for an economy in rack space.Attenuation Range. The DS404 has switchable attenuation between 90dB and 20dB to allow for applications where a complete mute is not desired.Chain Linking. Operating the LINK control switches the channel on the right to SLAVE operation, where its gating mode, threshold and envelope characteristics are controlled by the MASTER (left) channel. Any adjacent three channels or two stereo pairs can be linked in this way for use in any conceivable situation where linking may be required.LED Displays. Drawmer's familiar tri-colour LED display is once again utilized as the optimum method for indicating the envelope status for each channel.Input/Output. The DS404 is provided with balanced inputs and outputs on XLR connections. |
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Drawmer DS501 Power Gate : MusiciansFriend : USD795.0The DS501 is a sophisticated dual channel noise gate with fully tuneable Peak Punch incorporating a number of features pioneered by Drawmer, which are invaluable to the sound engineer, and not found on conventional noise gates.Positioned in the Drawmer range over the industry standard DS201 Dual Gate, the DS501 Power Gate features a new dual mode tuneable Peak Punch processing section on each channel. In tuneable mode a fully variable frequency selector with a range from 75Hz to 16kHz allows the user to shape the transients of the gated signal and tune-in' to the particular area of the audio spectrum where the Peak Punch is to be active. In addition a variable more' control allows the user to tailor the amount of processing. A secondary Full Band Peak Punch mode is also available. Designed principally for drum and percussive gating applications, tuneable Peak Punch makes it possible to add transient punch to frequencies lacking in individual drum sounds, adding greater definition and presence to the gated signal. Using low frequency Peak Punch adds depth to thin drums, whilst higher frequency Peak Punch can dynamically emphasise rim shots or the crack' of a snare drum. Setting up noise gates can be tedious and unrewarding. For example, when attempting to separate a signal from unwanted noise or crosstalk that is relatively high in level, spurious triggering of the gate by unwanted components within the sound can be a serious problem. This can often be experienced in the studio when recording a drum kit. If a gate is used to clean up the snare drum sound it is quite likely that the nearby hi-hats will spill into the snare drum microphone and cause the gate to open. Increasing the threshold level may cure this problem, but then there is a very real danger that any quieter snare drum beats may not cause the gate to open at all and the performance can easily be ruined. The DRAWMER solution to this problem is the inclusion of two variable filters, one high-pass and one low-pass, which act upon the side-chain keying circuitry. By setting the output switch to key listen the user can hear the action of the filters and adjust them to reject high frequency spillage from the hi-hats. This now enables the gate to only open on the lower frequencies present in the snare drum. The very fast attack of the DS501 means that it can open in a matter of micro seconds, thus preserving the natural attack of whatever sound is being gated and the comprehensive envelope controls mean that the gain can be changed at whatever rate best suits the material being processed. With vocals for example, a fairly fast attack is needed so as not to clip the leading consonants but a slower release time will prevent the end of words being clipped off and will also fade out any noise gradually rather than cutting it off abruptly. This latter point is very important as the human ear is far more sensitive to rapidly changing noise levels than to a constant low level noise. Ano |
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Drawmer DSL424 TwoPlusTwo Dynamics : MusiciansFriend : USD1050.0The DSL424 provides the engineer with a 1U four channel comprehensive toolbox capable of solving the most complex dynamic problems. Incorporated in the 1U package are two industry standard frequency conscious noise gates and two soft/hard knee compressors with variable threshold limiting.The channels may be front panel configured as four individual stand alone processors, a stereo linked pair of comp/limiters with a stereo linked pair of gates. Alternatively, any combination of processing can be achieved by rear panel patching. The DSL424 combines the gates of the DS404 with the comp/limiters of the DL441 to provide a versatile 1U problem solver invaluable in applications where rack space is limited. |
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Drawmer LA12 Line Distribution Amplifier : MusiciansFriend : USD595.0The LA12 is a low noise, low crosstalk distribution amplifier with high bandwidth specification, developed specifically for real time cassette duplication. As more and more facilities invest in this form of tape copying, the LA12 offers the efficient solution to interfacing multiples of real time cassette decks. |
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Drawmer D Clock Word Clock Measurement and Distribution Amp : MusiciansFriend : USD710.0The D-Clock is a dual input/twenty output word clock distributor with a 16 character blue LCD display providing a reference measurement of the incoming sample rate. Both AES/EBU and BNC word clock inputs feature a zero latency loopthrough output with switchable high impedance to maintain the correct level of the digital signal for onward distribution. The D-Clock displays incoming sample frequencies up to 768 kHz to an accuracy of 2ppm (parts per million) with two further modes - sample frequency with ±ppm error and sample frequency with % pull up/down for video users. Sixteen BNC clock outputs are situated on the rear panel with a further four BNC clock outputs on the front panel for quick patching to other digital devices. The word clock outputs can be derived from either a word clock input or alternatively an AES/EBU audio signal from which clock information can be stripped. In the latter case, one of the many mic pre's with internal A/D conversion but no word clock output can be utilised as the master clock source for the whole digital studio. |
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Drawmer MX30 Gated/Compressor/Limiter : MusiciansFriend : USD425.0The MX30 Gated/Comp/Limiter is a low cost professional quality dynamics processor containing some of the proprietary design circuitry used in the more expensive models in the Drawmer range. The MX30 has many automated features enabling fast, effective dynamic control whilst retaining the instinctively laid out control parameters, sonic character and high technical specification which have made Drawmer the industry standard. The MX30's competitive price point brings Drawmer's professional processing into a much wider musician, project studio and live performance area.Operational control is split into three sections:- Gate, Compressor, Output: Program Adaptive' Gate Used to remove unwanted noise below a pre-set level, each channel consists of a variable Threshold Gate incorporating Drawmer's Programme Adaptive' circuitry. Although quick and simple to operate, the gate's auto-circuitry continually optimises such parameters as Attack, Hold, Ratio and Release, completely eliminating chatter' when the signal is fluctuating on or around Threshold. Two LED's show when the signal is above' or below' Threshold and a push button switch allows additional control of Release time. This design approach also retains all leading edge' information making the gate ideal for cleaning up' vocals or retaining the punch' on gated drums. Switching is provided for 'Fast' or 'Slow' release characteristics. The 'Fast' mode can be used for instruments with rapid decay times or for additional tightening of the gating effect. The 