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BBE 362 Sonic Maximizer Factory B-Stock : MusiciansFriend : USD59.0The 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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BBE 482i Sonic Maximizer : MusiciansFriend : USD179.99The BBE 482i Sonic Maximizer is perfect for home studios, DJ systems, PA systems, nightclub sound, and guitar, bass, or keyboard racks — any application not requiring balanced jacks. It provides processing for stereo or 2 separate mono channels — brightening, clarifying, and adding fullness to the sound. Features 5-segment LED output meters, +18dBu headroom, RCA and 1/4" inputs and outputs, and a bypass switch for comparison of processed to unprocessed signal. Occupies one rackspace.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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BBE 882i Sonic Maximizer : MusiciansFriend : USD199.99The BBE 882i Sonic Maximizer is perfect for pro studios, sound reinforcement, clubs, and other venues requiring balanced outputs. Designed for uses requiring low noise, high headroom, and +4dBu input levels. It provides either stereo processing or processing for two separate mono channels, brightening, clarifying, and adding fullness to the sound. Features 5-segment LED output meters, +23dBu headroom, XLR and 1/4" stereo inputs and outputs, hardwired bypass, and a bypass switch for comparison of processed to unprocessed signals. Single rackspace.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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BBE DI-100X Active Direct Box : MusiciansFriend : USD149.99The BBE DI-100X Active Direct Box offers "no compromise" transparency not found in any other direct injection device. While giving wonderful results with acoustic, semi-acoustic, electric and electric bass guitars, it is also the perfect solution for "re-amping" in the studio.The BBE DI-100X is designed for recording studios that are very demanding when it comes to the kind of high-integrity audio they expect from a direct injection device. BBE completely hand-builds the DI-100X in California and it gives any studio that wishes to be a cut above the others the option of exceptional quality and sound clarity.The DI-100X's class A/B circuit topology, with its transformerless output stage, delivers an open, intimate sound with a level of detail that goes well beyond the requirements of the most demanding recording applications. This BBE direct box has an airy top-end unlike any other. It will translate the instrument with uncompromising clarity and transparency. The DI-100X is extremely quiet, extremely flat through the entire frequency spectrum and phase degradation is effectively nil.As a tool for the creative recording process, the BBE DI-100X makes getting great sound effortless. The renowned BBE Sonic Maximizer, which is an integral part of the DI-100X' design, offers engineers and producers the ability to give back to each instrument its unique voice. The Sonic Maximizer reveals detail and nuance that are all but obscured with budget DIs.Rugged aluminum housing, military spec circuit boards, extra-wide double-thick traces, and circuit board-mounted pots, switches, and connectors give the BBE DI-100X stage-toughness and studio-level sonic integrity. Incorporated Sonic Maximizer gives any instrument you plug in more clarity and presence. Balanced XLR and 1/4" tip-sleeve outputs, 1/4" tip-sleeve input and thru-put, 15dB pad switch, and ground lift. The DI-100X Active Direct Box has recessed switches and a non-skid bottom pad for added utility.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. |
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BBE DI-1000 Active/Passive Direct Box : MusiciansFriend : USD249.99The BBE DI-1000 Active/Passive Direct Box has a full-featured Sonic Maximizer and a Jensen JT-DB-E impedance matching transformer to deliver a flat frequency. A pad switch offers up to 30dB attenuation allowing you to connect your amp's speaker out directly to the console. Groundlift switch, balanced XLR output, 1% metal film resistors, 1/4" tip-sleeve input and thru-put, and military-spec circuit boards. The BBE DI-1000 Direct Box adds clarity to active- and passive-pickup equipped guitars and basses.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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BBE DI-100x Direct Box with 25' Mogami Cable : MusiciansFriend : USD199.99This kit includes the BBE DI-100x Direct Box with a 25' Mogami Cable.The DI-100x is a high-quality professional-grade active DI box for touring sound applications and recording studios. It has a major advantage over other high-end DI boxes on the market with its built-in Sonic Maximizer processor, which employs the BBE 4th Generation Processing Engine. The DI-100x yields excellent results with active or passive bass guitars, keyboards, and both acoustic and electric guitars. The DI-100x is an excellent choice for transferring any musical instrument signal direct to a mixing console.Above all, the DI-100x was designed without compromise, with paramount importance placed on maintaining the highest sonic integrity. All of the switches, pots and connectors are connected directly to its military-spec circuit board, rather than "fly-wired" to the PC board. The primary advantage of this design is that it allows the legs of most board mounted components to be dramatically thicker than the narrow conductors commonly employed in many audio designs. |
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BBE DI-1000 Direct Box with 25' Mogami Cable : MusiciansFriend : USD199.99The BBE DI-1000 Direct Box is a DI to write home about: full-function BBE Sonic Maximizer for crystalline clarity and definition, Jensen JT-DB-EPC transformer for warmth and presence. Includes a 25' Mogami cable with Neutrik XLRs.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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BBE MaxCom Dual-Channel Compressor : MusiciansFriend : USD199.99Much more than a high-quality compressor/limiter, the BBE MaxCom Dual-Channel Compressor is the first signal processor of its kind to feature an onboard BBE Sonic Maximizer for enhanced clarity and definition. Both its compression and gating provide versatility and excellent sonic performance without producing undesirable processing artifacts. Includes 2 independent, full-featured compressor/limiters, with each channel having independent controls for Threshold, Compression Ratio, Attack Time, and Release Time. The stereo link allows for phase-coherent tracking of stereo signals and adjustment from the Channel One controls. Comprehensive metering is achieved via dual bar graph meters on each channel that indicate Input Level and Gain Reduction. Its intuitive design makes the BBE MaxCom easy to operate.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 |
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BBE Max-X2 2-Way Stereo Crossover : MusiciansFriend : USD179.99The BBE Max-X2 2-Way Stereo Crossover offers a variety of options for virtually all live sound-reinforcement amplifier configurations. The Max-X2's logical design makes it easy to operate and its sonic integrity provides clean, distortion-free audio with a predictable, repeatable range of control. The BBE High Definition Sound process employed by the Sonic Maximizer is world-renowned among music and sound professionals for bringing crystalline clarity and air to the source material as well as revealing rich harmonic subtleties. 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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BBE Max-X3 2-Way Stereo/3-Way Mono Crossover : MusiciansFriend : USD199.99Housed in a compact and easy-to-use package, the BBE Max-X3 2-Way Stereo/3-Way Mono Crossover provides a variety of options for virtually all live sound-reinforcement amplifier configurations. The BBE Max-X3 promises clean, distortion-free audio with a predictable, repeatable range of control. The BBE High Definition Sound process employed by the Sonic Maximizer is world-renowned among music and sound professionals for remarkable improvements in total sound quality, bringing crystalline clarity and air to the source material as well as revealing rich harmonic subtleties. The Max-X3 employs state-variable, 4th-order Linkwitz-Riley filters. This minimizes phase inaccuracies in the critical crossover region and ensures the output at all frequencies remains in-phase, which is critical for the accurate summing of each driver in a speaker stack. This design has a very steep 24dB/octave slope, which ensures that each driver designed to reproduce a specific frequency range is not driven beyond its limits.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 amon |
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BBE DS24 Loudspeaker Management System 2-In 4-Out : MusiciansFriend : USD299.99The BBE DS24 loudspeaker management system's output section incorporates a high-performance limiter with complete control over attack, release, and threshold parameters. Variable high and low pass filters with a choice of 12, 18, or 24dB/octave roll-off and Butterworth, Bessel, or Linkwitz-Riley responses help you shape your sound. Independent control of each high and low pass filter allows asymmetric crossover bands to be created. The DS24 can also be controlled from a PC via the DS24's RS232 connection. Along with XLR input/output connectors, the DS24 has selectable line voltages between 90 and 250 VAC for worldwide use. |
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BBE DS26 Loudspeaker Management System 2-In 6-Out : MusiciansFriend : USD349.99The BBE DS26 loudspeaker management system features 2 inputs and 6 outputs with 5-band parametric EQ on each output. Outputs all feature crossover filters, selectable high and low shelving filters, and fully featured limiter and delay circuits. Full metering is provided for inputs and outputs, with mute and access buttons allowing quick set up and gain adjustment. Other features include a choice of 12, 18, or 24dB/octave roll-off and Butterworth, Bessel, or Linkwitz-Riley responses. Independent control of each high and low pass filter allows asymmetric crossover bands to be created. The DS26 can also be controlled from a PC via its RS232 connection. Along with XLR input/output connectors, DS26 has selectable line voltages between 90 and 250 VAC for global use. |
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BBE DS48 4-Input / 8-Output Digital Loudspeaker Management Processor : MusiciansFriend : USD449.99The BBE DS48 loudspeaker management system features 4 inputs and 8 outputs with 10 configuration templates.A choice of operating and crossover modes include 4 x 2-way, 2 x 3-way + 2 aux, 2 x 4-way, 1 x 5-way + 3 aux, mono dist., stereo dist., LCRS with mono subs, 4 x 4 processor and muted/flat startup.Other notable features include high performance limiters on each output, providing complete control over attack, release and threshold parameters; variable high and low pass filters; and your choice of 6dB, 12dB,18dB, 24dB, 48dB Butterworth, Linkwitz-Riley or Bessel frequency response curve.Independent control of each high and low pass filter allows asymmetric crossover bands to be created. The DS48 can also be controlled from a PC via the DS24's RS232 connection with the included software. Along with XLR input/output connectors, DS48 comes complete with selectable line voltages between 90 and 250 VAC operations.Carrying a 5 year warranty, the DS48 is recommended for live sound rigs and installations. |
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Yamaha Band & Orchestra ST5 Silent Brass Performance Studio : MusiciansFriend : USD199.99Yamaha's innovative ST5 Silent Brass Performance Studio device offers unprecedented tonal variety and expression for all brass instruments. Using powerful digital audio processors you can twist, edit, and shape your tone for unlimited creativity whether in silent practice, the recording studio, or onstage performance. The ST5 Performance Studio includes an AC adapter and 1/4" mini jack adapter.Tuner—Transposable tuner (Bb, Eb, C, and F instruments) with settings from A=438 to A=445.Effects—The ST5 features 50 preset programs and 50 user programs. User programs can be customized (meaning that the user can layer up to 6 settings at one time for one effect, and then rename and renumber the effect at will). Effects include chorus, delay, distortion, overdrive, flanger, wah, pitch shifter, phaser, and many more.Metronome—Metronome functions include standard time signatures with standard subdivisions (quarter, triplet, eighth, and sixteenth note) as well as syncopated rhythms, odd meters, and drum tracks (including 8th and 16th shuffles, blues, jazz, funk, bossa, samba, etc.).Phrase Trainer—User can record up to a 16-second sample from either the input jack (using the Silent Brass Mute or an instrument mic) or the Aux In jack. After recording, playback begins automatically. Playback speed can be slowed down without altering pitch.Other Functions—The Silent Brass Performance Studio contains a realtime key transpose function. Using this function, the user can transpose any music from an external source. Transposition is done in half-steps, up to one octave up or down from the original key. |
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Yamaha SPX2000 Digital Effects Processor : MusiciansFriend : USD1149.99The Yamaha SPX2000 Digital Effects Processor is a truly superior rack unit incorporating their most advanced technology with the emphasis on tonal quality and usable effects, including Rev-X reverb algorithm and 96kHz audio DSP. Dream studio reverb and early reflection effects with micro-parameter controls; versatile high-quality delays and echoes; sophisticated pitch shift with sound mixing, feedback, and synch to tempo; a broad palette of mod effects including stunning rotary; a powerful filter section that's MIDI controllable; a full assortment of very musical and useable distortions; lots of combination effects; and a heady phrase sampler make it a studio workhorse and a magician onstage. MIDI I/O/T, USB, word clock, AES/EBU XLR I/O, left and right 1/4" and XLR ins and outs with choice of -10dBu or +4dBu make it easy to integrate into any system. |
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Lexicon MX200 Dual Reverb/Effects Processor : MusiciansFriend : USD199.9932 legendary Lexicon effects are packed into the Lexicon MX200 Dual Reverb/Effects Processor, a rackmount processor equipped with USB so it can be used as a software plug-in. It's got raw dual-processor power; instant front-panel access for live performance; and rich, smooth, complex processing algorithms for the studio, as well as specialty effects and dbx dynamics. Every effect and parameter is instantly accessible by a single button push or knob turn, and the powerful editor/librarian software gives you intense, under-the-hood control.The USB interface provides intuitive cross-platform VST and Audio Unit plug-in control, allowing the MX200 to function as a hardware plug-in. The MX200's processor still handles the processing load, but you control it through your computer, with full automation and recall features. MX-Edit, the included cross-platform editor/librarian software, lets you create, edit, compare, save, and load reverb and effects programs.You can use 2 reverbs or effects at once in one of 4 flexible routing options: dual mono, cascade, dual stereo (parallel), or mono split. There are 99 carefully crafted Factory programs and 99 User programs, front-panel controls for Input Level, Mix 1, and Mix 2 Wet/Dry controls, Routing button, independent Tempo, Bypass, and 3 control knobs for each Processor, Program Select knob, Audition button (to preview the selected effect), and Store button.The front panel Active Reverb/Effects Matrix displays which 2 effects are active, delivers single-control access to all functions, and lets you quick-audition any preset with five settings. Dual independent processor control areas with dedicated Effects Select, Tempo, Bypass, and 3 parameter control knobs provide access and control over critical parameters. LEDs illuminate to indicate any change from the 99 Factory or 99 User Programs. |
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Muse Research Receptor Pro Jr. Rackmount VST Plug-in Player : MusiciansFriend : USD2399.0The Receptor PRO Jr. has the same stunning specifications as the Receptor PRO with a slightly smaller 400GB hard drive. It also has a massive 2GB of optimized RAM, and the fastest 64-bit Turion processor available! Designed for composers, producers, and keyboardists who require instant access to the most popular massive sample libraries available.Receptor PRO Jr. hardware plug-in player has over 4 times more memory than a regular Receptor almost three times more hard disk space - and a processor that is 33% faster than the base model, all while retaining the same stunningly low latency, super-quiet package design, and robust and portable package.Receptor On Stage Muse has designed the Receptor hardware plug-in player so that performers could simply turn it on, dial up a VST plug-in, and start making music. With its lightning fast MIDI response, durability and stability, Receptor is truly optimized for live performance.Whether syncing to MIDI beat clock, responding to MIDI performance controllers, or recalling complex patches with standard MIDI program change messages, Receptor integrates effortlessly into a live performance environment. And if your roadie kicks out the power cable, Receptor will reboot right back into its proper configuration within 5 seconds! Its flexible and intuitive architecture allows customers to create Receptor environments than can respond to patch changes instantaneously.The Receptor is robust and portable—hosting both today's and tomorrow's best plugins in an easy to use hardware environment. Receptor conforms to the performer's workflow, not the other way around. Do you want a dedicated, stand-alone visual editing and configuration environment? Simply plug a monitor, keyboard, and mouse directly into Receptor and configure it without using a computer. Is the computer the center of your musical universe? Then connect Receptor's Ethernet cable to your computer and graphically control it directly from your Mac or PC. Do you not want to bother with monitors and mice? Receptor is completely controllable from its own front panel using dedicated knobs and buttons.Receptor in the Studio With its whisper-quiet fan and cool, retro appearance, the Receptor VST player belies its true identity—a thoroughly modern, software-configurable module, designed to integrate completely and effortlessly into a network of computer-hosted digital audio workstations.The Receptor is designed for musicians. Its user interface follows a familiar mixer-analogy, allowing users to create patches containing as many as 16 simultaneous stereo plugin instruments. Insert slots, two stereo send busses and the master buss all allow the possibility of adding a whopping 57 additional effects plugins to your sonic assault.Used individually or combined up to 16 individual synthesizers and 57 effects allow for complex sound sculptures unattainable with either computers or hardware. And, of course, all parameters can be remotely control |