'Slow' mode is more suitable for vocals and instruments with longer decay times or can be used to smooth over rough fade outs. A single LED indicates gating action. Soft Knee Auto Compressor' The gate is followed by a variable Threshold, variable Ratio, soft knee compressor with fully automatic Attack and Release. Large transients are controlled instantly whilst small signal variations are treated gently, retaining as much life' as possible and without generating unpredictable side effects. From the slightest to the most aggressive levels of compression, the MX30 handles it all with ease and displays the amount of compression taking place on a high resolution Gain Reduction bargraph meter. Output The Gain control is used to compensate for the amount of compression and brings the signal to the required output level as displayed by the output bargraph meter. A variable Threshold zero overshoot' limiter, essential for avoiding distortion when mastering to digital or speaker protection in a live' situation, adds the final polish to the signal by keeping control over signal peaks. The Limit threshold provides an absolute maximum peak level which no signal can pass. Fast transients are clipped instantly whilst more sustained peaks are dealt with by applying Gain Reduction, indicated by a single LED. Controls Gate Threshold: This control sets the level below |
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Drawmer MX40 Punch Gate : MusiciansFriend : USD625.0The MX40 Punch Gate is a high performance, simple to use 1U four channel noise gate that offers the same extraordinary sonic character, ingenuity, and high technical specification that have made Drawmer the world standard in gating technology. The MX40 is the first low cost, truly professional gate to offer the features and performance typical of much more expensive noise gates.The MX40 is the first Drawmer product to feature proprietary Peak Punch circuitry which adds unique dynamic enhancement to the leading edge of percussive material, adding true punch to the performance. The MX40 also includes Drawmer's Frequency Conscious System (first introduced with the DS201 Dual Gate), which tunes the gate to react only to a specific frequency band, dramatically improving gate operation. The MX40 packs four channels of high power Drawmer gating into a single rack space, with controls and indicators designed to make set up faster and easier. The Drawmer MX40 Punch Gate offers improved signal definition in complex mixes by isolating desired signal from unwanted background noise. It is especially important in sound reinforcement and the recording of short term sounds such as percussion. The MX40 Punch Gate Frequency Conscious System 'opens' the gate only when a signal exceeds the threshold you set within a specific and variable frequency band. This enables the gate to distinguish between a snare and a high hat, tom-toms versus bass drum etc. Drawmer's new Peak Punch circuitry further improves definition by dynamically enhancing the leading edge of transient signals immediately after gate opening, so percussive sounds 'punch' through the mix. The controls of the MX40 are designed to reduce typical lengthy and complex gate set upPush button options include Peak Punch On/Off, 'Frequency Trigger' On/Off, -20dB or -90dB Attenuation and Gate Bypass. The industry standard Drawmer red/yellow/green 'traffic light' LED display gives the user reliable indication of gate status. Special features include 'Key Listen' that enables the user to hear just the trigger signal for easier set-up. If Frequency Conscious operation (Frequency Trigger "On") is used, depressing Key Listen will enable the user to hear only the frequency band 'tuned' in on the Frequency Trigger rotary control. External Key allows the gate to be opened by an external signal. The MX40 can also be set so Channel One triggers all other gate channels, and 'Slave Link' links Channel One and Two together and/or Three and Four.Controls Three rotary controls are needed per channel: 'Frequency Trigger' sets the frequency band the gate reacts to.'Threshold' sets the level at which the gate opens. Release' determines how long before the gate closes after falling below the set Threshold level. Threshold: This rotary control sets the level at which the gate opens (or closes) and may be set anywhere between -60dB to +20dB. |
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Drawmer MX50 De-Esser : MusiciansFriend : USD525.0The MX50 is a flexible, simple to set up dual De-Esser designed to fulfil the needs of the Recording Studio, Broadcast, Theatre and Live Sound Industries. Its classic application is to overcome the problems that can arise when sibilant sounds (S's and T's) are over-emphasised by the human voice, with such other applications as smoothing a stereo mix, reducing string noise on acoustic guitars or breath noise on flutes, even refining cymbal and hi-hat sounds. Processing is achieved by adjusting just two control parameters, Frequency and De-Ess. The fully variable Frequency control operates from 800Hz to 8KHz encompassing the full sibilant range, including 'hard' sounding harmonics and other side-effects which can be generated when treble frequencies are boosted or enhanced. This is followed by the variable De-Ess which acts as a 'more' control giving up to 20dB of gain reduction at the selected frequency. The human voice is one of the most diverse signals ever encountered by engineers because it contains such large variations in level and harmonic structure. Getting the desired vocal sound can sometimes prove difficult. Setting the E.Q. to give the vocal sufficient 'definition' and 'cut' in the mix can cause large sibilant peaks which often lead to severe distortion. The MX50 Vocal De-Esser solves these problems quickly and efficiently by reducing the level of the sibilant sounds while leaving the remainder of the signal unchanged.The MX50 has two modes of operation: Split Band de-essing Recommended for the majority of applications, this mode splits the audio spectrum into two bands with the split point being dictated by the position of the Frequency control. Only frequencies above the split point are attenuated. Full Band de-essing A useful alternative where unobtrusive minimal processing is required. This mode reduces the total signal level in response to sibilant peaks in the selected frequency band. Further features are also incorporated to improve ease of control and flexibility: Floating Threshold System: This intelligent Drawmer circuitry has a floating Threshold that adapts to the dynamics and level of the incoming material, eliminating the need for a manual Threshold control and creating more natural results. Air function: As sibilance rarely occurs above 10KHz this feature adds back high frequency 'gloss' in excess of 12KHz preserving upper harmonics and increasing the transparency of operation. Frequency: This control selects the frequency band in which the de-esser operates. In Split Band mode this control also determines the split point above which gain reduction will take place. The control is continuously variable from 800Hz to 8KHz and covers the full sibilant range. De-Ess: Adjusts the amount of gain reduction that will take place when a sibilant sound has been detected. Up to a maximum of 20dB may be applied. This control uses an intelligent Floating Threshold circuitry which removes |