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Muse Research Receptor Pro Rackmount VST Plug-in Player : MusiciansFriend : USD2799.0The Receptor PRO is the biggest, baddest Receptor yet with a whopping 750GB hard drive, a massive 2GB of optimized RAM, and the fastest 64-bit Turion processor available! Designed for composers, producers, and keyboardists who require instant access to the most popular massive sample libraries available, Receptor PRO packs a huge amount of music making muscle in to a portable rackmount package with a graphite grey front panel.Receptor PRO has eight times more memory than a regular Receptor almost five times more hard disk space - and a processor that is 33% faster than the base model, all while retaining the same stunningly low latency, super-quiet package design, and robust and portable package.Receptor On Stage Muse has designed the Receptor hardware plug-in player so that performers could simply turn it on, dial up a VST plug-in, and start making music. With its lightning fast MIDI response, durability and stability, Receptor is truly optimized for live performance.Whether syncing to MIDI beat clock, responding to MIDI performance controllers, or recalling complex patches with standard MIDI program change messages, Receptor integrates effortlessly into a live performance environment. And if your roadie kicks out the power cable, Receptor will reboot right back into its proper configuration within 5 seconds! Its flexible and intuitive architecture allows customers to create Receptor environments than can respond to patch changes instantaneously.The Receptor is robust and portable—hosting both today's and tomorrow's best plugins in an easy to use hardware environment. Receptor conforms to the performer's workflow, not the other way around. Do you want a dedicated, stand-alone visual editing and configuration environment? Simply plug a monitor, keyboard, and mouse directly into Receptor and configure it without using a computer. Is the computer the center of your musical universe? Then connect Receptor's Ethernet cable to your computer and graphically control it directly from your Mac or PC. Do you not want to bother with monitors and mice? Receptor is completely controllable from its own front panel using dedicated knobs and buttons.Receptor in the Studio With its whisper-quiet fan and cool, retro appearance, the Receptor VST player belies its true identity—a thoroughly modern, software-configurable module, designed to integrate completely and effortlessly into a network of computer-hosted digital audio workstations.The Receptor is designed for musicians. Its user interface follows a familiar mixer-analogy, allowing users to create patches containing as many as 16 simultaneous stereo plugin instruments. Insert slots, two stereo send busses and the master buss all allow the possibility of adding a whopping 57 additional effects plugins to your sonic assault.Used individually or combined up to 16 individual synthesizers and 57 effects allow for complex sound sculptures unattainable with either computers or hardware. And |
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Universal Audio 2-1176 Twin Vintage Limiting Amplifier : MusiciansFriend : USD2799.0The 1176LN was the compressor that shaped the sound of rock guitar and drums in the '70s and continues to do so to this day. Go to any world-class studio—if you don't see an 1176 or two in the rack, it's because they haven't finished building the studio. And now, thanks to the 2-1176, you can have two of this studio-proven workhorse in one unit. Now you can have the big New York studio drum sound that only comes from strapping an 1176 across your stereo buss. The 2-1176 builds from the circuit design of UA's hugely successful 6176 Channel Strip and combines two 1176 channels from that unit- an uncompromising design, with all the same components- stereo matched to boot!The 2-1176 once again puts that sound into your rack but with twice the tone, twice the character and twice the compression- at an unbelievable price, and half the space. As you would expect from UA, it also retains all the features and trademark sound of its ancestor, and switches easily between dual mono and stereo link. And yes, it does all-buttonAll-button mode or "British mode": For those that don't know, back in the glory days of gonzo recording, an adventurous engineer wanted to know what would happen if you pressed all four compression ratio buttons in at the same time. It was discovered that with all four buttons pressed in, the 1176 made drums jump out of the speakers, and became a much used staple of hard rock drum recording. With thousands of units already sold since the year 2000 re-birth of Universal Audio's 1176LN, it is clear the public's love affair with the legendary sound of the 1176 is still as passionate as ever. |
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Ashly Audio CLX-52 2-Channel Peak Compressor/Limiter : MusiciansFriend : USD299.99The Ashly CLX-52 is a 2-channel compressor/limiter that uses an "infinite soft-knee" characteristic and timing based on compression ratio. This, combined with a dual release time, allows program density to increase as the input signal increases. The result is a peak controller with very low noise, smooth sound, and excellent stereo tracking, and without the usual "constricted" limiter sound. The CLX-52 has many ways to deal with any gain structure. The mechanical design is ready for years of rugged service and is backed by Ashly's exclusive Five Year Worry-Free Warranty. The CLX-52 is extremely useful for such diverse applications as loudspeaker protection, vocal level control, broadcast limiting, musical instrument sustain, special effects, and CD to cassette transfers. |
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Ashly Audio GQX-1502 Dual 15-Band Graphic Equalizer : MusiciansFriend : USD319.99The Ashly GQX-1502 is a graphic equalizer that features two channels of 15-band 2/3-octave EQ and a switchable high-pass filter (40Hz). The full-throw faders are a custom-manufactured metal-shaft type, with the center detented position utilized as an "on/off" switch for that filter (to minimize any possible degradation in signal noise levels). and 10-segment, two color LED meter displays, referencing 0 VU to +4dBu.The GQX models are designed to be significantly quiet without the need for noise reduction to be built into the equalizer circuit. Double-sided circuit boards with ground plane design are used in the filter sections for improved RFI and electrostatic immunity. Precision Wein-Bridge filters and carefully designed summing amplifiers combine to provide extremely accurate response, low noise, negligible distortion, and complete immunity to magnetic fields. All filters exhibit true constant "Q" response with no broadening near the "flat" setting. High slew-rate circuitry throughout the signal path results in clean, quiet, transparent sound. The faders used are a custom-manufactured metal-shaft type, with molded saddle knobs, for the ultimate in reliability and smooth "feel". Ashly's unique "T-Beam" front panel construction eliminates interconnections between the faders and the filters, resulting in a very rugged and rigid front panel. GQX EQ's are covered by a Five Year Worry-Free Warranty. Input and output connections include barrier strip terminals and 1/4" TRS phone jacks, as well as standard locking XLR's. Circuit ground may be lifted from chassis ground via the barrier strip. Ashly's servo-balanced output circuitry maintains unity gain even if pins 2 or 3 are connected directly to ground. The power supply is a universal switching power supply which operates from 90 - 240VAC, 50/60Hz with the power switch located on the rear panel.Applications: monitor systems; front of house sound systems; installations requiring fixed EQ; recording/broadcast studios; DJ systems. |
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Ashly Audio GQX-3102 Dual 31-Band Graphic Equalizer : MusiciansFriend : USD634.99The Ashly GQX-3102 is a graphic equalizer that features two channels of 31-band 1/3-octave EQ, a tunable high-pass filter circuit (8Hz to 200Hz), a switch-selectable cut or boost of either 6dB or 15dB. The full-throw faders are a custom-manufactured metal-shaft type, with the center detented position utilized as an "on/off" switch for that filter (to minimize any possible degradation in signal noise levels). and 10-segment, two color LED meter displays, referencing 0 VU to +4dBu.The GQX models are designed to be significantly quiet without the need for noise reduction to be built into the equalizer circuit. Double-sided circuit boards with ground plane design are used in the filter sections for improved RFI and electrostatic immunity. Precision Wein-Bridge filters and carefully designed summing amplifiers combine to provide extremely accurate response, low noise, negligible distortion, and complete immunity to magnetic fields. All filters exhibit true constant "Q" response with no broadening near the "flat" setting. High slew-rate circuitry throughout the signal path results in clean, quiet, transparent sound. The faders used are a custom-manufactured metal-shaft type, with molded saddle knobs, for the ultimate in reliability and smooth "feel". Ashly's unique "T-Beam" front panel construction eliminates interconnections between the faders and the filters, resulting in a very rugged and rigid front panel. GQX EQ's are covered by a Five Year Worry-Free Warranty. Input and output connections include barrier strip terminals and 1/4" TRS phone jacks, as well as standard locking XLR's. Circuit ground may be lifted from chassis ground via the barrier strip. Ashly's servo-balanced output circuitry maintains unity gain even if pins 2 or 3 are connected directly to ground. The power supply is a universal switching power supply which operates from 90 - 240VAC, 50/60Hz with the power switch located on the rear panel.Applications: monitor systems; front of house sound systems; installations requiring fixed EQ; recording/broadcast studios; DJ systems |
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Ashly Audio MQX-2150 Dual 15-Band Graphic Equalizer : MusiciansFriend : USD239.99The Ashly MQX-2150 is a 15-band graphic equalizer that features 2 channels of fifteen-band 2/3 octave equalization and a switchable high-pass filter in 1RU. MQX Series EQ's use precision filter design and summing circuitry, with each filter exhibiting true constant "Q" response. The center-detented position of each fader acts as an on/off switch for its filter (to minimize any possible degradation to signal noise levels), ensuring absolutely flat response and high signal-to-noise ratios. Instead of 20mm plastic faders typically used by other manufacturers, Ashly uses a custom-manufactured 25mm slide faders. The additional range and accuracy allows ±15 dB of boost or cut adjustment on each individual filter (an Ashly exclusive in this class of product).Input and output connections include 1/4" TRS phone jacks, as well as standard locking XLR's. Ashly's servo-balanced output circuitry maintains unity gain even if pins 2 or 3 are connected directly to ground. The power supply is a universal switching power supply which operates from 90 - 240VAC, 50/60Hz with the power switch located on the rear panel. MQX Series equalizers are covered by an exclusive Five Year Worry Free Warranty.APPLICATIONS: Monitor Systems; Front of House Sound Systems; Installations Requiring Fixed EQ; Recording/Broadcast Studios; DJ Systems |
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Ashly Audio MQX-2310 Dual 31-Band Graphic Equalizer : MusiciansFriend : USD479.99The Ashly MQX-2310 is a Dual 31-band graphic equalizer that features two channels of 1/3 octave EQ in a 2-space rack unit. MQX Series EQ's use precision filter design and summing circuitry, with each filter exhibiting true constant "Q" response. The center-detented position of each fader acts as an on/off switch for its filter (to minimize any possible degradation to signal noise levels), ensuring absolutely flat response and high signal-to-noise ratios.Instead of 20mm plastic faders typically used by other manufacturers, Ashly has selected a custom-manufactured 25mm slide fader device. The additional range and accuracy of this component allow it to offer ñ15 dB of boost or cut adjustment on each individual filter (an Ashly exclusive in this class of product), and use every last bit of panel space so that small panel size doesn't compromise resolution.Input and output connections include 1/4" TRS phone jacks, as well as standard locking XLR's. The MQX-2310 also has barrier strip connections. Ashly's servo-balanced output circuitry maintains unity gain even if pins 2 or 3 are connected directly to ground. The power supply is a universal switching power supply which operates from 90 - 240VAC, 50/60Hz with the power switch located on the rear panel. MQX Series equalizers are covered by an exclusive Five Year Worry Free Warranty.APPLICATIONS: Monitor Systems; Front of House Sound Systems; Installations Requiring Fixed EQ; Recording/Broadcast Studios; DJ Systems |
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Ashly Audio XR-1001 Stereo 2-Way, Mono 3-Way Crossover : MusiciansFriend : USD239.99The Ashly XR-1001 is a Stereo 2-Way, Mono 3-Way crossover based upon a powerful state-variable filter circuit which guarantees that two adjacent frequency band outputs always remain in phase. The XR-1001 crossover offers a number of useful and unusual features, including continuous tuning, a response control, and a unique output stage which maintains low noise at any level setting. It also includes a 200:1 tuning range, output mute switch, and both TRS and XLR connectors. Like other Ashly products, your crossover features low noise and distortion, active balanced inputs, a peak level indicator, a precision regulated power supply, protection against abnormal input or output conditions, and rugged mechanical construction. Conservative design and an unusually thorough procedure for quality control have earned Ashly a reputation for dependability in the recording, sound reinforcement, and broadcast fields.Response Control; an Ashly Exclusive... This control, found adjacent to the crossover frequency control, adjusts the damping of the filter affecting the response shape of the filters at the crossover point. The dial calibrations refer to the amount of attenuation effected by the filter at the crossover frequency, i.e., a setting of 3dB means that the filter's high-pass and low-pass outputs are each "rolled off 3dB at the crossover point". This describes Butterworth filter response, or a gentle 3dB peak at the crossover point when the two filter output signals overlap. To obtain a flat signal, or "Linkwitz-Riley" response through the crossover region, set the Response control to "6". This attenuates each output of the filter by 6dB at the crossover point (two identical signals added together yield a +6dB increase). To obtain a notch at the crossover point, turn down the response control past "6" to best suit your needs.The purpose of this control is to help offset the inaccuracies inherent in typical loudspeakers, thereby helping you to achieve a flat system response. NOTE: The Response control is not a "slope" control. A 24dB/octave crossover will always have a slope of 24dB/octave. The Response control only affects filter response shape in the immediate vicinity of the crossover frequency; the ultimate crossover slope is a fixed parameter. |
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Ashly Audio XR-2001 Stereo 3-Way, Mono 4/5-Way Crossover : MusiciansFriend : USD359.99The Ashly XR-2001 is a Stereo 3-Way, Mono 4/5-Way crossover based upon a powerful state-variable filter circuit, which guarantees that two adjacent frequency band outputs always remain in phase. The XR-2001 crossover offers a number of useful and unusual features, including continuous tuning, a response control, and a unique output stage which maintains low noise at any level setting. It also includes a 200:1 tuning range, output mute switch, and both TRS and XLR connectors. Like other Ashly products, this crossover features low noise and distortion, active balanced inputs, a peak level indicator, a precision regulated power supply, protection against abnormal input or output conditions, and rugged mechanical construction. Conservative design and an unusually thorough procedure for quality control have earned Ashly a reputation for dependability in the recording, sound reinforcement, and broadcast fields.Response Control; an Ashly Exclusive... This control, found adjacent to the crossover frequency control, adjusts the damping of the filter affecting the response shape of the filters at the crossover point. The dial calibrations refer to the amount of attenuation effected by the filter at the crossover frequency, i.e., a setting of 3dB means that the filter's high-pass and low-pass outputs are each "rolled off 3dB at the crossover point". This describes Butterworth filter response, or a gentle 3dB peak at the crossover point when the two filter output signals overlap. To obtain a flat signal, or "Linkwitz-Riley" response through the crossover region, set the Response control to "6". This attenuates each output of the filter by 6dB at the crossover point (two identical signals added together yield a +6dB increase). To obtain a notch at the crossover point, turn down the response control past "6" to best suit your needs.The purpose of this control is to help offset the inaccuracies inherent in typical loudspeakers, thereby helping you to achieve a flat system response. NOTE: The Response control is not a "slope" control. A 24dB/octave crossover will always have a slope of 24dB/octave. The Response control only affects filter response shape in the immediate vicinity of the crossover frequency; the ultimate crossover slope is a fixed parameter. |