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Drawmer MX60 Front End One : MusiciansFriend : USD625.0The MX60 Front End One is a unique mic/line/instrument input channel in a single rackspace providing high-quality Drawmer processing prior to tape/hard disc recording. Also ideally suited to project studio and live sound applications, the MX60 functions as a studio-grade mic preamp, Program Adaptive gate, de-esser, compressor, limiter, three-band EQ and multi-band tube saturation stage. Grass Roots - The MX60 draws its technology from the most successful of Drawmer products. The mic preamp features the same discrete component design found in the legendary Drawmer 1960, the de-esser is derived from the MX50, the VCA based compressor is similar to the MX30, while the peak limiter and gate can be tracked back to the DL241 compressor/limiter.ControlsInput Stage: The input stage may be switched to accept mic, line, or instrument level signals - the XLR mic input has switchable 48V phantom power and phase reverse, while the line input is on both a balanced +4dB TRS jack and an unbalanced -10dB jack. A high-impedance instrument jack is located on the front panel for use with electric guitars, basses, synths and drum machines.Program Adaptive Gate: Drawmer's proprietary Program Adaptive circuitry means that all the time constants are automatically optimised for the material being processed. This enables stable gating and eliminates 'chatter' around threshold. Controls via a single variable threshold and switchable fast/slow auto release.De-Esser: Floating threshold de-ess operation where the de-esser automatically and continually readjusts its own threshold level. The MX60 de-esser is almost completely automatic-all you have to do is select a switchable male or female setting and adjust the amount of de-essing required. Only the sibilant sounds are subjected to gain reduction so that the lisping effect of simpler de-essers is avoided.EQ: High and low shelving sections as well as fully parametric mid-range EQ with variable frequency, 'Q', and +/-18dB cut/boost.Compressor: High-quality VCA compressor based on that of the MX30 and DL241. Both the attack and release times are Program Adaptive leaving the user with only ratio, threshold and make-up gain to adjust.Tubesound: Multi-band 'tube saturation' allows you to create subtle warming, high frequency effects or out-and-out obvious effects via three separate, independently adjustable audio bands. Low settings on all bands enable replication of classic tube mic sounds.Output: The output stage includes a limiter with a preset threshold (+16dB) and a variable master fader with output bargraph metering which sets the overall output level from OFF to +15dB. A two-stage soft/hard limiting approach has been adopted with yellow and red LEDs signifying soft (approaching limit point) and hard limiting (hitting limit point). |
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Drawmer Six-Pack Multi-Channel Surround Dynamics : MusiciansFriend : USD2150.0The Drawmer Six-Pack represents the industry's first dedicated multi-dynamics processor for surround mixing. The Six-Pack continues Drawmer's tradition of audio workhorse products which will continue to perform time and time again - even in a rapidly changing audio delivery environment.The Drawmer Six-Pack is a single 3U unit that will provide dynamics control in any format from mono to 5.1 surround. With six independent expander/gates, six independent auto or manual compressors, six zero overshoot limiters and an LFE channel plus the ability to link channels individually, the Drawmer Six-Pack makes surround dynamics easy. In the studio, any analogue audio source from mono to stereo to full surround can be handled in one unit. In live sound, outboard applications such as drum processing or vocals can be dealt with in one easy-to-use unit, with both auto and manual operation. Alternatively the unit can be re-configured at the push of a button to provide dynamic control and speaker protection without image-shift for the fast developing surround sound speaker rigs employed in the club dance scene. The design of each processing module is derived from the industry standard Drawmer DL241 Compressor to deliver transparent and predictable dynamic control. The six channels of processing are arranged vertically to occupy the minimum rack space. On Channel six the user has the option to switch in a 120Hz filter to create an LFE channel. This feature is also useful to derive an LFE from a previously recorded five channel only, full band surround mix. Instinctively laid out LED bargraph metering gives clear visual indication of all dynamic functions. Universal Linking facilities allow for the various configurations commonly used in multi-channel surround processing as well as the conventional stereo and single channel operation.•PEAK LIMITER - Programme Adaptive, variable Threshold, Zero Overshoot limiter variable from 0dB to +16dB. An LED display of limiter activity.•COMPRESSOR - Soft-Knee compressor with variable Threshold (-40dB to +20dB), Release (0.05 to 5 seconds), Ratio (1.2:1 to infinity), Attack (0.5 to 100mS) and Gain make-up (±20dB). Switchable auto/manual Attack and Release with LED status display.•EXPANDER/GATE - with variable Threshold control (-70dB to +20dB) and variable Release time from 0.05 to 1 second. Dual LED gate status display is provided.•METERING - Eight LED bargraph meters display gain reduction, input/output levels and single LEDs display Master/Link status and Bypass.•BYPASS - Each channel features switchable Bypass with LED status. A relay hard wire bypass system allows the unit to still pass audio when the power is off. |
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Drawmer SP2120 Speaker Protector : MusiciansFriend : USD725.0Step 1: Insert key to unlock front panel and adjust VU meter preset until the peaks of the incoming audio illuminate the red endstop 0dB LEDs.Step 2: Adjust max output level preset until sound system volume reaches the maximum permitted SPL as specified by the installer or client. Remove key . . . and sleep soundly.The Drawmer SP2120 Speaker Protector offers both strict level control and tremendous peace of mind to the contractor, installer and venue in the knowledge that only the maintenance engineer and the venue manager hold a key. As its name suggests the 1U, two channel processor eliminates the possibility of 'unauthorized' excessive sound pressure levels on speaker systems which could result in damage to both chassis drivers and amplifier electronics. The unit also gives a wide variety of venues, such as clubs, theaters, pubs, schools, universities etc. the opportunity to comply with the local legislation regarding noise levels.The SP2120 front panel features an integral security lock to ensure that adjustments to maximum volume levels are implemented by key holders only. In 'unlocked' mode two front panel presets are exposed and available for adjustment by the installer. The first calibrates the 16 segment Left/Right bargraphs to the incoming audio and dictates the point at which 'protection' processing commences. The second sets the absolute volume level to which the sound system is allowed to perform. If the SP2120 receives increased signal levels, the transparent 'protection' circuitry is activated which maintains the specified system volume level without degradation in sound quality.The SP2120 greatly benefits from Drawmer's 25 years experience in designing industry standard dynamic processing devices. Its signal path combines a mixture of 'multiple time constant' circuitry and automatic gain control (AGC) which allow small overloads to sound louder - even though they're not. Its concept and development was encouraged by Drawmer distributors and installers dissatisfied with other protection systems currently available. These often take the form of a crude switch, either turning off the power or disconnecting the speakers, both of which are 'disruptive' in any event.The SP2120 is intended to be inserted in the sound system immediately prior to the amplifier stage. |
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ART 355 Dual Channel 31-Band EQ : MusiciansFriend : USD189.0The ART 355 Dual Channel 31-Band EQ boasts a rugged, all-steel chassis that occupies 2U rackspace and fits standard 19" racks. The 335 has a long list of impressive features that includes constant Q circuitry, 20mm center detent sliders, selectable boost/cut range of 6dB or 12dB, balanced XLR and 1/4" and unbalanced RCA input and output connections, adjustable high-pass and low-pass filters, variable input level controls, signal clip level indicators, ground lift switch, internal power supply, and selectable line voltage switch. |