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Ashly Audio XR-4001 Stereo 4-Way/Mono 7-Way Crossover : MusiciansFriend : USD424.99The Ashly XR-4001 Stereo 4-Way (Mono 7-way ) rackmount crossover is based upon a powerful state-variable filter circuit, which guarantees that two adjacent frequency band outputs always remain in phase. The XR-4001 Crossover offers a number of useful and unusual features, including continuous tuning, a response control, and a unique output stage which maintains low noise at any level setting. It also includes a 200:1 tuning range, output mute switch, and both TRS and XLR connectors. It features low noise and distortion, active balanced inputs, a peak level indicator, a precision regulated power supply, protection against abnormal input or output conditions, and rugged mechanical construction. The XR-4001 Crossover has a conservative design and an unusually thorough procedure for quality control have earned Ashly a reputation for dependability in the recording, sound reinforcement, and broadcast fields.Response Control; an Ashly Exclusive... This control, found adjacent to the crossover frequency control, adjusts the damping of the filter affecting the response shape of the filters at the crossover point. The dial calibrations refer to the amount of attenuation effected by the filter at the crossover frequency, i.e., a setting of 3dB means that the filter's high-pass and low-pass outputs are each "rolled off 3dB at the crossover point". This describes Butterworth filter response, or a gentle 3dB peak at the crossover point when the two filter output signals overlap. To obtain a flat signal, or "Linkwitz-Riley" response through the crossover region, set the Response control to "6". This attenuates each output of the filter by 6dB at the crossover point (two identical signals added together yield a +6dB increase). To obtain a notch at the crossover point, turn down the response control past "6" to best suit your needs.The purpose of this control is to help offset the inaccuracies inherent in typical loudspeakers, thereby helping you to achieve a flat system response. NOTE: The Response control is not a "slope" control. A 24dB/octave crossover will always have a slope of 24dB/octave. The Response control only affects filter response shape in the immediate vicinity of the crossover frequency; the ultimate crossover slope is a fixed parameter.About Ashly Ashly is a name that's well-known among top sound reinforcement professionals, however, for those who don't know, it's a company that began over 30 yeas ago as a group recording engineers, concert sound professionals, and electronics designers who built elaborate custom consoles with built-in electronic crossovers, compressor/limiters, and parametric equalizers. Today, Ashly Audio is recognized as a world leader in quality signal processing equipment and power amplification.Initially, Ashly's first customers were friends and associates, and naturally, as with any product designed and built by those who actually use the gear professio |
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TC Electronic Powercore X8 DSP Rack Processor : MusiciansFriend : USD1499.0Improve your studio production instantly with the addition of a PowerCore X8 rackmount processor which features 8 fast DSPs, ample RAM, and 14 built in plug-ins. Whether you're reworking a complex mix on a laptop or other complicated, demanding projects like mastering dynamics in the recording studio, the PowerCore X8's internal floating-point Power PC and 150MHz Motorola DSPs will provide optimal signal processing as well as solid integration with your DAW, without draining your CPU's resources.PowerCore X8 ships with PowerCore 3.0 software, a vast update to the previous incarnations and features new interfaces for each of the plug-ins, liquid signal meters for better overview during mixing and mastering, parallel compression, as well as a redesigned sidechaining option. The collection of plug-ins includes a virtual finalizer (Master X), a vintage compressor, voice channel stripper, two TC-quality reverbs, modulation effects, EQs, synthesis, and more. You also get a voucher worth $500, which you can redeem at www.TC-Now.com for additional PowerCore plug-ins that fit your needs. The PowerCore X8 signal processor is compatible with all VST host applications, Apple's AU format, and RTAS (Pro Tools) via a wrapper obtainable at www.fxpansion.com, It also works with several film and post applications making it a highly versatile and desirable piece of hardware for any professional studio engineer or musician. |
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Ashly Audio Protea 4.24C Speaker Processor : MusiciansFriend : USD1435.0The Ashly Protea 4.24C is a 4-input, 8-output speaker processor coupled with a user interface that is so easy you won't even need the manual to set up your system. The Protea System II 4.24C Digital Crossover/System Processor has all the audio processing tools needed for precise crossover and sound control. Each input allows you to control gain, delay and six parametric, low or high shelf filters. In addition to setting crossover frequencies, each output may be assigned to any one or a combination of inputs, allows you to program four parametric, low or high shelf filters, delay for time delay adjustments, output gain, reverse polarity and a compressor/limiter for speaker protection. All this in a one rack space with XLR input and output connections. You may also program and control the 4.24C with Ashly's Protea System Software (Windows™ 95, 98, 2000, XP and NT platforms), AMX NetLinx, MIDI or SIA-Smaart software. In all, the Protea 4.24C is a powerful tool for use in fixed installation and live sound applications. |
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Ashly Audio Protea 3.24CL 3-In, 3-Out Speaker Processor : MusiciansFriend : USD830.0The Ashley Protea 3.24CL was developed for smaller audio systems requiring fewer inputs and outputs without sacrificing sonic quality. The Protea 3.24CL processor has 3 inputs and 3 outputs coupled with an incredibly easy user interface on the front panel with all the audio processing tools you need for precise crossover, system control and superior sound.Each input allows you to control gain, delay and 6 filters (each of them your choice of parametric, low or high shelf). Each output permits you to set your crossover frequencies and may be assigned to any one or a combination of inputs. Additionally, you can program 4 filters (each of them your choice of parametric, low or high shelf), control delay for time delay adjustments, adjust output gain, reverse polarity and control a compressor/limiter for speaker protection. All this in one rack space with XLR input and output connections. |
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Ashly Audio Protea 4.24G 4-Channel Graphic EQ System Processor : MusiciansFriend : USD1370.0Full control of the Protea 4.24G 4-Channel Graphic EQ System Processor is accomplished from the front panel in an intuitive and straight-forward layout. It's like using your old analog equalizer, only with extra features and benefits to simplify your audio chain requirements. Housed in an all-steel 2RU package, the 4.24G has all the audio processing tools needed for flawless equalization and sound control. In addition to 28 bands of 1/3-octave EQ are a programmable compressor/limiter for speaker protection and programmable delay of up to 1.364 seconds for time delay applications required by speaker arrays and clusters or monitor speakers. Individual, programmable 24dB/octave high- and low-pass filters allow you to zero in and fine tune the audio spectrum you need to work in. A large 240 x 64 fluorescent backlit display keeps you constantly informed of every parameter, function and utility, including metering and user preferences. The 4.24G may be controlled from a remote location using the Protea 4.24RD. |
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Ashly Audio Protea 4.24GS 4-Channel Graphic EQ Sys Processor : MusiciansFriend : USD975.0The Ashly Proteo 4.24GS allows for the installation of multiple channel graphic equalizers where tamperproof, sound shaping equalization is required. Easily control and program the 4.24GS from the 4.24G Main Unit, 4.24RD Remote Control, with a MIDI controller, or with Ashly's exclusive Protea System Software running on a PC. The Protea 4.24GS is housed in an all-steel, 2RU chassis, and has two independent channels of fully programmable 28-band graphic EQ with with limiter, high- and low-pass filter, and time delay functions.Each channel allows for 28 bands of 1/3-octave, ISO centered, constant Q filters, ranging from 31Hz to 16kHz. High and low pass filters are 24dB/octave adjustable from 20Hz to 10.6kHz and 33Hz to 20kHz, respectively. Time delay is adjustable up to 1.364 seconds. Other features include 24-bit A/D-D/A conversion, 24-bit/100MHz digital processing, RS-232, and MIDI interface, linkable channels, +6dB/-infinity master gain, and 128 preset locations. The 4.24GS displays individual channel numbers with 7-segment displays. Discrete LEDs indicate signal present and signal clip levels. Rear-panel connections include balanced XLR and 1/4" ins/outs for each channel, RS-232, MIDI In, Out/Thru, and Ashly's exclusive digital remote control protocol via two standard XLR connectors. |
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Ashly Audio Protea 4.24PS 4-Channel Parametric EQ Sys Processor : MusiciansFriend : USD975.0The Protea 4.24PS 4-Channel Parametric EQ Sys Processor lets you install multiple channel parametric equalizers where tamperproof, precise audio equalization is required. Easily control and program the Protea EQ with Ashly's exclusive Protea System Software running on a PC or a MIDI controller. The Protea 4.24PS is housed in an all-steel, 2RU chassis, and has four independent channels of fully programmable 12 band parametric EQ with with limiter, high- and low-pass filter, and time delay functions.Each parametric band allows for 1/25th to 3.3 octave Q, a twenty-four step/octave frequency adjustment from 20Hz to 20KHz and level control of +10/-20dB in 0.5dB increments. High and low shelf filters are adjustable from 1.6kHz to 20kHz and 20Hz to 240Hz, respectively. High and low pass filters are 24dB/octave adjustable from 20Hz to 10.6kHz and 33Hz to 20kHz, respectively. Time delay is adjustable up to 1.364 seconds.Other features include 24-bit A/D-D/A conversion, 24-bit/100MHz digital processing, RS-232, and MIDI interface, linkable channels, +6dB/-infinity master gain, and 128 preset locations. Both units display individual channel numbers using 7-segment displays. Signal present and signal clip levels are indicated by discrete LEDs. |
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Lexicon PCM 91 Digital Reverb : MusiciansFriend : USD1999.95The PCM 91 puts Lexicon's highest quality reverbs in a compact, affordable package with a powerful interface allowing easy access and a wealth of programming capabilities. All of the features of the acclaimed PCM90 are included, plus full AES/EBU I/O. Also features Dual Reverb algorithms and new presets with dynamic spatialization effects for 2-channel or surround applications. All of the Dual Reverb algorithms and presets available for the PCM 90 on cards are built into the 91. Any of its 450 presets can be found quickly using a unique KeyWord search and sort function. A PCM CIA card slot allows you to store programs on memory cards. |
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Ashly Audio Protea 2.24GS 2-Channel Graphic EQ Sys Processor : MusiciansFriend : USD650.0The Protea 2.24GS 2-Channel Graphic EQ lets you install multiple channel graphic equalizers where tamperproof, sound shaping equalization is required. Easily control and program the 2.24GS from the 4.24G Main Unit, a 4.24RD Remote Control, a MIDI controller or with Ashly's exclusive Protea System Software on a PC. The Protea 2.24GS is housed in an all-steel, 1RU chassis, and has two independent channels of fully programmable 28-band graphic EQ with limiter, high- and low-pass filter, and time delay functions.Each channel allows for 28 bands of 1/3-octave, ISO centered, constant Q filters, ranging from 31Hz to 16kHz. High and low pass filters are 24dB/octave adjustable from 20Hz to 10.6kHz and 33Hz to 20kHz, respectively. Time delay is adjustable up to 1.364 seconds. Other features include 24-bit A/D-D/A conversion, 24-bit/100MHz digital processing, RS-232, and MIDI interface, linkable channels, +6dB/-infinity master gain, and 128 preset locations. The 2.24GS displays individual channel numbers with 7-segment displays. Discrete LEDs indicate signal present and signal clip levels. Rear-panel connections include balanced XLR and 1/4" ins/outs for each channel, RS-232, MIDI In, Out/Thru, and Ashly's exclusive digital remote control protocol via two standard XLR connectors. |
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Ashly Audio Protea 2.24PS 2-Channel Parametric EQ Sys Processor : MusiciansFriend : USD650.0The Protea 2.24PS 2-Channel Parametric EQ allows for the installation of multiple channel parametric equalizers where tamperproof, precise audio equalization is required. Ashly's exclusive Protea System Software running on a PC or a MIDI controller can easily control and program the processor. The Protea 2.24PS is housed in an all-steel, 1RU chassis, and has two independent channels of fully programmable 12-band parametric EQ with with limiter, high- and low-pass filter, and time delay functions.Each parametric band allows for 1/25th to 3.3 octave Q, a 24-step/octave frequency adjustment from 20Hz to 20KHz and level control of +10/-20dB in 0.5dB increments. High and low shelf filters are adjustable from 1.6kHz to 20kHz and 20Hz to 240Hz, respectively. High and low pass filters are 24dB/octave adjustable from20Hz to 10.6kHz and 33Hz to 20kHz, respectively. Time delay is adjustable up to 1.364 seconds.Other features include 24-bit A/D-D/A conversion, 24-bit/100MHz digital processing, RS-232, and MIDI interface, linkable channels, +6dB/-infinity master gain, and 128 preset locations. Both units display individual channel numbers using 7-segment displays. Signal present and signal clip levels are indicated by discrete LEDs. |
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Furman M-8X Power Conditioner : MusiciansFriend : USD59.95The Furman M-8X Power Conditioner is the perfect low-cost AC power solution for any rackmount system. The Merit Series M-8X has eight switched AC outlets in the rear panel to power and protect all your equipment with up to a 15-amp load.The Furman M-8X protects your delicate electronic equipment by combining high voltage varistor (MOV) surge and transient suppressors. The fast-acting suppression circuit quickly responds and clamps transient voltages to safe levels. An RFI/EMI interference filter works to prevent noise from fluorescent lights, certain dimmers, radio transmitters, and similar sources of electronic pollution from contaminating the AC line and from there, leaking into sensitive audio, video, or computer circuits. The Furman M-8X Power Conditioner is NRTL/TUV listed. |
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Furman Merit M-8LX Power Conditioner with Lights : MusiciansFriend : USD89.95The Furman Merit M-8LX Power Conditioner is the perfect low-cost AC power solution for any rackmount audio system. The Merit M-8LX has eight switched AC outlets in the rear panel to power and protect all your equipment with up to a 15-amp load.The Furman Merit M-8LX protects your delicate electronic equipment by combining high voltage varistor (MOV) surge and transient suppressors. The fast-acting suppression circuit quickly responds and clamps transient voltages to safe levels. An RFI/EMI interference filter works to prevent noise from fluorescent lights, certain dimmers, radio transmitters, and similar sources of electronic pollution from contaminating the AC line and from there, leaking into sensitive audio, video, or computer circuits. NRTL/TUV listed.The Furman Merit M-8LX Power Conditioner features 2 slide out, swiveling light fixtures to provide discreet illumination of your equipment on stages, in studios, and in other dark places. A dimmer knob lets you adjust the lamp brightness to just the right level. |
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Furman M-8DX Power Conditioner with Lights and Meter : MusiciansFriend : USD124.95The Furman Merit Series M-8DX Power Conditioner is the perfect low-cost AC power solution for any rackmount audio system. The M8-DX has eight switched AC outlets in the rear panel power to protect all your equipment from power surges with up to a 15-amp load.The M-8DX power conditioner protects your audio electronic equipment by combining high voltage varistor (MOV) surge and transient suppressors. The fast-acting suppression circuit quickly responds and clamps transient voltages to safe levels. An RFI/EMI interference filter works to prevent noise from fluorescent lights, certain dimmers, radio transmitters, and similar sources of electronic pollution from contaminating the AC line and from there, leaking into sensitive audio, video, or computer circuits. NRTL/TUV listed.Featuring two slide-out, swiveling light fixtures, The Furman M-8DX Conditioner provides discreet illumination of your equipment on stages, in studios, and in other dark places. A dimmer knob lets you adjust the lamp brightness to just the right level. It also features a digital LED voltmeter to display incoming line voltages. |
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DigiTech Vocalist Live Pro Vocal Harmony Processor : MusiciansFriend : USD599.95The Digitech Vocalist Live Pro Vocal Harmony Processor enables you to generate live multi-part vocal harmonies accompanied by your keyboard or guitar. Singers can now have their own line of back-up singers harmonizing in perfect pitch.How the magic happens: The harmony effects processor utilizes the musIQ technology that combines new Note Detection algorithms from your guitar or keyboard. Along with state-of-the-art Harmony Generation, and the raw power of AudioDNA2, the Vocalist Live Pro can create real-time harmonies with your live voice that are in key and perfectly on pitch.Packed full of world-class features: With all that processing power, Digitech was able to pack it full of other features as well. Including world-class Lexicon Reverbs, Soundcraft low-noise studio-grade mic preamp, real-time pitch correction for each voice, individual persona and gender selection per voice, configurable outputs, tuner, 99 user factory presets and more. Footswitch not included. |
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Grace Design m101 Microphone Preamp : MusiciansFriend : USD565.0In 2000, the Grace Design model 101 microphone preamp helped fuel a revolution. When people took professional recording into their own hands, it was there with all of the quality and performance of a high-end mic preamplifier, but with a price that made it available to the masses. 8 years later, and the cause moves forward with the newly redesigned m101 preamp.With its impressive list of new features, the m101 is ready to give any mic preamplifier a run for its money. Consider the new audio signal path with 0.5% precision metal film resistors, 12 position gold plated rotary gain switch, a built-in universal AC input module, or our exclusive RIBBON mic mode - and the picture becomes clear: This is now a fully professional, state of the art precision mic preamp that roundly outperforms anything in its class. All this at the same affordable price of the original model 101.Note: For a truly outstanding sound and value, we suggest using the Grace m1011 with the CAD e300 condenser mic (see (#271261) for amazingly clear and detailed, yet warm-sounding vocals. |
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Lexicon DFS Dual Momentary FTS : MusiciansFriend : USD39.99The Lexicon DFS Dual Momentary FTS includes one momentary contact switch for the tip and one for the ring of the included TRS plug. |
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Electro-Harmonix 12AY7 Tube Microphone Preamp : MusiciansFriend : USD189.99With the Electro-Harmonix 12AY7 Tube Microphone Preamp, Electro-Harmonix offers an affordable tube micrphone preamp that won't disappoint. Equipped with a 12AY7 EH tube and a 12AU7 EH driver, it gives microphones the widest dynamic range with the warmest possible tone and accuracy. The 12AY7 Mic Pre uses an actual 200V supply instead of the "faked out" 12 or 48 volts you'd get with common models and delivers 50dB of gain into a high impedance load or 40dB gain into 600 ohms. The 12AY7 Mic Preamp's special FET current-balancing circuit allows the tubes to amplify the microphone signal to line level while eliminating noise and protecting against hum and hostile electrical environments. It has an extra TRS output for separate line control, which can be used as a splitter or an aux send for monitoring. Input connections are balanced in and out (XLR) with a 1/4" TRS balanced buffer out. The Electro-Harmonix mic pre unit also boasts a phase reverse switch and a +4dBm indicator light for setting optimal mic level. The 48V phantom power is soft starting and pop-free. |
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Furman Cable For HDS-16 : MusiciansFriend : USD125.025' Furman cable for use with HRM-16. |
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Furman ADP-1520 Pro Series Adapter Cord : MusiciansFriend : USD19.95This AC adapter cord lets you use 20 amp products with 15 amp applications. Approximately 12 inches long, the Furman ADP-1520 Adapter Cord has a 3 year warranty. |
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Furman HR-2 Headphone Remote Station : MusiciansFriend : USD89.95The Furman HR-2 Headphone Remote Station is a passive device intended for use with the Furman HA-6A headphone/monitor amp (sold separately). With the HR-2 you can increase the number of headphone stations beyond the 6 provided and locate them more conveniently. The Furman HR-2 may also be used with any stereo power amplifier of 50W per channel or less to convert it to use as a headphone distribution amplifier. The Furman SP-20A half-rack 20W-per-channel amp (sold separately) has the required adapter built in. Includes 3-year warranty.The HA-6A connects to the first HR-2 box; another mic cable connects the first HR-2 to the second HR-2; a third mic cable connects the second HR-2 to the third HR-2; and so on. If low impedance headphones are used, up to 12 HR-2s may be chained together. If medium or high impedance headphones are used, 25 or more Remote Stations may be chained. |
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Furman AR-1215 AC Line Regulator : MusiciansFriend : USD549.95The Furman AR-1215 AC Line Regulator protects against spikes and surges, and shields equipment from brownout voltage drops. Delivers a consistent 120V ±5V anywhere within capture range of 97-141V AC. An 11-LED bar graph voltmeter provides visual monitoring of input voltage, plus there's an over-voltage shutdown indicator LED. Provides 9 regulated, conditioned outlets, 8 on rear and one up front. RFI filtering provides quiet operation. Occupies one rack space. |
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Furman SS-6B Surge Block : MusiciansFriend : USD29.956-outlet block, heavy-duty metal construction, 15' power cord, illuminated on/off switch, circuit breaker, and EMI/RFI noise attenuation make it an effective power strip to supply to protect your gear. Black color blends in onstage. |
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Furman PS-PRO Series II AC Power Conditioner/Sequencer : MusiciansFriend : USD429.95The Furman PS-PRO Series II AC Power Conditioner/Sequencer offers you some of the world's most advanced and comprehensive transient voltage surge suppression technologies. In addition to the Series Multi-Stage Protection (SMP) circuit this A/C Power Sequencer also features Furman's exclusive Linear Filter Technology (LiFT). Series Multi-Stage Protection Furman's maintenance-free 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. With Furman's SMP, however, damaging transient voltages are safely absorbed, clamped and dissipated. No sacrificed parts, no service calls, no down time. Unique to Furman's SMP is its unparalleled clamping voltage. Unlike some series mode suppressors, Furman's maintenance free feature is not at the expense of potential equipment failure! While other designs offer clamping voltages that are well above 300Vpk, Furman's SMP clamps at 188Vpk, 133 VAC RMS even when tested with multiple 6000Vpk - 3000 amp surges! This unprecedented level of protection is only available with Furman's SMP technology. Additionally, Furman's trusted over-voltage circuitry protects against all too frequent open neutral wiring, or accidental connections to 208 or 240 VAC. Furman's SMP with over voltage protection immediately shuts off the incoming power until the over voltage condition is corrected.Linear Filtering Technology Unfortunately, traditional AC conditioners have been designed for unrealistic laboratory conditions. Prior technologies, whether multiple pole filter or conventional series mode, could actually harm audio and video performance more than they help, due to the resonant peaking of their antiquated, non-linear designs. Under certain conditions, these designs can actually add more than 10 dB of noise to the incoming AC line! Worse still, lost digital data, the need to reboot digital presets, or destroyed digital converters are frequently caused by excessive voltage spikes and AC noise contaminating the equipment ground. Furman's SMP with LiFT takes another approach, ensuring optimal performance through linear filtering and no leakage to ground.The PL-PRO II features LED rack lights which produce virtually no heat and provide an extremely long life span. A dimmer control for the rack lights allows the user to adjust the level of illumination or simply switch the lights off. Additionally, all units include a rear mounted BNC jack which accepts any standard (12VAC, 0.5A) gooseneck lamp for rear rack illumination, as well as a front panel switch which controls the gooseneck's operation. A front panel mounted master power switch is protected by a hinged cover, preventing accidental disconnection of AC power to the unit's outlets. The front-panel circuit breaker - power switch can be quickly and |
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Furman Power Factor Pro Power Conditioner : MusiciansFriend : USD389.95Maybe the only thing lacking in your music is the Furman Power Factor Pro Power Conditioner. The quality of AC power has been so poor for so long, most musicians have no idea how great their amplifiers could really sound. When the AC power factor is poor, amplifiers sound muddy because their power supplies can't deliver when pushed. The scream and cry from a guitar loses bite and harmonics, basses lose their punch and weight, keyboards sound nasal and lose clarity, attack, and extension. The answer is Furman's Power Factor Pro.The Power Factor Pro's Clear Tone Technology actually lowers the AC line impedance supplied by your wall outlet, while storing energy for peak current demands. In fact, there are over 45 amps of instantaneous current reserve in the Power Factor Pro. Additionally, Linear Filtering Technology dramatically lowers AC line noise to unprecedented levels in the critical audio frequency band. What does this mean? Just plug in your current starved amplifier, crank up the volume, and listen to the dynamics, harmonics, and clarity you've been missing!Additionally, the Power Factor Pro is the most comprehensive power conditioner ever created for the serious musician. Maintenance free - Series Multi-Stage Protection guards your equipment from voltage spikes that can damage your clamps at 188 Vpk, 133 VAC RMS even when tested with multiple 6000 VAC - 3000 amp surges! The pro level over-voltage auto shutdown circuit assures you will never see your prized amplifier go up in flames because of a sustained voltage overload. The Power Factor Pro has a generous 12-amp RMS capacity; a convenient 20-segment AC voltmeter; a detachable, locking AC cord; and 4 AC outlets, all contained in a small, convenient, floor-standing package. |
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PreSonus HP60 6-Channel Headphone Amplifier : MusiciansFriend : USD299.95The PreSonus HP60 is among the most flexible and advanced headphone amplifier systems available for professional and project recording studios as well as live sound in-ear monitoring systems. Loaded with six independent, loud and clear headphone amplifiers, the rackmountable HP60 features dual stereo inputs as well as external input, for each channel allowing you to mix between three stereo audio streams (mix A, mix B, and external input). Stereo output is also available on each channel to send line level headphone channel mixes to additional headphone amplifiers or monitor systems.Each channel features headphone level, mix control between A and B inputs, external input volume, mute and mono. The HP60 also features talkback via external XLR microphone input.A common set up for the Presonus HP60 Headphone Amplifier in a recording session is to send the main control room mix to input A. Send the click track to input B. Send each band member the direct output of their recording channel from the DAW to the external input of their headphone channel in the HP60 (more me). This will allow each band member to create a mix between the main mix, the click track, and themselves. |
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PreSonus HP60 6-Channel Headphone Amplifier Factory B-Stock : MusiciansFriend : USD229.0The PreSonus HP60 is among the most flexible and advanced headphone amplifier systems available for professional and project recording studios as well as live sound in-ear monitoring systems. Loaded with six independent, loud and clear headphone amplifiers, the rackmountable HP60 features dual stereo inputs as well as external input, for each channel allowing you to mix between three stereo audio streams (mix A, mix B, and external input). Stereo output is also available on each channel to send line level headphone channel mixes to additional headphone amplifiers or monitor systems.Each channel features headphone level, mix control between A and B inputs, external input volume, mute and mono. The HP60 also features talkback via external XLR microphone input.A common set up for the Presonus HP60 Headphone Amplifier in a recording session is to send the main control room mix to input A. Send the click track to input B. Send each band member the direct output of their recording channel from the DAW to the external input of their headphone channel in the HP60 (more me). This will allow each band member to create a mix between the main mix, the click track, and themselves. |
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Aphex 661 Expressor Compressor/Limiter : MusiciansFriend : USD749.0The Aphex 661 Expressor Compressor/Limiter is a totally new type of compressor incorporating vacuum tube technology with the latest innovations in audio compression. It features Tubessence, Easyrider, and High Frequency Expander patented circuits for compression that is both warm and full-sounding without the high heat, bulk, short life, fragility, and sonic variability found in traditional tube designs. You also get automatic attack and release times that eliminate any guesswork in your settings. |
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Aphex 204 Aural Exciter and Optical Big Bottom : MusiciansFriend : USD249.0The Aphex 204 Aural Exciter and Optical Big Bottom delivers increased presence, depth, and clarity to your recording, mixing, and mastering projects and does it all with little or no increase in peak output. The Aural Exciter's patented processes restore natural brightness to your music through dynamic harmonic enhancement. In a mix, this creates more space and dimensionality and gives individual tracks room to breathe. The Optical Big Bottom adds density to the low end that increases presence and punch and dramatically enhances bass frequencies without overloading speakers or recorders. Single rackspace. |
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Aphex 622 2-Channel Logic-Assisted Expander Gate : MusiciansFriend : USD499.99The Aphex 622 2-Channel Logic-Assisted Expander Gate is one of the best commercially available noise gates. Provides you with the lowest distortion, widest frequency response, and no clicks. Ultra-quiet and reliable. Can be used in recording and live performance. the Aphex 622 features Logic Assisted Gate Circuitry, an ultrapure audio path with voltage-controlled attenuator to assure highest quality audio, dedicated downward expander mode, parametric key input filters, switchable ducking mode, simple and accurate metering, and servo-balanced input and output circuits. |
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Aphex 207D Tube Microphone/Instrument Preamp with Digital Out : MusiciansFriend : USD599.0The Aphex 207D Tube Microphone/Instrument Preamp with Digital Out adds AES/EBU and S/PDIF digital outputs to the popular 207 tube preamp, providing direct digital connection throughout your signal chain, with up to 96kHz sampling rates. The 207D also adds word clock for digital clocking synchronization.The Aphex 207D is an audiophile-quality 2-channel tube mic preamp designed to reveal the subtlety and power of vintage condensers, ribbons, electrets, and popular dynamic mics. MicLim circuitry offers virtually crashproof performance making it a perfect front end for digital recorders. An insert loop is provided for adding effects prior to conversion. Offers up to 65dB of continuously variable gain, 48V phantom power, polarity select, -20dB pad, low cut filter switches, switchable -10dBv or +4dBu operating levels, balanced XLR and TRS I/O, and a delayed turn-on circuit for speaker protection.The Aphex 207D tube preamp makes use of patented Reflected Plate Amplifier (RPA) technology, a true vacuum tube circuit which has all the desired characteristics without the heat, fragility, sonic variability, short life, and high frequency roll-off of conventional tube designs. |
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Aphex 230 Master Voice Channel Tube Mic Pre : MusiciansFriend : USD799.0The Aphex 230 Master Voice Channel Tube Mic Pre is an indispensable broadcast station tool. Youll find them in the production room, or installed as a permanent on-air feed-through for pumping up voices. The Aphex 230 also makes a powerful and easy-to-use channel for home and project studios with its reflected-plate amplifier tube mic preamp design plus compression, gating, de-esser, parametric EQ, aural exciter, and a bottom booster. |
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Musicians Gear 9V Non-Regulated Power Supply : MusiciansFriend : USD9.99This non-regulated power supply is for the Zoom 504, 505, 506, 507, 508, 509 and 510. |
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Tube-Tech CL 1B Compressor : MusiciansFriend : USD2970.0The all-tube amplified Tube-Tech CL 1B Compressor has become to go-to compressor for top studios, producers and engineers. Known for the marvelous sonic characteristics it imparts without making its presence obvious, the CL 1B particularly shines on vocals. The CL 1B also offers the ability to link up to ten units together and a unique attack/release feature, not found on other compressors, that enables two CL 1Bs to provide program-dependent, overall mix compression.Tube-Tech CL 1B Compressor, First Take: All-tube-amplified optocompressor Non-degrading gain reduction element Unique Fix/Man control allows automatic program-dependent operation Link bus allows up to ten CL 1Bs to be linked together Balanced I/O and floating transformersAll-Tube Ampifier The amplifier consists of two tubes (valves) in push-pull configuration (one ECC 83 as the pre-amp and phase splitter, and one ECC 82 as the output stage), and an output transformer. The power supply for the preamp and phase splitter are stabilized and the heaters of both tubes (valves) are fed with a stabilized DC voltage. The whole amplifier (including input and output transformer) and the power supplies are placed on one PC-board. Both input and output are balanced (600 Ohms) and fully floating. The in/out key switches the compressor in and out without clicks.The side chain is the only part of the compressor that contains semiconductors. They are used for three reasons: First, they do not affect the sound reproduction. Second, they have a high slew rate, which is of importance for the performance of the compressor in regard to how fast it responds to input signals, and third, they don't take up much room. It contains two J-FET quad op-amps, one npn-transistor and one FET-transistor, which handles the signal for the gain-reduction element. Non-Degrading Gain Reduction Element The CL 1B differs from many other compressors, in that the gain reduction element is made from a non-semiconductor element, which in itself has a very low harmonic distortion and none of the non-linearity problems involved when using most semiconductor elements. Furthermore there is no long-term degradation of the element thus giving it almost infinite life. This signal processor is placed after the input-transformer of the compressor and followed by an all tube-based amplifier with a gain of 0dB to +30 dB. Thus the signal is not fed through any semiconductor circuitry on its way to the output. Unique Fixed/Manual Attack and Release Control To control attack and release, the CL 1B contains two time constants circuits: fixed attack and release times and variable attack and release times. The three position attack/release select switch makes it possible to use these two circuits separately, or combine their functions. This setting (Fix/Man) provides a unique feature not available in other compressors. In the combined mode, the attack- and release controls make it possible to obtain a complex release-time slope that is progr |
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Solid State Logic Xlogic G Series Compressor : MusiciansFriend : USD3495.0Do you know the secret of how to give your mixes that finished record sound that you've heard on professional recordings for over twenty years? We do — and now so will you. It's the center console stereo bus compressor from the Solid State Logic SL 4000 G Series console, the world's most successful studio production console. Can't afford the $500K price tag? Not to worry, SSL has taken the G Series center compressor, racked it, and added their latest SuperAnalogue design topology, to bring you the XLogic G Series Compressor. The ability to 'patch' into the SL 4000's center compressor, and also control its sidechain from an internal sub-mix, allowed engineers to discover the amazingly unique qualities of this compressor for use on instruments like piano and drums, as well as its classic mix-finalizing capabilities. As a result, the center compressor was considered to be an essential tool by recording professionals, which created demand for a rackmountable unit, and thankfully, SSL responded. The XLogic G Series Compressor is a 1-space rack mounting stereo compressor that utilizes the classic SSL G Series center compressor design elements within a SuperAnalogue design topology. It is the latest version of the same compressor found in the Solid-State Logic SL 4000, and it uses the same classic twin VCA design as its console counterpart. Combined with improved input and output circuitry, this new unit provides spectacular audio performance with universally acclaimed audio compression characteristics that have provided numerous hit mixes for the world's best audio engineers. A key element in the sound of many of these recordings is punch and drive created by the classic G-series center compressor — but we don't have to try to tell you what the G Series Compressor sounds like cause you've already heard it. All you need to know is that if you strap one across the stereo bus of your DAW or console, you'll have it too. |