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Shure UA440 Front Mount Antenna Rack Kit Black : MusiciansFriend : USD149.99Allows the antennas supplied with Shure wireless receivers to be mounted on a standard 19" (483 mm) audio equipment rack. Each kit includes one rack panel, 4 No. 10 screws, 4 washers, 2 plugs, 4 RF cables and 4 bulkhead adapters. |
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ART Tube MP Studio Mic Preamp : MusiciansFriend : USD29.99The original Tube MP made pro-caliber tube preamping available to ordinary musicians and home studios. The MP Studio goes a step further by adding a VU meter for better level control and ART's OPL (Output Protection Limiter), which controls and maintains the output peak signal to protect hard-disk recording systems and soundcards. The VU meter reflects the impact of the OPL circuitry when it is activated, which allows more effective fine tuning of the audio signal. It is a valuable tool for recording in project and home studios and can also function as a DI box with impedance matching and preamplification for line-level sources. Includes a 3-year warranty. |
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ART 351 Single Channel 31-Band Equalizer : MusiciansFriend : USD115.0The ART 351 Single Channel 31-Band Equalizer features a rugged all-steel chassis that occupies a single 19" rackspace. The 351 is a single-channel, 31-band, 1/3-octave graphic equalizer with many features: constant Q circuitry with a 3% center frequency accuracy, 20mm center detent sliders, selectable boost/cut range of 6dB or 12dB, active balanced and unbalanced input and output connections, adjustable high-pass filter, adjustable low-pass filter, variable input level control, clip level indicators, ground lift switch, internal power supply, and selectable line voltage switch. |
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ART 341 Dual Channel 15-Band Equalizer : MusiciansFriend : USD115.0ART gave the 341 Dual Channel 15-Band Equalizer a rugged, all-steel chassis that mounts in a single 19" rackspace. Dual-channel, 15-band, 2/3-octave graphic equalizer from features constant Q circuitry with a 3% center frequency accuracy, 20mm center detent sliders, a selectable boost/cut range of 6dB or 12dB, active balanced and unbalanced input and output connections, variable input level control, clip level indicators, ground lift switch, internal power supply, and selectable line voltage switch. Each channel has its own bypass switch with LED indicator. |
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ART Pro Channel Tube Mic Preamp : MusiciansFriend : USD319.0The Pro Channel from ART is the latest offering from the world s most popular tube dynamics processing manufacturer. ART engineers have combined the world-renowned Pro MPA, Pro VLA, and Tube EQ into a single product creating the world s best-sounding and most affordable professional recording channel.The Pro Channel features many new and exciting design enhancements to ART s pro and home studio staples, including the addition of a tube circuit to the compressor module. The Pro Channel allows you to select between ART s award winning optical/tube compressor or the coveted tube circuit (a design made popular by the sound of the old broadcast limiters now costing thousands of dollars). The tube circuit is fast, fat and a bit aggressive, and is guaranteed to become a legend among compressors as has the Pro VLA. The four-band parametric equalizer has selectable Q for the two sweepable mid-bands. As with all design elements of the Pro Channel, these Q options were fine-tuned by some of the industry s top studio and live-sound engineers. Likewise, all new additions were made without compromise to the sound of the original designs (Pro MPA, Pro VLA, Tube EQ), which have become standards in professional studios and FOH rigs around the globe. |
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Rocktron HUSH Super C Guitar Noise Reducer : MusiciansFriend : USD199.0The Rocktron HUSH Super C Guitar Noise Reducer exterminates annoying hisses and hums in any combo amp, 1/2 stack, or rack system! The Super C noise exterminator is designed specifically for guitarists (especially gain-heads) who require noise reduction without compromising tone. The Rocktron HUSH Super C allows notes to sustain without being gated or cut off while working on subtle dynamics. Only takes up a single rackspace. |
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ART PDB Passive Direct Box : MusiciansFriend : USD28.0The PDB is a roadworthy passive DI for connecting electric instruments and other audio outputs to the balanced inputs of mixers and other balanced inputs. It allows connection to an instrument amp while simultaneously patching it to a mixer. The PDB translates high-impedance signals from instruments into low-impedance balanced signals required by mixers. It also automatically balances and matches line level outputs of keyboards. If you're using a multiple keyboard setup and your keyboards are all plugged into a single amplifier, the PDB can replace individual direct boxes. Simply send the output of the instrument amplifier to the PDB and then to the console (instead of a separate DI box for each keyboard). DJ mixers often supply only an unbalanced —10dB signal. The ART PDB converts this signal to a balanced line level signal before it reaches the console, while providing a convenient method of connector transition with the capability to run long cables. It also accepts speaker level inputs from a power amp allowing post-amplifier, post-EQ, and effects signals to be fed directly to the console. |
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ART Tube MP Studio V3 Mic Preamp : MusiciansFriend : USD75.0The ART Tube MP StudioV3 Mic Preamp features ART's V3 (Variable Valve Voicing) technology that provides optimized reference points to begin recording. The V3 presets were created by some of the industry's top studio and live-sound engineers, along with ART's veteran engineering department. It allows you to select among a multitude of preamp settings designed for guitars (electric and acoustic), keyboards, bass guitars, drums, vocals, and more. It also features an Output Protection Limiter (OPL) to control and maintain the output peak signal; crucial when recording to hard disk or using a sound card. Also can serve as an exceptional direct box for impedance matching or simply improving the sound of any instrument plugged into it. |
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ART CleanBOX 2-Way Stereo Converter : MusiciansFriend : USD65.0ART designed the 2-Way CleanBOX to connect RCA to XLR, unbalanced to balanced, or to properly match signal levels. RCA-to-XLR takes RCA signal, matches the signal levels, and then provides a balanced XLR output. Simply reverse connections to convert balanced XLR to unbalanced RCA and match signal levels. Its 2-channel operation will even allow you to use it as a simple mixer into a single mixer/recorder input, even with channels converting in opposite directions! |
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ART CoolSWITCH A/B-Y Box : MusiciansFriend : USD40.0The ART CoolSWITCH A/B-Y Box lets you switch a common source signal (guitar, bass, or keyboard) between 2 amps or amp channels. Or conversely, it lets you switch 2 source signals into the same amplifier. LEDs indicate whether A, B, or Y routing is in effect. |