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Tube-Tech CL 2A Dual Compressor : MusiciansFriend : USD3960.0If one channel of Tube-Tech compression isn't enough for you, here's the Tube-Tech CL 2A Dual Compressor, which features two independent optical compressors-it's like having two CL 1Bs, giving you the added advantage of stereo compression for keyboards, drum overheads, bass (mic + DI), stereo bus, and multi-mic recording. Of course, just like the CL 1B, it absolutely shines on vocals. Once you have Tube-Tech compression in your signal path, you'll wonder how you ever recorded without it. Tube-Tech CL 2A Dual Compressor, First Take: All-tube amplified optocompressor with non-degrading gain reduction element Two link busses allow up to ten CL 2As can be linked together Balanced I/O and floating transformers All-Tube Amplified Optocompressor The rack mount Tube-Tech CL 2A compressor is a dual optocompressor with the optical gain reduction element placed after the input transformer and then followed by an all tube-based output amplifier with a +10 dB gain. Therefore, the signal is not fed through any semiconductor circuitry on its way to the output, which contributes to the signal clarity of the CL 2B. Additionally, The optical gain unit does not experience any degradation over the long term, providing nearly infinite life. The amplifier is based on two tubes (dual triodes) in push-pull configuration (one ECC 83 as a differential amplifier, and one ECC 82 as the output stage), and an output transformer. The power supply for the differential amplifiers is stabilized and the heaters of all four tubes are fed with a stabilized DC voltage. Stereo and Multi Link Mode A switch with three positions (Link 1, Off, Link 2) is used whenever you want to use the two separate compressors in stereo mode or link several compressors together. The two link busses are identical. Sidechain sockets for interconnection of several compressors are located on the rear panel. A switch on the front selects which compressors are interconnected, and on which bus they are connected. If you e.g. have 10 compressors in a rack, you can select compressor 1,5,7 and 8 on link 1, and compressor 2,3,6 and 9 on link 2, leaving compressor 4 and 6 in the off position. Compressors 1,5,7,8 would now be interconnected and all four will perform the same compression. This applies to compressor 2,3,6 and 9 as well. Compressor 4 and 6 are independent. The interconnection implies that the unit that performs the most compression is controlling the others. Additionally, you can choose which one you want to control the others. Balanced I/O and Floating Transformers Microphone Input/Output are balanced and have fully floating transformers with a static screen. Floating a transformer (not referencing it to ground) provides maximum electronic isolation for superior noise rejection. The static screens shield the transformer's secondary windings from the primary and prevent RF (radio frequency) electromagnetic noise from getting across. The power supply and the sidechain circuits are ba |
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Tube-Tech LCA 2B 2-Channel Compressor and Limiter : MusiciansFriend : USD4320.0The two-channel Tube-Tech LCA-2B offers all-tube compression with the added flexibility an independent compressor and limiter per channel. It's perfect for drum overheads, stereo room mics, stereo guitar, bus compression, and just about any other stereo source you have in mind. You also have the option of inputting two mono sources, compressing on one while limiting on the other. Tube-Tech LCA 2B Compressor/Limiter, First Take: All tube, 2-channel with independent compressor and limiter per channel 6 attack/release presets and manual control Multi-unit link modeIndependent Compressor/Limiter The rackmount Tube-Tech LCA 2B is a two-channel unit with an independent compressor and limiter per channel. The unit is all-tube based (except for the power supply and sidechain circuit). Output gain control is placed between the VCA and output stage. The VCA (1 dual triode) is placed between the input transformer and the output stage (2 dual triodes). The audio signal is picked up after the VCA and fed to the sidechain circuit.Six Presets and Manual Control The stereo compressor has six attack/release presets as well as manual control. The limiter attack/release is fixed and equipped with an on/off switch. The LED display is fed from the control amp. The limiter LED is fed from the limiter buffer. The audio path is fully symmetrical from input to output. Input and output have fully floating transformers. All DC voltages are stabilized, except the anode voltage for the output stage, which is only filtered.Link Mode The control signal from the compressor and limiter is combined and sent to the link switch and to the control amp, which feeds the VCA. The bi-directional link busses are accessible at two 1/4" stereo jack sockets on the rear panel. The channels can be linked together for stereo applications and also linked to other LCA 2B's via the two link busses and a standard stereo jack/jack cord. A switch (Link 1, Link 2) on the front panel selects which compressors are interconnected, and on which bus they are connected. If you select Link 1 on both channels, they will perform the same gain reduction. With several LCA 2B compressors in a rack, you can select which ones will work together. For example, by selecting LCA 2B #1, Ch. 1 on link 1; LCA 2B #2, Ch. 2 on link 1, and LCA 2B #3, Ch. 1 on link 1, they are now interconnected and will all act with the same compression. By interconnecting them in this fashion the unit that performs the most compression controls the others. It is also possible to have all the interconnected compressors control each other simultaneously.About Tube-Tech For over twenty years, Tube Tech has been one of the most prominent names in all-tube signal processing equipment. You'll find their gear in the best recording and mastering studios around the world. The company's founder, John Petersen is an electrical engineer who was factory trained at Solid State Logic, EMT, Studer, Sony, Neumann, and NTP Electonik (di |
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Tube-Tech SMC 2B Stereo Multi-Band Compressor : MusiciansFriend : USD4590.0The rackmount Tube-Tech SMC 2B Stereo Multiband Compressor is an all tube-based compressor that adds the warmth of vintage quality masters to your mix. If you've heard records by Beck, Offspring, Rufus Wainright, and All American Rejects, you'll find a Tube-Tech SMC 2B Multi-band compressor in the hands of Joe Chiccarelli strapped across the stereo bus.Tube-Tech SCM 2B Stereo Multi-band Compressor, First Take: Multi-bandband compression and variable crossover points let you craft your overall mix Three independent stereo optocompressors Flat frequency response across all three bands Balanced I/O and floating transformersVariable Crossover the Tube-Tech SCM 2B's variable crossover points ensure precise control with all three bands of optocompression. Independent band specific Threshold, Ratio, Attack, Release & Gain parameters make the SMC 2B as flexible as it is accurate. For example, a stereo compressor can squash and muddy the midrange of rock records. With the SMC 2B, you can add just the slightest compression to the midrange where the guitars live to keep them vibrant and lively. The adjustable crossover points allows you to set the low-frequency range so that the bass on dance tracks won't get over-compressed. Three Stereo Optocompressors The Tube-Tech SMC 2B Stereo Multiband Compressor features three independent optical stereo compressors. The signal is divided into three bands (Low, Mid & High) by 6 dB/octave x-over networks with variable frequencies: 60-1200 Hz for Low/Mid band and 1,2-6 kHz for the Mid/High band.Flat Frequency Response The design of the crossover networks optimizes the summing of all three bands, resulting in a flat frequency response (within +/-0.25 dB), when the gain controls for each band are set at the same level. The three compressors feature Threshold, Ratio, Attack, Release and Gain and a display showing gain reduction. Master levels are set with Output Gain and Balance controls. Balanced I/O and Floating Transformers Both Input and Output are balanced and have fully floating transformers with a static screen, which provides the greatest amount of electronic isolation for elimination of ground loops, resulting in super-quiet operation. The power supply and the sidechain circuit are based on a solid state circuit. With the exception of the output stage all DC voltages are stabilized.About Tube-Tech For over twenty years, Tube Tech has been one of the most prominent names in all-tube signal processing equipment. You'll find their gear in the best recording and mastering studios around the world. The company's founder, John Petersen is an electrical engineer who was factory trained at Solid State Logic, EMT, Studer, Sony, Neumann, and NTP Electonik (digital audio routers). He also designed tape recorder playback/recording amps for Lyrec tape recorders (found in the studios of the legendary Joe Meek and Vangelis). His first design under the name of Tube-Tech was an all-tube equalizer based on t |
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Tube-Tech SMC 2BM Mastering Multi-Band Compressor : MusiciansFriend : USD6165.0The Tube-Tech SMC 2BM is the only all-tube based stereo mastering compressor that features multiband compression. Designed specifically for mastering, it offers Tube-Tech's renowned sound quality and precision, plus greater flexibility for the mastering engineer. Based on Tube-Tech's SMC 2B, the SMC 2BM adds matched resistor level controls for precise replication of previously used settings. The 12 step-matched resistor gain controls on the SMC 2BM guarantee channel to channel and recall accuracy within 0.1 dB. Side-chain controls employ 31-detent potentiometers. The unit includes variable crossover points for precise control of all three bands of opto-compression. Independent band-specific threshold, ratio, attack, release and gain parameters make the unit flexible, as well as accurate. Tube-Tech SMC 2BM Stereo Multiband Compressor, First Take: Three independent optical stereo compressors 3-bands with adjustable crossover points Balanced I/O and Floating TransformersThree Independent Optical Stereo Compressors The rackmount Tube-Tech SMC 2BM Stereo Multiband Compressor features three independent optical stereo compressors. The three compressors feature Threshold, Ratio, Attack, Release, and Gain controls, and a display showing gain reduction. Master levels are set with Output Gain and Balance controls. Three bands with Adjustable Crossover Points The signal is divided into three bands (Low, Mid & High) by 6dB/octave crossover networks with 12 selectable frequencies: 60 1200Hz for Low/Mid band and 6 selectable frequencies: 1.2 6.0 Hz for the Mid/High band. The design of the crossover networks optimizes the summing of all three bands, resulting in a flat frequency response (within +/-0.25 dB), when the gain controls for each band are set at the same level. The two crossover frequencies are made with a single RC circuit thereby preserving optimum summation of the three bands at the output. Balanced I/O and Floating Transformers Both Input and Output are balanced and have fully floating transformers with a static screen. This provides maximum electronic isolation for superior noise rejection. The power supply and the sidechain circuit are based on a solid state circuit. With the exception of the output stage all DC voltages are stabilized.About Tube-Tech For over twenty years, Tube Tech has been one of the most prominent names in all-tube signal processing equipment. You'll find their gear in the best recording and mastering studios around the world. The company's founder, John Petersen is an electrical engineer who was factory trained at Solid State Logic, EMT, Studer, Sony, Neumann, and NTP Electonik (digital audio routers). He also designed tape recorder playback/recording amps for Lyrec tape recorders (found in the studios of the legendary Joe Meek and Vangelis). His first design under the name of Tube-Tech was an all-tube equalizer based on the legendary Pultec EQP 1A. Petersen continued to design and manufacture a number of inn |
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Tube-Tech PE-1C Program Equalizer : MusiciansFriend : USD2295.0The Tube-Tech PE 1C Program Equalizer is the design that started it all for John Petersen and Tube-Tech. It's an all tube version of the legendary Pultec EQP 1A, an equalizer that was, and still is, known for its uncanny ability to make things sound better by just running signal through it. Has Tube-Tech captured that magic? Just do a Google search for Tube-Tech PE 1C. Page after page of world class and mid- to upper-level recording studios come up. That alone tells the whole story. Tube-Tech PE 1C Program Equalizer, First Take: Passive Pultec-style EQ Tube-based gain-makeup amplifer Balanced I/O and Floating TransformersPassive EQ The PE 1C contains a passive filter and a tube-based amplifier to restore the loss from the filter. The filter has a low frequency boost/attenuate section with 4 selective frequencies, a high frequency boost section with a variable bandwidth and 10 selective frequencies and a high-frequency attenuation section with 3 selective frequencies. The filter is placed directly after the input transformer therefore eliminating noise from the amplifier when boosting either low or high frequencies. The amplifier consists of two tubes (valves) in push-pull configuration (one ECC 83 as the pre-amp and phase splitter, and one ECC 82 as the output stage), and an output transformer. Both input and output are balanced and fully floating. The in/out key switches the filter in and out without clicks and changes in level, while the amplifier remain in the signal path.Balanced I/O and Floating Transformers Input and output are balanced as well as fully floating. This provides maximum electronic isolation for superior noise rejection. The power supply for the pre-amp and phase splitter are stabilized and the heaters of both tubes (valves) are fed with a stabilized DC voltage. This prevents any variation in the DC energy when combined with the musical signal, which would otherwise cause certain types of distortion. Put simply, the PE 1C's DC-stabilized circuits keep the EQ bands free of any unwanted artifacts. EQ is smooth and distortion-free. About Tube-Tech For over twenty years, Tube Tech has been one of the most prominent names in all-tube signal processing equipment. You'll find their gear in the best recording and mastering studios around the world. The company's founder, John Petersen is an electrical engineer who was factory trained at Solid State Logic, EMT, Studer, Sony, Neumann, and NTP Electonik (digital audio routers). He also designed tape recorder playback/recording amps for Lyrec tape recorders (found in the studios of the legendary Joe Meek and Vangelis). His first design under the name of Tube-Tech was an all-tube equalizer based on the legendary Pultec EQP 1A. Petersen continued to design and manufacture a number of innovative all-tube outboard processors including preamps, multiband compressors and summing amps. Thanks to John's dedication to high-quality analog sound you'll see Tube-Tech gear in t |
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Tube-Tech EQ 1A Full Range Equalizer : MusiciansFriend : USD4635.0The Tube-tech EQ 1A is an all-tube based, mono equalizer, which provides a sweet, musical EQ that offers creative sound-shaping with minimal tweaking. It provides the exactly results you'd expect from a world-class EQ, and does it effortlessly. A mastering version of the EQ 1A, the EQ 1M is available with stepped rotary switches for accuracy and parameter recall. Tube-Tech EQ 1A Full Range Equalizer, First Take: One-channel, all-tube based parametric equalizer High- and low-cut filters 25kHz cut for anti-aliasing filters High- and low-cut shelving EQ sections and three overlapping bandsAll-Tube Based Parametric EQ The EQ 1A has seven EQ sections that can be switched in and out, including high- and low-cut, high and low shelving, and three overlapping bands ranging from 40Hz to 20kHz. Except for the power supply, the EQ unit is all-tube based. Both the input and output stages have fully floating transformers for superior electronic isolation, which results in noise-free, ground-loop immune operation. All voltages (with the exception of the anode voltage at the output stage) are DC stabilized, since any variation in the DC energy when combined with the musical signal would cause distortion. Put simply, the EQ 1A's DC-stabilized circuits keep the EQ bands free of any unwanted artifacts. EQ is smooth and distortion-free. High- and Low-Cut Filters The cut filters are designed with unity gain amplifiers. This is significant since they don't load down the source or draw any current. Therefore, they drive the load as if it were a perfect voltage source. They also eliminate distortion due to overload, crosstalk, and other electromagnetic interference. The low- and high-cut sections include a frequency switch with a choice of six frequencies, a slope switch and an in/out switch. Both the low- and hi-cut filters offer a choice of six frequencies.25kHz High-Cut for Anti-Aliasing Filters Of particular interest is the 25kHz high cut setting. Its purpose is to roll off the digital artifacts that can be heard when recording to digital systems when using their onboard converters. As you may know, design engineers use the anti-aliasing filters in digital converters to dump "garbage" (digital artifacts) above the audible spectrum (above 20kHz). In use, the 25kHz cut appears to have very little effect on the high-frequency content, however, its effect is very audible when it comes to removing the effects of those artifacts. High and Low Shelving EQ The shelving and bell filters (for the three overlapping bands) are designed around two tube operational amplifiers. Tubes can be operated in the overload region without adding objectionable distortion they way op amps and solid state amplifiers do. Due to this extra headroom, although subjective, tubes sound louder and have a better signal-to-noise ratio than transistor amplifiers. This is why the EQ 1A sounds so musical and smooth, even when you boost frequencies in the extreme. The EQ 1A also off |