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ART MacroMIX Mini Mixer : MusiciansFriend : USD59.0The MacroMIX gives you 4 channels with level controls, a variety of input types, and active mixing circuitry. Use this mini mixer from ART for all kinds of situations in the studio, such as solving level mismatches, sub-mixing of instruments, cable testing, preamping mics or turntables, etc. |
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ART MyMONITOR Personal Monitor Mixer : MusiciansFriend : USD70.0With the ART MyMONITOR Personal Monitor Mixer you can hear yourself while sending only the mic signal to the main mixer. Just connect MyMONITOR between the microphone and line source and the mixer. Can be AC or battery powered. Dynamic or condenser mics can be used since phantom power comes through the Mic Thru jack from the mixer or other source. Dual headphone jacks. |
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ART Phantom ll Dual Phantom Power : MusiciansFriend : USD65.0The ART Phantom ll power supply provides 12-48V of phantom power for 2 mics. Built rugged for road use. |
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ART Phantom III Phantom Power Supply : MusiciansFriend : USD55.0The ART Phantom III Phantom Power Supply provides 48V of phantom power. Different condenser microphones specify different amounts of required phantom power. As a rule, these ratings can range from 48 volts all the way down to 9 volts. Fortunately there is some flexibility in terms of matching phantom voltage to your mic. A rough rule of thumb would be "more is better." For example, a 24-volt condenser mic will run perfectly on 48 volts. In fact, mics rated at as little as 9 volts can often operate on 48 volts, but you should check with the manufacturer first. Conversely, a mic will generally perform best driven by not less than its rated voltage so, for a 48V mic, you would obtain the best results with 48 volts of phantom power. The ART Phantom III is a great choice for the above needs. |
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ART PowerMIX l - 4 Channel Mixer : MusiciansFriend : USD40.0The ART PowerMIX l - 4 Channel Mixer is your totally affordable solution when a number of mono sources or a stereo source need to be mixed down into a mono signal. The PowerMIX I features 4 channels of passive mixing facilities. All line-level sources can be mixed as well as high-Z mics and most electric instruments. Great for karaoke and rehearsal applications. |
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ART PowerMIX II Mini Line Mixer : MusiciansFriend : USD50.0Ideal for mixing recorded music with line level signals, the ART PowerMIX II is a 2-channel utility mixer that's a problem solver in remote recording or sound reinforcement situations. PowerMIX II has 2 channels with individual level controls, a single 1/4" input on channel 1, dual RCA inputs on channel 2, and dual RCA line level outputs. A headphone/line output is also provided. Powered by 12V DC adapter (included). |
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ART PowerMIX III - 3 Channel Personal Mixer : MusiciansFriend : USD89.0The ART PowerMIX III - 3 Channel Personal Mixer connects 3 signals from any source to a recorder. Mono/stereo signals come in through 3 input channels, and are mixed down to stereo or L/R mono signals. Also includes a headphone output. |
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ART ProMIX 3-Channel Microphone Mixer : MusiciansFriend : USD95.0The ART ProMIX Microphone Mixer is a little 3-channel problem solver that features 12V phantom power and an LF cut on each channel. Mono balanced XLR and 1/4" headphone/aux outs give it flexibility for lots of applications. Runs on batteries or optional adapter. |
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ART HeadTap Headphone Tap : MusiciansFriend : USD55.0The ART HeadTap Headphone Tap is a passive device with an input to connect the PA or monitor amplifier and an output to connect your headphones. Sometimes floor monitors are a problem. There isn't enough room for them onstage or someone sits in and can't hear the monitors, or the drummer can't hear them well enough. Or perhaps it's a pickup gig or a rehearsal and you didn't have enough time to set them up. In any case, sometimes it's preferable to just to put on headphones and somehow connect them to the PA. That's where a headphone tap comes in. A volume control regulates the headphone output and internal resistors keep the unit's impedance high enough to protect the phones. It also protects the amplifier from encountering too low a load impedance while powering tap units, the speaker system, or several tap units by themselves. The HeadTAP will also work with a stereo headphone amplifier for use in recording situations when you want to add headphones for additional performers. |
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ART Digital MPA Tube Microphone Preamplifier : MusiciansFriend : USD399.0The 2-channel ART DMPA Pro Mic Pre with Digital Outs is one of the finest microphone preamps with digital capability available. The enhanced discrete front end maintains every nuance, revealing incredible dynamic range.Variable Input Impedance optimizes the ART DMPA for performance with a wide range of microphones. This infinitely adjustable variation dramatically alters the performance of the microphone and creates more sonic possibilities.The selectable Tube Plate Voltage function delivers a wide variety of tones. The tube circuit is differential and provides the equivalent of a 300V power supply on the high voltage setting. With very low self-noise, the normal setting maintains classic tube preamp sounds.The MPA Gold's unique tube circuitry utilizes 2 - 12AX7A vacuum tubes and renders unsurpassed detail and clarity with a broad range of mics. The ART DMPA Pro provides gain with controlled overload while maintaining the dynamic range of the previous stage.In addition to the large VU meters, the MPA Gold has Tube Warmth LED metering which measures the left and right audio channel levels. Average level attack and release are measured in milliseconds and the peak function has a 20 microsecond attack time. The analog meter range is switchable between -10dB and +4dBU. The high pass filter is continuously variable from 15Hz-150Hz.Both analog and digital outputs allow you to take advantage of the DMPA's preamp power with the widest range of formats, including AES/EBU, S/PDIF. TOSLINK, and ADAT interfaces. The Digital MPA provides 24-bit processing and can adapt to 16-bit applications with the push of a button. The A/D is front panel adjustable from 44.1 to 192k. Syncs to ADAT and external word clock (32kHz-100kHz). |
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ART MPA Gold 2 Channel Microphone Preamp with Variable Impedance : MusiciansFriend : USD299.0The ART MPA Gold 2 Channel Microphone Preamp with Variable Impedance is defined by warmth, presence, clarity, and a performance that adheres to incredibly high standards with first-class features and components.Variable Input Impedance optimizes the ART MPA Gold 2 for performance with a wide range of microphones. This infinitely adjustable variation dramatically alters the performance of the microphone and creates more sonic possibilities.The MPA Gold 2 preamp's selectable Tube Plate Voltage function delivers a wide variety of tones. The tube circuit is differential, and provides the equivalent of a 300V power supply on the high voltage setting. With very low self-noise, the normal setting maintains classic tube preamp sounds.The ART MPA Gold's unique tube circuitry utilizes 2 - 12AX7A vacuum tubes and renders unsurpassed detail and clarity with a broad range of mics. It provides gain with controlled overload while maintaining the dynamic range of the previous stage.In addition to the large VU meters, the MPA Gold mic preamp has Tube Warmth LED metering which measures the left and right audio channel levels. Average level attack and release are measured in milliseconds and the peak function has a 20-microsecond attack time. The analog meter range is switchable between -10dB and +4dBU. The High Pass filter is continuously variable from 15Hz to 150Hz. |
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ART DPS II Stereo Tube Preamp with Digital Out : MusiciansFriend : USD229.0The ART DPS II Stereo Tube Preamp with Digital Out is a high-quality performer. It has continuously variable input impedance, LED input meters, auto mic/instrument switching, OPL (Output Protection Limiting) flexibility, and more tube warmth. Designed with twin discrete preamplifiers and a flexible V3 (Variable Valve Voicing) 12AX7A gain stage plus analog and digital outputs.Preamp accepts +20dB peaks while maintaining over 120dB dynamic range and incredibly low distortion. The LED input meter monitors the signal level of the input amplifier.The auto-switching input allows the DPS II rear inputs to stay patched in while you use the front panel instrument inputs. It also adds additional tube voicings specifically tailored to vocal, guitar, bass, and acoustic instruments, making this an incredible DI box. The enhanced OPL is available to control overshoots and normalize levels before digital clipping occurs.A versatile insert loop on each channel provides access for additional signal processing or direct access to a high-quality A/D converter. Separate gain controls on analog and digital outputs allow you to optimize the unit for simultaneous applications. Digital outputs include S/PDIF, TOSLINK, and ADAT (front panel selectable). The A/D converter is front panel adjustable from 44.1 to 96K or syncs to ADAT or external word clock (32kHz to 100kHz). You can patch into any ADAT stream and select which pair (or all) of channels the DPS II transmits. |
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ART TPS II 2-Channel Variable Impedance Tube Preamp : MusiciansFriend : USD139.0The ART TPS II 2-Channel Variable Impedance Tube Preamp is coupled with ART's proprietary V3 (Variable Valve Voicing) functionality to deliver tremendous versatility. It features variable input impedance which allows users to dial in and match any microphone type from large condensers to ribbon mics. Like its predecessor, the DPS, the newly improved V3 feature provides optimized reference points to begin the recording process for guitars, bass guitars, synths, acoustic instruments, percussion, vocals, and more. Unique to its class, the TPS II provides level monitoring with 2 analog meters as well as 2 newly added input monitoring LED meters. High-Z instruments or balanced microphone signals are input through front and rear panel jacks. This newly enhanced TPS II can accept +20dB peaks while maintaining over 120dB dynamic range, quiet performance, and incredibly low distortion. ART's legendary tube stage delivers classic warm sound and adds additional tube voicing specifically tailored to vocal, guitar, bass, and acoustic instruments, making it an incredible DI box. OPL (Output Protection Limiting) controls overshoots and normalizes levels before clipping occurs. The TPS II was conceived, designed, and manufactured to the highest standards to provide years of quiet, reliable performance. Audition one and you too will know why the TPS II is among the most cost-effective professional mic preamp system you'll find on the market today. |
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ART CleanBox II Passive Hum Eliminator : MusiciansFriend : USD44.0The safest way to eliminate unwanted noise in your live sound setup is with the ART CleanBOX II. Hum in an audio system is often caused by loop effects which act like antennas. Typically, these loops are connected via grounds, more commonly called "ground loops." These loops can easily pick up a 60Hz (or higher harmonics) hum transmitted by electrical wiring. Here are some common examples of ground loops where the CleanBox II can eliminate the hum: The power ground of a synthesizer, connected to the signal ground of the synth, into a mixer's ground, then into a mixer's power ground. The signal ground of a send effect (reverb, delay) into a mixer, and the connecting power grounds of the mixer and the unit. The power ground of a guitar amplifier, connected to a signal processor which has a second guitar amplifier on the other channel, and then the second guitar amp's power ground.All such common ground loop problems are solved by the ART CleanBox II. |
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ART ARTcessories Zdirect Professional Passive Direct Box : MusiciansFriend : USD25.0The Zdirect Professional Passive Direct Box is a high-quality interface that lets you connect instrument, line, or speaker-level signals to a mixer or other balanced input through a high-performance audio isolation transformer. The high-impedance, single-ended 1/4" input is converted by the transformer into an isolated balanced low-impedance signal output. Extremely flat and wide frequency response with high signal level handling. The ART Zdirect delivers clean and neutral sound with a wide variety of signal sources and over long signal runs in otherwise high-noise , live sound environments. |
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ART ARTcessories Xdirect Professional Active Direct Box : MusiciansFriend : USD32.0Powered by an internal 9-volt battery or via phantom power at the XLR output, the Xdirect Active Direct Box from ART features a switchable low-pass filter that cuts out all very high-frequency interference. This Bessel filter on the output is placed out of the audio range and is primarily intended to reduce radio frequency interference before it gets into the main system. The filter also reduces computer noise artifacts when used as an interface between a computer-based audio workstation and monitors. Phase inversion switch reverses signal polarity at the source. The ART Xdirect has a stylish, compact, and durable chassis; input attenuator switches for a wide range of signal levels; and an input through jack for tapping off the signal chain. A ground lift switch lets you totally separate the input and output signal grounds, reducing hum and ground-loop noise. |
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ART Dual Transformer/Isolator Hum Eliminator : MusiciansFriend : USD60.0The ART Dual Transformer/Isolator Hum Eliminator uses a pair of high-performance transformers to totally separate input and output signal grounds, thereby isolating the 2 systems and reducing hum and ground-loop noise. The ART DTI's audio transformers have an extremely flat and wide frequency response and can handle high signal levels while maintaining an isolated balanced output. This gives the ART DTI a very clean and neutral sound with a wide variety of signal sources. The transformers are wound for 1:1 unity gain and are designed to be used with impedances from 600 ohms to 100kOhms. XLR, 1/4" phone, and RCA type phono connections on all inputs and outputs. |
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ART DJPre II Phono Preamp : MusiciansFriend : USD49.0With the ART DJPre II Phono Preamp, analog input capacitance can be switched between 100pf and 200pf to optimize your phono cartridge response. Switchable low cut filter removes rumble while front main trim control and signal/clip LED let you optimize the gain for a wide range of input sources. Low-noise circuitry is highly accurate and meets RIAA standard. Rugged, attractive, aluminum, black anodized case. Designed to amplify and EQ your vinyl to interface with your audio workstation, sound card, or main monitor system. Accepts variable power input from 7V DC to 12VAC. |