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Gemini PA-7000 Professional Preamplifier : MusiciansFriend : USD99.95The Gemini PA-7000 Professional Preamp delivers the control and musicality you need to put on a commanding show. Features include a 3-band equalizer, stereo balance and master volume controls, mono mode, mute, low cut, and loudness functions. Modes are switchable between aux, tuner, CD, and phono. Tape play and record outputs have monitor switches. I/O includes 4 inputs and 3 outputs with balanced XLR plus a 1/4" mic input with level control. |
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Tube-Tech EQ 1AM Full Range Mastering Equalizer : MusiciansFriend : USD5760.0The Tube-Tech EQ 1AM is the mastering version of the version of the Tube-Tech EQ 1A. Whether you're adding overall sheen and polish to a final mic, smoothing out harsh vocals and instruments, or just going for some power and punch, the EQ 1AM provides the exactly results you'd expect from a world-class EQ, and does it effortlessly. Built for mastering, the EQ 1M features stepped rotary switches for accuracy and parameter recall. Tube-Tech EQ 1AM Full Range Equalizer, First Take: One-channel, all-tube based parametric equalizer High- and low-cut filters 25kHz cut for anti-aliasing filters High- and low-cut shelving EQ sections and three overlapping bands with stepped rotary controls for gain and bandwidthAll-Tube Based Parametric EQ The EQ 1AM has seven EQ sections that can be switched in and out, including high- and low-cut, high and low shelving, and three overlapping bands ranging from 40Hz to 20kHz. Except for the power supply, the EQ unit is all-tube based. Both the input and output stages have fully floating transformers for superior electronic isolation, which results in noise-free, ground-loop immune operation. All voltages (with the exception of the anode voltage at the output stage) are DC stabilized, since any variation in the DC energy when combined with the musical signal would cause distortion. Put simply, the EQ 1AM's DC-stabilized circuits keep the EQ bands free of any unwanted artifacts. EQ is smooth and distortion-free. High- and Low-Cut Filters The cut filters are designed with unity gain amplifiers. This is significant since they don't load down the source or draw any current. Therefore, they drive the load as if it were a perfect voltage source. They also eliminate distortion due to overload, crosstalk, and other electromagnetic interference. The low- and high-cut sections include a frequency switch with a choice of six frequencies, a slope switch and an in/out switch. Both the low- and hi-cut filters offer a choice of six frequencies.25kHz High-Cut for Anti-Aliasing Filters Of particular interest is the 25kHz high cut setting. Its purpose is to roll off the digital artifacts that can be heard when recording to digital systems when using their onboard converters. As you may know, design engineers use the anti-aliasing filters in digital converters to dump "garbage" (digital artifacts) above the audible spectrum (above 20kHz). In use, the 25kHz cut appears to have very little effect on the high-frequency content, however, its effect is very audible when it comes to removing the effects of those artifacts. High and Low Shelving EQ The shelving and bell filters (for the three overlapping bands) are designed around two tube operational amplifiers. Tubes can be operated in the overload region without adding objectionable distortion they way op amps and solid state amplifiers do. Due to this extra headroom, although subjective, tubes sound louder and have a better signal-to-noise ratio than transistor ampl |
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Tube-Tech ME 1B Midrange Equalizer : MusiciansFriend : USD2160.0Looking for midrange punch as only tubes can deliver? Look no farther than the Tube-Tech ME 1B Midrange Equalizer. Based on the example of the legendary Pultec MEQ-5 from the days of yore, Tube-Tech has dedicated a modern EQ to this all-too-important region of the audio spectrum, and does it with all-tube style and warmth. It provides the kind of performance you expect from a high-end EQ, and does it effortlessly. With Tube-Tech EQ, you get dramatic results without having to tweak endlessly. To get the most out of the ME 1B, use it to focus on midrange while another EQ, such as the EQ 1A handles the lows and highs. And while it would be tempting to use it to make individual instruments larger than life, adding punch and sheen to an overall mix is where this EQ shines. Tube-Tech ME 1A Midrange Equalizer, First Take: Midrange program equalizer with passive filters and tube-based gain-makeup amplifier Three sections of selectable EQ Balanced and fully floating I/OPassive EQ with Tube Amplifier The rackmount Tube-Tech ME 1B Midrange Equalizer contains a low frequency boost section for peaking, a mid frequency attenuation for dipping, and a high frequency boost section for peaking. The ME 1B contains a passive filter and a tube-based amplifier to restore the loss from the filter. The filter has a low frequency peak section with 5 selectable frequencies, a mid frequency dip section with 11 selectable frequencies, and a high frequency peak section with 5 selectable frequencies. The filter is placed directly after the input transformer, therefore eliminating noise from the amplifier when boosting either low- or high frequencies. The amplifier consists of two tubes in push-pull configuration (one ECC 83 as the pre-amp, and one ECC 82 as the output stage), and an output transformer. Both input and output are balanced (600_) and fully floating for maximum electronic isolation. The in/out key switches the equalization in and out without clicks and changes in level, while the amplifier remains in the signal path.Three Frequency Sections Using a bell curve EQ to isolate center frequencies, the ME 1B divides the midrange into three sections, low, mid, and high. The low frequency section comprises a continuously variable peak control (0dB to +10dB) and choice of five selectable frequencies (200Hz, 300Hz, 500Hz, 700Hz, 1kHz). The Mid Frequency section comprises a Dip control that is continuously variable from 0dB to -10dB and eleven selectable center frequencies from 200Hz to 7kHz. The High Frequency section covers five selectable frequencies from 1.5kHz to 5kHz and a Peak control that is continuously variable from 0dB to +8dB. Balanced and Fully Floating I/O Both input and output are balanced (600 ohm) and fully floating, which provides maximum electronic isolation since there is no common ground between input and output. Input and output transformers come with a static screen between the primary and secondary wirings. These screens shield the secondary from th |
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Tube-Tech MP 1A Microphone Preamplifier : MusiciansFriend : USD3285.0The Tube-Tech MP 1A dual channel preamp and instrument DI has been one of the secrets that engineers and producers have kept to themselves for bringing the rounder and more pleasing sound of analog gear to digital recording. And where some preamps tend to work well with certain mics but not others, the MP 1A also has the uncanny ability to make any mic your put through it sound great. A truly phenomenal-sounding preamp, the MP 1A excels on electric guitars and vocals. To give you an idea of its versatility, the MP 1A has been part of Julio Iglesias' vocal chain for years and is the preamp that Frank Fillipetti used to record Johnathan Davis' vocals on Korn's Take a Look in the Mirror.Tube-Tech MP 1A, First Take: Dual channel all-tube mic preamp and instrument DI Designed for ultra low-noise operation Switchable 20dB pad, can be used as a unity gain line amplifier, +70dB mic input gain DI input with switchable high-pass filter and +60 gainDual Channel All-Tube Mic Preamp And Instrument DIThe rackmount Tube-Tech MP 1A microphone preamplifier is a combined two channel microphone and DI preamplifier. Each amplifier consists of a microphone input transformer with a step-up of +10 dB, a dual tube preamplifier with a stepped gain (5dB/step, passive and active), an output amplifier with two dual tubes in push-pull and an output transformer. The high impedance DI inputs are unbalanced and placed in the circuit directly after the input transformer, with a gain ranging from +10dB to +60dB.Designed For Ultra Low-Noise Operation The amplifiers are all tube based and the heaters are fed stabilized DC-voltage only. This prevents any variation in the DC energy when combined with the musical signal, which would otherwise cause certain types of distortion or hum. All transformers, with the exception of the mains transformer, are enclosed in MU-metal cans. MU-metal (pronounced mew-metal) is a highly permeable alloy that absorbs and redirects interfering magnetic fields away from the transformers. Input and output transformers come with a static screen between the primary and secondary wirings. These screens shield the secondary from the primary and prevent RF (radio frequency) electromagnetic noise from getting across.Switchable Pad, +70dB GainThe microphone inputs are provided with a switchable -20dB attenuation pad in front of the mic transformer and switchable +48V phantom-power. The microphone input is capable of accepting levels of up to +6 dBU (1.55V) at 40 Hz without the pad and +26dBU (15.5V) at 40 Hz with the pad, so the microphone input can be used as a unity gain line amplifier*. The gain switch for the mic inputs has a range from +20dB to +70dB in steps of 5dB, which allows use with ribbon mics. A high pass filter for the microphone and the DI input is switchable between off, 20 Hz (12dB/octave) and 40 Hz (6dB/octave). It is advisable to use this filter in environments with high levels of very low-frequency disturbances. Gain errors between |
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Tube-Tech MEC 1A Recording Channel : MusiciansFriend : USD4320.0The rackmount Tube-Tech MEC 1A recording channel combines the MP 1A microphone and DI preamplifier, EQ 1A equalizer, and CL 1B optical compressor. It doesn't get any better than that baby! The MEC 1A is designed and hand crafted to deliver the warmth of vintage quality recordings with unrivaled accuracy, purity, and realism. You couldn't ask for a better front end for your DAW!Tube-Tech MEC 1A Recording Channel, First Take: All-tube channel strip comprising MP 1A preamp, EQ 1A equalizer, and CL 1B compressorMicrophone preamp: The microphone preamplifier consists of a microphone input transformer (with a static screen) with a step-up of +10 dB, two dual tube preamplifiers with two stepped gain switches, one with 10dB/step (coarse) and one 1dB/step (fine) giving a total gain range of +20dB to +70dB. The microphone input is provided with a switchable -20dB attenuation (PAD), switchable +48 V phantom-power and phase reverse. A highpass filter for the microphone and the DI input is switchable between off, 20 Hz and 40 Hz. For more information, check out the Tube-Tech MP 1A (# 182001)The microphone input is capable of accepting levels of up to +6 dBU (1.55V) at 40 Hz without the PAD. With the PAD switched into the circuit, the MEC 1A can be used as a unity gain line amplifier accepting levels up to +26 dBU (15.5V) at 40 Hz. The high impedance DI input is unbalanced and placed in the circuit directly after the input transformer. The gain range for this input is +10dB to +60dB. When in use, the microphone input is disabled. Equalizer: You'll love the sound of this EQ. It performs exactly as you would want a high-end EQ to. With minimal tweaking, you can add all of the punch, polish, and air you like to make your recordings stand out. The equalizer features low and high shelving filter with a gain range of +/- 15dB, each with 6 switchable frequencies and a band filter with a gain range of +/- 20dB, 12 switchable frequencies and a bandwidth control. The shelving and the bell filters are designed around a dual tube operational amplifier. The equalizer has a separate in/out switch. For more information, check out the Tube-Tech EQ 1A (# 182019)Compressor: The compressor is the same type optocompressor found the the Tube-Tech CL 1B, the vocal compressor of choice for so many top producers and engineers. It has controls for ratio, threshold, attack and release. A switch selects between manual attack and release and fixed attack and release. With the link switch it is possible to link several units together on two independent bi- directional buses. The compressor has a separate in /out switch. In normal operation the equalizer is in front of the compressor, but a switch enables the compressor to be in front of the equalizer. For more information, check out the Tube-Tech CL 1B (# 182025)About Tube-Tech For over twenty years, Tube Tech has been one of the most prominent names in all-tube signal processing equipment. You'll find their gear in the |
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Tube-Tech MMC 1A Mic Preamp and Multi-Band Compressor : MusiciansFriend : USD4320.0The Tube-Tech MMC 1A, fast becoming a favorite of certain world-class producers, is a very unique unit in a sea of me-too channels strips. Along with a phenomenal-sounding tube preamp, it features an optocompressor with three bands, low, mid, and high, and adjustable crossover points so yo can compress each band individually. This allows you to tailor compression for problem solving or to create a vocal track that's truly larger than life. Thanks to its variable crossovers, you can use it to add body to thin vocals, allow the top end to open up during soft passages, reduce harsh midrange without losing lows and highs, tame highs without losing clarity for a more intimate sound, and all the while, save EQ for other purposes.Tube-Tech MMC 1A Preamp and Mulitband Compressor Channel strip with all-tube preamp and three-band compressor Variable impedance preamp with +70dB gain 3-band compressor with variable crossover points Balanced and fully floating I/OChannel Strip With All-Tube Preamp And Three-Band Compressor The Tube-Tech MMC 1A is a complete front-end. It includes an additional Direct Instrument input as well as a separate line input. The microphone input has switchable loading impedance, phantom power, phase reversal and a 20 dB Pad. All inputs are equipped with a low-cut filter. The 3-band optical compressor is designed to maintain optimum summing of all three bands with a remarkably flat frequency response. A bypass switch takes the entire compressor out of the signal path.Mic Preamplifier The microphone preamplifier consists of a microphone input transformer (with a static screen) with a step-up of +10 dB, two dual tube preamplifiers with a stepped gain switch, with 10dB/step (+20 dB - +60 dB) giving a total gain range of +20dB to +70dB. The microphone input is provided with a switchable -20dB attenuation (PAD), switchable +48V phantom-power, a phase reverse and has swithable input impedance (600, 1200, 2400 Ohm). The high impedance DI input is unbalanced and placed in the circuit directly after the input transformer. The gain range for this input is +10dB to +60dB. When in use, the microphone input is disabled. A high pass filter for the microphone, DI and line input is switchable between off, 20 Hz (12dB/octave) and 40 Hz (6dB/octave). All inputs have a common stepped gain switch with 2dB/step (-10dB - +10dB).Compressor The signal is fed to the two crossover networks, each made with a single RC circuit thereby preserving optimum summation of the three bands at the output. The crossover frequency between the low band and the mid band is variable from 60Hz to 300Hz or 240Hz to1200Hz and the crossover frequency between mid band and the high band is variable from 1,2kHz to 6kHz. The signals from the three bands are then fed to the three separate side chain circuits, each common for left and right channel. After processing, the three signals are fed to a gain control, separate for each band and thereafter summed and send to the output gai |
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Tube-Tech SSA 2A Stereo Summing Amplifier : MusiciansFriend : USD4050.0Yes, you can mix inside the box and get good results, but with the Tube-Tech SSA 2A Stereo Summing Amplifier, you can mix inside a much better box and get stunning results. Where extremely high-quality summing of several signals into two channels is desired (and where isn't it?), the SSA 2A is a top choice. Tube-Tech SSA 2A Stereo Summing Amplifier, First Take: Ultra high-quality summing amplifier with very wide frequency response 8 stereo/4mono inputs summed to 2 channels out Inputs balanced by zero field transformer Balanced and fully floating outputsUltra High-Quality Summing Amplifier The rackmountable Tube-Tech SSA 2A Stereo Summing Amplifier features two very low-noise, low-distortion summing amplifiers with a very wide frequency response of 5Hz 100 kHz. The inputs are transformer balanced and the circuits are symmetrical from input to output. The inputs are also capable of handling extremely high input levels. 8 Stereo/4 Mono Inputs Summed to 2 Outputs The SSA 2A has 4 mono input (hard wired to CH1 and CH2) and 8 stereo inputs, which is summed together into two outputs. The SSA 2A consists of a summing amplifier at the input, a 23 stepped attenuator with a range of +/- 10 dB and an output stage. Two large VU-meters show the levels on the XLR output sockets. To avoid the distortion introduced by the VU-meters when connected directly to the output XLR sockets, symmetrical configured OP- amps buffer the VU-meters. The summing amplifier is a symmetrical two-stage amplifier, designed around two dual, low impedance, and high transconductance triodes. The input transformer is part of the dual feedback configured as a so-called zero field transformer. The attenuator is a heavy gilded 2 x 23-position switch with steps of +/- 0.5, 1, 1.5, 2, 2.5, 3, 4, 5, 6, 8, 10dB. The output stage is designed around two dual triodes in push-pull and an output transformer (with a static screen). Both the summing amplifiers and the output amplifiers are symmetrical. Zero Field Transformer-Balanced Inputs All inputs are balanced by two zero field transformers (one for each channel). In zero field transformer configurations, the transformer is part of the feedback circuit. There are several benefits to be derived form this: 1. The voltage across the transformer is reduced substantially, whereby a much smaller transformer is needed for the same specification. The reduction is of the same magnitude as the feedback applied. 2. The distortion at low frequencies is reduced substantially. 3. Frequency response in both the low and high range is extended. 4. Phase response in both the low and high range is more linear. The results are better harmonic balance of the instruments and more realistic sound.Balanced and Fully Floating Outputs The outputs are balanced and have fully floating transformers with a static screen. Floating a transformer (not referenced to ground) provides maximum electronic isolation for superior noise rejection. The static screens shield the transf |