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ART Tube MP Project Series Tube Microphone/Instrument Preamp : MusiciansFriend : USD69.0The ART TUBE MP Project Series Preamp for Microphone and Instrument can also make your voice sound fabulous, warmed and made silky smooth by the genuine 12AX7A tube inside. A makeover of the popular original, the Tube MP features an ultra low-noise discrete mic preamp front end that has an extremely flat, wide frequency response and can handle very low and high signal levels with minimum coloration. High impedance instrument input bypasses the mic preamp circuitry for a shorter signal path. External power supply minimizes AC line noise and hum.Input gain control and switch maximizes dynamic range of input and lets you control how hard you drive the tube. Switchable input impedance on the XLR in optimizes mic response. Bessel switchable low-cut filter removes rumble and wind noise. Set at 40Hz, it won't overly affect bass tonality. XLR input features phantom power of +48V DC from a very quiet internal high voltage power supply.The Tube MP Project Series Preamp has an FET limiter with fast attack and musical release times that protect other gear in the chain without compression. This allows you to maximize the dynamic range of your signal before converting to digital. A phase invert switch lets you switch signal polarity at the source to minimize cancellation. Output control after the tube and limiter matches output level to a wide variety of systems. Added output section at the end of the signal path has enhanced signal drive capability to both output jacks. |
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ART HD231 High Definition Dual 31-Band Equalizer : MusiciansFriend : USD229.0The HD231 High Definition dual 31-band equalizer features the quality components and innovative features required for precise and flexible professional-level audio performance. The HD filter sets utilize precision 1% resistors and all active gain elements are ultra-low noise and low distortion. A total dynamic range to 120dB makes the HD Series equalizer perfect for all applications where precision processing and silent operation are a priority. They have the rugged construction needed for touring live-sound use and detachable Euroblock interface connectors for easy integration into professionally installed systems.They feature 20mm oil-damped precision sliders with a precision center frequency and constant Q response which is narrow enough to prevent unnecessary interaction between filters, yet wide enough to create the exact natural sounding audio response that you seek. The HD Series equalizers incorporate independent variable Hi Pass (low cut) and Low Pass (high cut) filters. The Hi Pass filter is useful for the reduction of power robbing, sometimes destructive low-frequency rumble, as well as wind noise, and AC hum. Having separate variable control for each filter allow you to tailor audio signals to perfection.Other features include automatic relay bypass of audio, a variable input level control, clip level indicator, selectable AC line voltage, RFI filtering, selectable Scale Switching - (higher slider resolution at +/-6dB - or normal slider resolution at +/-12dB), and active balanced input/output XLR, 1/4", and Euroblock connectors. A Bypass switch allows for direct comparison between the equalized and non-equalized signal for each channel. |
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ART XL231 Dual 31-Band, 1/3 Octave, Graphic EQ : MusiciansFriend : USD369.0The 2-channel ART XL231 Graphic Equalizer delivers extremely precise, powerfully flexible and simply great sounding equalization with the quality features and reliable design criteria necessary for top-level audio performance. This innovative, high-quality equalizer is perfect for virtually any audio application where precision frequency, tailoring, reliable performance, rugged design and extremely silent processing are of the utmost priority. |
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Yamaha Q2031B Dual-Channel Graphic Equalizer : MusiciansFriend : USD629.99Highly sophisticated stereo 31-band graphic eq from Yamaha, the Q2031B Dual-Channel Graphic Equalizer features an automatic muting circuit. Mutes output for 3 to 5 seconds after power is switched on. The Yamaha Q2031B includes 6 or 12dB of boost or cut, with points centered at ASO 1/3 octave frequencies from 20Hz to 20kHz; both balanced XLR connectors and standard unbalanced phone jacks. |
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Rocktron Gainiac 2 Guitar Preamp : MusiciansFriend : USD249.0This 2-channel Rocktron Gainiac guitar tube preamp packs enough heat (and gain) for even the most hard-core metal heads! With over 70dB of gain and an incredible EQ circuit, the Gainiac can deliver any tone under the sun. By turning up a special "Scoop" control, you suck out the midrange frequencies and produce the heaviest sounds imaginable. Use the bottom and top EQs to shape the lows and highs. The clean channel delivers the warm, punchy sound that guitarists of every persuasion love to hear. |
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Rocktron VooDu Valve Online Guitar Multi Effects Processor : MusiciansFriend : USD779.0The Rocktron VooDu Valve On-Line Tube Guitar Preamp is a marriage of a 24-bit Motorola DSP engine with Rocktron's 12AX7 tube technology. The Voodu Valve Guitar Preamp delivers the warmth and clarity of your favorite plexi or pre-CBS combo in a single-rack package. Choose high or low tube gain to control break up. With the very usable preamp voicings, you can dial in classic amp tones that include Variac, Pentode, Triode, and Solid State. 4-band post-EQ and comprehensive pre-EQ sections in this Rocktron guitar preamp give you near limitless tone-shaping options. HUSH noise reduction placed between the preamp and effects sections keeps things quiet. The VooDu comes loaded with 254 presets and hundreds more are available on Rocktron's website. Effects include many favorite analog stompboxes and 2-tap chorusing, an echo-like delay, reverb, pitch shift, tremolo, dual-mode phaser, compressor, frequency-programmable wah, and 2-tap flanger. The speaker simulator section provides parameters for speaker size, mic placement, and Rocktron's patented Reactance parameter. Full MIDI functionality includes 8-parameter continuous control and mapping. The optional All Access footcontroller unlocks other control features such as preassigned effects, on/off, and boost functions as well as titles that transfer from the VooDu to All Access. 1/4" and XLR outputs with level control plus headphone output. |
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Rocktron Xpression Guitar Multi Effects Processor : MusiciansFriend : USD399.0The Rocktron Xpression Guitar Multi Effects Processor comes with 128 presets for guitar and bass and lets you use up to 10 effects together. Includes many vintage and classic stompbox-style effects, with multi-voiced delay and chorus for both live and recording. Delay and Rate tap controls, 4-band parametric EQ, active/passive input switch, D.I. out with speaker simulator, analog bypass, and Hush noise reduction gives you lots of options. 24-bit DSP processing, MIDI programmable. |