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Audient ASP008 8 Channel Variable Input Impedance Mic Preamp : MusiciansFriend : USD1500.0Amongst audio professionals, Audient equipment is renowned for its ability to provide high performance, transparent sound, and intelligent ergonomic design in a cost-effective package. The ASP008 is a compact, 1U rack mount unit featuring eight ultra-high-quality mic preamplifiers developed from the outstanding mic pre design used in the acclaimed ASP8024 recording console. (The ASP8024 rivals the sound of many "A" room consoles at a fraction of the cost.) If you're looking to add eight great preamps to your studio or portable rig for a remarkably reasonable price, we recommend a close look at the ASP008. The ASP008 also comes with digital output options including ADAT and AES, making it a perfect companion for Pro Tools LE systems. (See the ASP008-ADAT #182031 and ASP800-AES #182032).Audient ASP008 8 Channel Variable Input Impedance Mic Preamp, First Take: 8 channels of ultra-high-quality preamps in 1U chassis Transparent audio with variable impedance for tone shaping Electronically balanced XLR I/O and two instrument DIsEight ultra-high-quality preamps in 1U The one rackspace design uses an 8 transistor discrete Class A front end with extended bandwidth and a noise floor close to the theoretical Johnson limit. (Johnson noise is random white noise generated by thermal agitation of electrons, and is the limiting minimum noise any circuit can attain at a given temperature.) Carefully chosen close tolerance components are used to achieve high Common Mode Rejection at all gain settings (eliminates unwanted RF and electromagnet field-generated noise allowing long cable runs) and distortion is minimized to less than 0.001% at 20dB gain and +10dBu output. This outstanding technical performance delivers a mic amp with incredible transparency and detail without coloration or other unwanted artifacts.Transparent audio with variable impedance Audient's design philosophy as far as sound quality is concerned is to make the most transparent sounding preamps possible. According to founder and designer Dave Dearden, colored preamps tend to become one-trick-ponies, since that color may not be appropriate for every recording application. However, with transparent preamps, you have the option of adding color later on. To achieve this, the ASP008's preamps boast an ultra-wide frequency response of -0.3dB @10Hz to -3dB @300kHz at unity gain, and a Total Harmonic Distortion rating of better than 0.007% at 1kHz any gain setting. If you know your specs, you know that this is pretty incredible, especially when you realize that you only find specs such as this on single-channel preamps costing twice as much as the Audient 8channel ASP008. Each microphone amp on the Audient ASP008 also features switchable input impedance, which allows you to explore subtle variations in microphone character and achieve the best performance for your mics. Electronically balanced XLR I/O The ASP008 has been designed and developed to provide highly robust system integra |
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Audient ASP008-ADAT 8 Channel Mic Preamp with ADAT Interface : MusiciansFriend : USD2000.0Amongst audio professionals, Audient equipment is renowned for its ability to provide high performance, transparent sound, and intelligent ergonomic design in a cost-effective package. The ASP008 is a compact, 1U rack mount unit featuring eight ultra-high-quality mic preamplifiers developed from the outstanding mic pre design used in the acclaimed ASP8024 recording console. (The ASP8024 rivals the sound of many "A" room consoles at a fraction of the cost.) If you're looking to add eight great preamps to your studio or portable rig for a remarkably reasonable price, we recommend a close look at the ASP008-ADAT with Audient's ADAT digital option card pre-installed. The ADAT lightpipe interface makes it the perfect companion for Pro Tools LE, MOTU, and other systems with ADAT lightpipe inputs. Audient ASP008 8 Channel Variable Input Impedance Mic Preamp, First Take: 8 channels of ultra-high-quality preamps ADAT digital interface Transparent audio with variable impedance for tone shaping Electronically balanced XLR I/O and two instrument DIsUltra-high-quality preamps The design uses an 8 transistor discrete Class A front end with extended bandwidth and a noise floor close to the theoretical Johnson limit. (Johnson noise is random white noise generated by thermal agitation of electrons, and is the limiting minimum noise any circuit can attain at a given temperature.) Carefully chosen close tolerance components are used to achieve high Common Mode Rejection at all gain settings (eliminates unwanted RF and electromagnet field-generated noise allowing long cable runs) and distortion is minimized to less than 0.001% at 20dB gain and +10dBu output. This outstanding technical performance delivers a mic amp with incredible transparency and detail without coloration or other unwanted artifacts.ADAT digital output The ADAT digital interface card provides ADAT digital outputs at either 44.1 or 48kHz sample rates (selectable on the front panel) for all 8 channels on a single lightpipe output connector. The outputs can be set to 16-, 20-, or 24- bit depth using the front panel controls. A BNC along with an INT/EXT function select switch is also provided on the digital output card. With the switch released, the ASP008 will run off its internal clock generator. Depressing the switch allows a master word clock to be connected via the BNC connector enabling the ASP008 converters to be sync'd to an external source. The front-panel-mounted Lock LED will illuminate when the unit is locked.Transparent audio with variable impedance Audient's design philosophy as far as sound quality is concerned is to make the most transparent sounding preamps possible. According to founder and designer Dave Dearden, colored preamps tend to become one-trick-ponies, since that color may not be appropriate for every recording application. However, with transparent preamps, you have the option of adding color later on. To achieve this, the ASP008's preamps boast |
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Audient ASP008-AES 8 Channel Mic Preamp with AES/EBU, S/PIF, and ADAT Interface : MusiciansFriend : USD2200.0Amongst audio professionals, Audient equipment is renowned for its ability to provide high performance, transparent sound, and intelligent ergonomic design in a cost-effective package. The ASP008 is a compact, 1U rack mount unit featuring eight ultra-high-quality mic preamplifiers developed from the outstanding mic pre design used in the acclaimed ASP8024 recording console. (The ASP8024 rivals the sound of many "A" room consoles at a fraction of the cost.) If you're looking to add eight great preamps to your studio or portable rig for a remarkably reasonable price, we recommend a close look at the ASP008-AES with Audient's AES, S/PDIF and 48kHz ADAT light-pipe interface card for digital output directly into almost any recording system.Audient ASP008 8 Channel Variable Input Impedance Mic Preamp, First Take: 8 channels of ultra-high-quality preamps AES, S/PDIF, and 48kHz ADAT light-pipe output Transparent audio with variable impedance for tone shaping Electronically balanced XLR I/O and two instrument DIsUltra-high-quality preamps The design uses an 8 transistor discrete Class A front end with extended bandwidth and a noise floor close to the theoretical Johnson limit. (Johnson noise is random white noise generated by thermal agitation of electrons, and is the limiting minimum noise any circuit can attain at a given temperature.) Carefully chosen close tolerance components are used to achieve high Common Mode Rejection at all gain settings (eliminates unwanted RF and electromagnet field-generated noise allowing long cable runs) and distortion is minimized to less than 0.001% at 20dB gain and +10dBu output. This outstanding technical performance delivers a mic amp with incredible transparency and detail without coloration or other unwanted artifacts.ADAT/AES digital output The ADAT digital interface card provides ADAT digital outputs at either 44.1 or 48kHz sample rates (selectable on the front panel) for all 8 channels on a single lightpipe output connector. The outputs can be set to 16-, 20-, or 24- bit depth using the front panel controls. The AES card uses a 9-Pin female D-sub type connector to provide the required 8 digital outputs (in 4 pairs - pair 1 carries channels 1/2 etc.) at 44.1/48/88.2/96kHz sample rates (selectable on the front panel). Separate fan-out cables are available with XLR terminations for AES and RCA-phono connections for SPDIF. AES format is selected when the associated switch is in its normal (released) state. Depressing this switch will set the outputs to SPDIF format. The outputs can be set to 16/20 or 24 bit depth using the front panel controls. A BNC along with an INT/EXT function select switch is also provided on the digital output card. With the switch released, the ASP008 will run off its internal clock generator. Depressing the switch allows a master word clock to be connected via the BNC connector enabling the ASP008 converters to be sync'd to an external source. The front-panel-mounted Loc |
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Audient ASP-8AES - ADAT and AES Digital A-D Option Card : MusiciansFriend : USD725.0The Audient ASP-8AES 48/96kHz AES/EBU and ADAT digital output option card adds functionality to the Audient ASP008 8 Channel mic preamp. The ASP-8AES digital card gives ASP008 the ability to interface with both digital recorders with AES/EBU connecters and also ADAT Digital Recorders making it an ideal "front-end" for any DAW system. AES/SPDIF Uses a 9-Pin female D-sub type connector to provide the required 8 digital outputs (in 4 pairs - pair 1 carries channels 1/2 etc) at 44.1/48/88.2/96kHz sample rates (selectable on the front panel). Separate fan-out cables are available with XLR terminations for AES and RCA-phono connections for SPDIF. AES format is selected when the associated switch is in its normal (released) state. Depressing this switch will set the outputs to SPDIF format. The outputs can be set to 16/20 or 24 bit depth using the front panel controls of the Audient ASP008 8 Channel mic preampADAT This card provides ADAT digital outputs at either 44.1 or 48kHz sample rates (selectable on the front panel) for all 8 channels on a single 'light pipe ' output connector. The outputs can be set to 16/ 20 or 24 bit depth using the front panel controls. Who is Audient and what makes them so cool While British-based Audient is fairly new on the scene (1998), the company's founders have quite a long and 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. Midas consoles are generally acknowledged by FOH professions to be one of the, if not the best live sound consoles in existence. In 1997 Dearden 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 Abbey Road Studios, Pete Townshend's Eel Pie Recording, and England's Royal Academy of Music. |
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Audient ASP8SPDIF-CAB - Break-out Cable for S/PDIF Digital Option Card : MusiciansFriend : USD200.0The Audient ASP8SPDIF-CAB is a fan-out cable with 4 RCA-phono connections. It adds functionality to Audient ASP008 8 Channel mic preamps that have the Audient ASP-8AES digital output card installed. This cable lets you connect the Audient ASP-8AES digital output card to digital recorders with RCA-phono connections for SPDIF formats.Who is Audient and what makes them so cool While British-based Audient is fairly new on the scene (1998), the company's founders have quite a long and 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. Midas consoles are generally acknowledged by FOH professions to be one of the, if not the best live sound consoles in existence. In 1997 Dearden 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 Abbey Road Studios, Pete Townshend's Eel Pie Recording, and England's Royal Academy of Music. |
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Audient ASP8AES-CAB - Break-out Cable for AES Digital Option Card : MusiciansFriend : USD200.0The Audient ASP8AES-CAB is a fan-out cable with four XLR connections. It adds functionality to the Audient ASP008 8 Channel mic preamp that have the Audient ASP-8AES digital output card installed. This cable lets you connect the Audient ASP-8AES digital output card to digital recorders that have AES/EBU connecters.Audient Company History While 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 Recording, Abbey Road Studios, and England's Royal Academy of Music, to name a few. |
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Audient Sumo High Resolution Summing Amplifier with Compressor/Limiter : MusiciansFriend : USD1500.0The Sumo High Resolution Summing Amplifier with Compressor/Limiter lets you retain your software's automation and plug-ins, while adding the sound of the best large-format console technology. Audient Sumo allows computer-based studios to mix in the analog domain to get the best of both worlds. Summing in the analog domain ensures no reduction in resolution, making your mixes fuller, clearer and more musically coherent. Audient Sumo Summing Amplifer, First Take: Balanced stereo mix bus as found in the best studio consoles and master compressor 16 paired input channels with added flexibility Expandable to 64 analog inputsBalanced Stereo Mix The Sumo Summing Amplifier gives you a balanced stereo mix bus as found in only the best studio consoles the stereo master compressor from the acclaimed Audient ASP8024 recording console, a peak limiter, monitor controller and 192kHz digital output option. Separate gain reduction metering is provided for each processor, giving instant visual feedback. Metering is accomplished through a 26-segment meter, ranging from -36 to +24 dB (-60 to 0dBFS). 16 Paired Input Channels Sumo offers 16 paired input channels through DA88 (DTRS) standard D-Sub connectors. For additional flexibility, the first two channel pairs can be switched to mono, handling, for example, Kick, Snare, Bass, and Lead Vocal as opposed to two stereo pairs. Mix inserts on balanced TRS jacks are available on each input for external processing units such as EQ or channel compressor/limiter. The mix inserts can be switched for pre- or post-position for integral Sumo dynamics processing or bypassed completely. Separate mix and monitor outputs are provided using balanced XLR connectors.Expandable to 64 Analog Inputs Sumo offers the option for input expansion for up to three additional Sumo units yielding a total of 64 analog inputs. Each Sumo unit delivers a 120dB dynamic range while providing an extremely low noise and low distortion environment.Audient Company History While 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 trans |
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Audient Sumo AES/EBU 192k/24 bit Digital Output Card : MusiciansFriend : USD700.0The Audient AES/EBU 192k/24 bit Digital Output Card adds additional DAW functionality to the Sumo Summing Amplifier. The digital card gives Sumo the ability to output at six sample frequencies up to and including 192kHz. The AES/EBU Digital output card provides for both of the most common stereo digital transmission standards: AES/EBU on XLR, and S/PDIF on RCA (phono plug). Output on both connectors, for all sample rates is fixed at 24bit. The card offers clock rates selectable from 44.1, 48, 88.2, 96, 176.4 and 192 kHz. The Audient Sumo Card's output can be externally clocked via a rear-panel BNC connection.Audient Company History While 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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Behringer AMP800 MiniAMP 4-Channel Stereo Headphone Amplifier : MusiciansFriend : USD49.99The Behringer AMP800 MiniAMP Stereo Headphone Amplifier boasts 4 totally independent stereo high-power amplifier sections. You can use the phones level control plus the accurate 6-digit LED output meter per channel for easy level monitoring. There are 2 balanced stereo main inputs with independent Level and Balance controls for individual mixes, selectable for all 4 headphone amplifiers. An accurate 6-digit LED main input meter is provided for precise level indication of both line inputs. Dual headphone outputs on each channel on front and rear panel allow for connecting a total of 8 headphones at the same time. A parallel Link Output enables cascading several headphone amplifiers. Long-term reliability is guaranteed with the high-quality potentiometers and illuminated switches, and ultra low-noise audio operational amplifiers offer outstanding sound performance. In addition, all Mini Series Behringer audio processors can be stacked on top of each other to create an ultra-compact signal processing solution. |
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Behringer MON800 MiniMON Stereo Monitor Matrix Mixer : MusiciansFriend : USD49.99The ultra-compact Behringer MON800 MiniMON Stereo Monitor Matrix Mixer features a dedicated input section with 4 selectable and mixable stereo inputs. Includes accurate 6-digit LED main stereo output meters for precise level indication. You'll get a high-power headphones output with dedicated level control plus 3 selectable stereo speaker outputs with separate level controls for ultimate monitoring. Professional Mute, Dim and Mono functions are included for ultimate flexibility and phase check. Behringer even gives the MON800 a Talkback section with internal microphone and comprehensive routing options. Long-term reliability is assured with the high-quality potentiometers and illuminated switches. Ultra low-noise audio operational amplifiers offer outstanding sound performance. In addition, all Mini Series Behringer models can be stacked on top of each other to create an ultra-compact signal processing solution.With the Behringer MiniMon, running out of outputs is a thing of the past! |
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Behringer MIX800 MiniMIX Karaoke Machine with Voice Canceller and FX : MusiciansFriend : USD49.99Sing along with the powerful MIX800 MiniMIX karaoke machine from Behringer! Its revolutionary voice canceller effectively eliminates vocals from any stereo source while retaining most music elements. The integrated digital echo/reverb processor in 24-bit/40kHz resolution assures ultimate vocal enhancement. Behringer includes 2 independent mic channels with level controls and clip indicators for perfect level adjustment. A dedicated 2-band EQ provides for awesome vocal enhancement and sound shaping, and the MiniMIX boasts an accurate 6-digit LED output meter for precise level indication. Stereo line inputs/outputs let you connect your favorite CD or MP3 player, tape recorder and similar equipment to the Behringer MIX800. Long-term reliability is guaranteed with the high-quality potentiometers and illuminated switches. Ultra low-noise audio operational amplifiers offer outstanding sound performance. In addition, all Mini Series models from Behringer can be stacked on top of each other to create an ultra-compact signal processing solution. |