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Rocktron Blue Thunder Bass Preamp with Multi-Effects : MusiciansFriend : USD449.0There's a storm on the horizon and it's called Blue Thunder. This Rocktron Bass Preamp with Multi-Effects is a live and studio tool that's been specifically designed and voiced for bass. The preamp has 128 pro presets designed for bass. A selectable hi-pass effects filter allows you to determine the frequency range being passed through the digital effects, delivering lush effects that won't muddy up your low end. Custom voiced bass effects including flanger, phaser, tremolo, delay, and reverb. Rocktron's dynamic compression is included and has also been specifically engineered for bass. If that's not enough, Rocktron's multi-voiced delay and chorus are specifically voiced for bass use in live and recording situations.Want some distortion? The Blue Thunder rolls out built-in distortion designed specifically for bass which can be added to your dry bass signal and effect path independently as desired.Rocktron's unique signal routing allows you to choose between an analog direct feed, or full effects routing. The Blue Thunder has a most powerful and flexible tone shaping tool with Rocktron's SIMbiotic 4-band parametric EQ consisting of 2 sections of band-limited parametric EQ and bass and presence along with 2 sections of full bass. Parametric mid and treble EQ sections. A Speaker Exciter with Sonic Clarity and Sonic Boom controls allows you to record direct, while adding a new tonal dimension to your live sound.Whether using the Blue Thunder Bass Preamp with a power amplifier and speaker cabinets or while recording with the cabinet simulator engaged, the Speaker Exciter offers yet another extension of tonal expression allowing you to choose the speaker size (8", 10", 12", 15") then giving you even more tonal possibilities using the Sonic Boom and Sonic Clarity controls.When the Cabinet Simulator is active the outputs are specifically conditioned for direct recording to produce a virtual miked cabinet response. This allows you to connect directly to a PA system or recording equipment and leave that heavy cabinet home! Cabinet Simulator works in conjunction with the Speaker Exciter to deliver lifelike direct recording. Separate input and output level controls on the Blue Thunder accommodate all kinds of basses with active and passive pickups.Rocktron's unique signal routing allows you to choose the signal path type for the direct mix, analog or digital. For effect loop routing you may want to use the Blue Thunder in an effects loop of your existing preamp. In this case you can route the direct signal around the DSP by setting the Direct Path option. With Direct Path Analog, your direct signal is untouched and then mixed with the DSP effects only. With Direct Path Digital you are using the Blue Thunder as a dedicated preamp.The Blue Thunder incorporates Rocktron's award-winning digital HUSH noise reduction. All presets on the Blue Thunder are user programmable and can be restored to origin |
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Grace Design Lunatec V3 2 Channel Mic Preamp (12V) : MusiciansFriend : USD1525.0This 12V version of the Lunatec V3 from Grace Designis based on the industry standard Lunatec V2. Designed to deliver accurate, musical preamplification with high-definition A/D conversion in a bombproof, portable, DC-powered package. Sound designers, remote engineers, classical engineers, concert tapers, or anyone with a portable recording system will be stunned by the depth, clarity, and realism the Lunatec V3 delivers.Featuring Grace Design's ultralow distortion, 24-bit A/D converter. Flexible outputs include S/PDIF (RCA) and 2 sets of AES3 (XLR). Sample rates of 44.1, 48, 88.2, 96, 176.4, and 192kHz are supported. Both single- and dual-wire 176.4 and 192kHz AES/EBU modes are provided via a pair of XLR connectors. Also includes an analog noise-shaping dither circuit (ANSR). |
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Grace Design Lunatec V3 2 Channel Mic Preamp (6V) : MusiciansFriend : USD1525.0This 6V version of the Lunatec V3 is based on the industry standard Lunatec V2. Designed to deliver accurate, musical preamplification with high-definition A/D conversion in a bombproof, portable, DC-powered package. Sound designers, remote engineers, classical engineers, concert tapers, or anyone with a portable recording system will be stunned by the depth, clarity, and realism the Lunatec V3 delivers.Grace Design's ultralow distortion, 24-bit A/D converter is included as standard. Flexible outputs include S/PDIF (RCA) and 2 sets of AES3 (XLR). Sample rates of 44.1, 48, 88.2, 96, 176.4, and 192kHz are supported. Both single- and dual-wire 176.4 and 192kHz AES/EBU modes are provided via a pair of XLR connectors. Also includes an analog noise-shaping dither circuit (ANSR). |
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Grace Design LunaTec V3 AC Adapter (6V) : MusiciansFriend : USD34.99Power adaptor for the Grace Design LunaTec V3. |
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Grace Design LunaTec V3 Power Cable (12V) 3 Foot : MusiciansFriend : USD34.9912V power cable for the Grace Design LunaTec V3. |
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Grace Design Model 801TC 10dB Output Trim Control : MusiciansFriend : USD140.0The 801TC option provides model 801 users with 10dB of continuously variable trim in addition to the standard rotary gain switch. This is provided as a concentric pot that's integrated with the gain switch on any given model 801 channel. |
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DigiTech Power Supply for GNX2 : MusiciansFriend : USD39.95Cut down on batteries with the GNX power supply. With its power cord and plug, it doesn't cover a second outlet. |
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American Audio dB Display : MusiciansFriend : USD59.99The American Audio dB Display is designed to set in an amp rack to view your decibel level. LED display progresses from green through amber to red. Sensitivity adjustment on both left and right channels. 2 separate modes: dot and bar. Includes a 12V power supply. RCA input/outputs. Single rack space. |
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BBE 362 Sonic Maximizer : MusiciansFriend : USD99.99The BBE 362 Sonic Maximizer gives your sound the clarity and volume you've been searching for. Unbalanced 1/4" ins and outs. Dual channel with ganged process and low contour controls. Threshold control. Bypass switch for comparison of processed and unprocessed signals. +16dBu headroom. The BBE 362 Sonic Maximizer is ideal for use in pro and semi-pro sound reinforcement, mobile DJ systems, discos, and making cassette copies.The BBE Process-"What it Is" Loudspeakers have difficulty working with the electronic signals supplied by an amplifier. These difficulties cause such major phase and amplitude distortion that the sound reproduced by the speaker differs significantly from the sound produced by the original source.In the past, these problems proved unsolvable and were thus relegated to a position of secondary importance in audio system design. However, phase and amplitude integrity is essential to accurate sound reproduction. Research shows that the information which the listener translates into the recognizable characteristics of a live performance are intimately tied into complex time and amplitude relationships between the fundamental and harmonic components of a given musical note or sound. These relationships define a sound's "sound".When these complex relationships pass through a speaker, the proper order is lost. The higher frequencies are delayed. A lower frequency may reach the listener's ear first or perhaps simultaneously with that of a higher frequency. In some cases, the fundamental components may be so time-shifted that they reach the listener's ear ahead of some or all of the harmonic components.This change in the phase and amplitude relationship on the harmonic and fundamental frequencies is technically called "envelope distortion." The listener perceives this loss of sound integrity in the reproduced sound as "muddy" and "smeared." In the extreme, it can become difficult to tell the difference between musical instruments, for example, an oboe and a clarinet.BBE Sound, Inc. conducted extensive studies of numerous speaker systems over a ten year period. With this knowledge, it became possible to identify the characteristics of an ideal speaker and to distill the corrections necessary to return the fundamental and harmonic frequency structures to their correct order. While there are differences among various speaker designs in the magnitude of their correction, the overall pattern of correction needed is remarkably consistent.The BBE Process is so unique that 42 patents have been awarded by the U.S. Patent Office. |
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