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Behringer BEAT800 MiniBEAT Dual Beat Counter with Phono Preamps : MusiciansFriend : USD39.99You can always count on the dependable Behringer BEAT800 MiniBEAT, an ultra-compact dual beat counter/phono preamp. The MiniBEAT packs two intelligent BPM counters with a Tempo Difference indicator, plus it features Beat Assist and Sync Lock functions. In addition, Behringer includes 2 state-of-the-art phono preamps to accommodate turntables, an accurate 6-digit LED input meter for precise level indication and illuminated switches. Ultra low-noise audio operational amplifiers offer outstanding sound performance. In addition, all Behringer MIni Series models can be stacked on top of each other to create an ultra-compact signal processing solution. |
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Behringer FBQ800 MiniIFBQ 9-Band Graphic Equalizer with FBQ : MusiciansFriend : USD49.99The MINIFBQ FBQ800 features Behringer's FBQ Feedback Detection System that instantly reveals critical frequencies and can also be used as an audio analyzer. An additional low cut filter removes unwanted frequencies such as floor rumble. Accurate 6-digit LED input/output meters and level control are provided for precise level indication. Long-term reliability is guaranteed with Behringer's high-quality illuminated faders, potentiometer and illuminated switches. The ultralow noise audio operational amplifiers offer outstanding sound performance. In addition, all Mini Series models can be stacked on top of each other to create an ultra-compact signal processing solution. |
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Audient ASP510 Surround Sound Controller : MusiciansFriend : USD3000.0Featuring Audient's signature transparency, high performance, and multi-purpose functionality, the Audient ASP510 integrates easily and seamlessly with any console or DAW based surround set-up to provide comprehensive control of the monitoring and record functions for multiple surround sound formats. You'll find the Audient ASP510 surround monitor controllers are seen in all of Abbey Road's surround-capable studios.Audient ASP510 Surround Sound Controller, First Take: Comprehensive monitoring and record for multiple surround sound formats Integrates with your mixing console, easy calibration and LFE filter Selection of up to six monitor sources and three record sources Guide track and Dolby encoding inserts Cleanest possible signal pathMultiple Surround Sound Formats The ASP510 comprises a single rack unit and a small desktop remote. It handles all of these tasks: Selection of 5 preset Monitor Formats: 5.1, LCRS, Stereo, Mono and Bypass allowing surround monitoring to be collapsed into 4-, 2- or 1-channel formats all with the correct down-mix coefficients for instantaneous compatibility checks. The Bypass switch allows the main Left and Right monitor speakers to be fed directly by your mixing console control room outputs when you are not working on a surround project. The ASP510 is ideal for surround sound music production, DVD-V and DVD-A authoring, film and video post-production, film production and Foley, SACD and DTS authoring, video game production, digital television, audio visual production, and multi-channel OBs.Console Integration and Easy Calibration The ASP510 integrates with your console Solo logic system so that the surround monitor system can detect and insert soloed signals exactly as you're used to. It even has a remote Dim input so that your console can continue to dim the monitors when talkback is active. The ASP510 also features individual Cut and Isolate switches for each of the six monitors. This makes for easy calibration of the monitor system using the programmable Monitor Reference and Dim utilities along with the internal Pink Noise generator. An insertable 80Hz sub-bass filter allows accurate LFE monitoring.Selection of Up to Six Monitor Sources - Surround Rec - The 6 console bus outputs used to derive the surround mix. - Surround Play A - Surround input A (normally the return from multi-channel recorder A) - Surround Play B - Surround input B (normally the return from multi-channel recorder B) - Stereo Rec - the source being used to derive the stereo mix. - Stereo Play A - Stereo input A (normally the return from stereo recorder A) - Stereo Play B - Stereo input B (normally the return from stereo recorder B)The ASP510 allows selection of the Stereo Record Source as either the console stereo bus outputs, a downmix of the surround buses, or the output of a Dolby Surround Matrix encoder allowing the creation of simultaneous Surround/Stereo or Surround /LtRt recordings and outputs - great for creating a quic |
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Audient Centro Stereo Monitor Controller : MusiciansFriend : USD1700.0Centro is a Master Section designed to give DAW users all of the intuitive control of a large format console. Switching, routing, cue mixing and talkback all happens Centro-lly. And who better to create such a useful device than Audient, whose expertise with recording consoles includes designs for Soundcraft, Midas, MCI, and DDA (the precursor to Audient), not to mention custom consoles for the cream of British rock (see Audient company history). Audient Centro Stereo Monitor Controller, First Take: Monitor any of 6 analog and 6 digital sources 2 stereo cue mixes and built-in talkback Control 3 sets of stereo speakers Separate I/O box and remote eliminates messy desktop cables Monitor 6 Analog and 6 Digital Sources The Audient Centro lets you listen to any of 6 digital and 6 analog stereo sources, audition multiple analog sources simultaneously, and even throw in a digital source if you like. At the same time, the Audient Centro enables you to route any digital source to the dedicated digital output, which means no more re-plugging or repetitive patching.2 Stereo Cue Mixes Control zero-latency monitoring for performers with 2 stereo cue outputs fed from dedicated Rec and Foldback sources, or from the control room selection. You can even offer praise or chastisement with built-in talkback.Control 3 Sets of Stereo Speakers The flexible and generous I/O of the Audient Centro allows you to control 3 sets of stereo speakers, a subwoofer, and headphones from a central panel with mute, channel mute, mono, phase and dim. Separate I/O Box and Remote All this and there's no need to run 20 cables across your desktop. The Centro's separate I/O box and included remote provide an ergonomic, intuitive solution for the DAW-centered studio. And don't forget Audient's reputation for transparent audio quality, so your sure to get your sound as it should be, only with way more control capabilities. Audient Company History While 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. Audient recording consoles |
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Solid State Logic XLogic X-Rack Empty With 6 Blanks : MusiciansFriend : USD1595.0Using identical circuit design and manufacturing as the Solid State Logic Duality and AWS 900+ consoles, X-Rack is a modular rack system with Total Recall™ that delivers the classic SSL sound in a uniquely versatile form. Each X-Rack chassis holds up to eight modules in any configuration and there are 10 different modules on offer.You could build a stunning SuperAnalogue™ front end for your recording system, with 2 flavors of mic pre (SuperAnalogue™ and VHD), EQ, transparent dynamics, and a powerful master section. Or create an SSL summing mixer with an ultra-pure analog mix bus, using two line input modules to achieve high channel counts or combine additional sources during mixdown to the legendary Stereo Bus Compressor.You can even have EQ and Dynamics processing direct from the legendary E 40000 recording console; the world's most successful production console. X-Rack delivers the very highest quality analogue recording and summing path and is the perfect configurable solution for studio or live applications.The X-Rack chassis is a 4U 19" rack housing with a premium-grade power supply, MIDI IN/OUT connections, and a Mix Bus Link port that enables 2 X-Racks to be cascaded. The chassis also houses the Total Recall™ system with onboard capacity to store 32 system snapshots (the snapshots can also be stored as MIDI SysEX).Comes with six blanks which stylishly fill in the empty modular spaces of the XLogic X-Rack modular system. |
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Solid State Logic XLogic X-Rack Fitted With 8 Dynamics Modules : MusiciansFriend : USD7875.0Solid State Logic X-Rack is a modular rack system with their trademarked Total Recall that delivers the classic SSL sound in a uniquely versatile form. XLogic X-Rack Using identical circuit design and manufacturing to the Solid State Logic Duality and AWS 900+ consoles, each X-Rack chassis holds up to 8 modules in any configuration and there are 8 different modules available.You could build a stunning SuperAnalogue front end for your recording system, with two flavors of mic pre (SuperAnalogue and VHD), EQ, transparent dynamics, and a powerful master section. Or create an SSL summing mixer with an ultrapure analogue mix bus, using two line input modules to achieve high channel counts or combine additional sources during mixdown to the legendary Stereo Bus Compressor. X-Rack delivers the very highest quality analogue recording and summing path and is the perfect configurable solution for studio or live applications.The X-Rack chassis is a 4U 19" rack housing with a premium-grade power supply, MIDI IN/OUT connections, and a Mix Bus Link port that enables two X-Racks to be cascaded. The chassis also houses the Total Recall system with onboard capacity to store 32 system snapshots (the snapshots can also be stored as MIDI SysEX).XLogic X-Rack Dynamics Module Designed to be the perfect level control tool kit for recording, the Dynamics Module is densely packed with control features yet simple to use. The combination of separate Compressor and Gate/Expander section is powerful, graceful, and ideal for gentle and unobtrusive level control. |
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Solid State Logic X-Rack Microphone Amp Module : MusiciansFriend : USD845.0The Solid State Logic X-Rack Microphone Amp Module is an angelically pure and versatile input section with a choice of three separate input amplifiers: Mic amp, front panel instrument input, or line input. Designed for transparency and versatility with a set of high and low-pass filters, phase reverse, and everything you need from a very classy workhorse.Please note: The X-Rack XR621 Mic Amp Module works in conjunction with the XR622 XR Master Module. |
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Solid State Logic X-Rack Dynamics Module : MusiciansFriend : USD845.0The Solid State Logic X-Rack Dynamics Module is designed to be the perfect level control tool kit for recording. The Dynamics Module is densely packed with control features yet it's simple to use. The combination of separate Compressor and Gate/Expander sections is powerful, graceful, and ideal for gentle and unobtrusive level control.Please note: The XR618 X-Rack Dynamics Module operates in conjunction with the XR622 X-Rack Master module. |
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Solid State Logic X-Logic X-Rack Channel EQ Module : MusiciansFriend : USD845.0The Solid State Logic X-Logic X-Rack Channel EQ Module is a classic SSL 4-band parametric EQ that is a superb all-around frequency adjustment tool kit. Whether you need pinpoint accuracy for surgical problem solving; smoother, broader sound shaping; or a little more aggressive character, the SSL EQ will give you what you need. The X-Logic Channel EQ Module is a fully featured EQ with high- and low-bands switchable between shelving or fixed Q bell curves, and two mid-bands each with variable Q control.Please note: The XR625 X-Rack Channel EQ module operates in conjunction with the XR622 X-Rack Master module. |
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Solid State Logic X-Rack 8-Input Module : MusiciansFriend : USD845.0The Solid State Logic X-Rack 8-Input Module is the essential module for creating a Super Analogue summing mixer. This X-Rack module is designed to provide high channel counts, such as when bringing large numbers of audio channels out of a DAW and onto an analogue mix bus. The 8-input module assures the depth and space that only summing outside of the box in the analogue domain can achieve.Please note: The XR624 X-Rack 8-Input Summing module operates in conjunction with the XR622 X-Rack Master module. |
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Solid State Logic XLogic X-Rack 4-Channel Input Module : MusiciansFriend : USD910.0Solid State Logic's XLogic X-Rack gives project studio owners the ability to do what was once a dream: build an affordable SSL console with the sonic capabilities of their large format consoles with the same SuperAnalogue circuitry found in the AWS 900+, Duality, K, and J series recording desks. The Solid State Logic XLogic X-Rack 4-Channel Input Module is the perfect alternative to their 8-input module. It provides 4 inputs each with features suited to the tracking process or for combining line level sources into a final mix. Each input features pan and level controls, solo, insert connection, and routing to either the Record or Main Stereo Bus.Line 1 The XRack Line Return module contains four separate input amplifiers, each equipped with individual gain and pan controls, as well as Insert, Solo, and Record/Mix bus switches.Line 2 The level control allows the gain of each input to be varied from inf to +10dB with an indent at unity gain. A signal-present indicator measures the signal level immediately prior to the Level control. It will light green for signals above the lower threshold of -60dBu, amber for signals between +4eBu and +24dBu, and lights red for signals above +24dBu.Line 3 Signals applied to the input of the module will be permanently available in the Insert Send; the Insert Return can be selected in place of the Line Input by pressing the INS switch. The insert return can also be used to provide an alternative input to these input amplifiers.Line 4 Each input can be individually routed to either the Mix Bus (REC switch released) or the Record Bus (REC switch pressed). The Solo switch feeds signal, post Level, and Pan to the X-Rack Solo Bus. The Pan control will pan between Left and Right channel of the selected bus. Each of the three busses feed the X-Rack Master Module (see #182055), located either in the same X-Rack or remotely if multiple X-Rack units have been linked by the Mix Bus Link connector. With X-Rack you can create an SSL summing mixer with an ultra-pure analogue mix buss, using two different line input modules to achieve high channel counts or combine additional sources during mixdown to the legendary Stereo Bus Compressor. X-Rack delivers the very highest quality analogue recording and summing path and is the perfect configurable solution for studio or live applications. The X-Rack chassis is a 4U 19" rack housing with a premium grade power supply, MIDI IN/OUT connections and a Mix Bus Link port that enables two X-Racks to be cascaded. The chassis also houses the Total Recall system with onboard capacity to store 32 system snapshots (the snapshots can also be stored as MIDI SysEX).Please note: The XR623 X-Rack Line Return module operates only in conjunction with the XR622 X-Rack Master module. |
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Solid State Logic XLogic X-Rack Master Bus Module : MusiciansFriend : USD1095.0The Solid State Logic XLogic X-Rack Master Bus Module is a vital component that turns the X-Rack from a processing solution into a mixer. The Master Bus Module provides a signal path to the 2 X-Rack stereo buses for all of the other modules and offers you a compact console master section that is surprisingly sophisticated for its size.Please Note. The XR622 X-Rack Master module operates in conjunction with the XR625 X-Rack Microphone Amp and XR623 X-Rack Line Return modules. |
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Solid State Logic X-Rack Blank : MusiciansFriend : USD50.0This Solid State Logic X-Rack Blank stylishly fills in the empty spaces in their XR622 X-Rack Master module. |
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Teletronix LA-2A Leveling Amplifier : MusiciansFriend : USD2999.0The original LA-2A is revered among audio pros and this hand-built reincarnation faithfully matches its characteristics. A unique electro-optical attenuator system provides instantaneous gain reduction with no increase in harmonic distortion (less than 0.5%). No expense has been spared to bring that classic sound to your recordings. |
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Symetrix 322 DSP Engine : MusiciansFriend : USD619.0Half rackspace, two-channel, multipurpose digital signal processor for installation, broadcast, or studio processing. Gives you mixer, routing, noise generator, and delay capabilities in addition to compressor/AGC, limiter, and gate; parametric and shelf EQ; and hi- and low-pass filters. The 322 DSP software is included for easy drag-and-drop setup. Features four presets and tamper-proof front panel.The Symetrix 322 features two inputs, two outputs, and 24-bit multifunction DSP. It provides all the processing generally needed between a mixing console and a power amplifier in small sound systems. Small installations with small budgets don't have to dictate small audio thinking. |
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Symetrix 371 SPL Computer : MusiciansFriend : USD519.0The Symetrix 371 SPL Computer automatically raises and lowers sound system levels in response to changes in ambient noise conditions. Designed for installations featuring foreground music and/or paging, it ensures that music and announcements are always clearly audible and distinct, but never too loud. Proprietary AmbiSense technology enables the 371 to continuously monitor changing ambient noise levels not just during gaps in the audio program so it can respond quickly to sudden changes. RC-3 Remote Volume Control is available for the 371.A simple set of step-through menus displayed on the front panel LCD guides you through setup of the 371. You set the parameters of the acoustic environment and then set the way you want the unit to respond to changes in it. In operation, the 371 tracks environmental noise levels, internal signal levels and all the control settings. It makes appropriate gain changes whenever it finds measured characteristics. Menu adjustments determine how much the gain is changed, and how quickly that change occurs. |
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Symetrix 528E Voice Processor : MusiciansFriend : USD599.0The Symetrix 528E is a complete, self-contained voice processor that performs six separate functions: microphone preamplification, de-essing (sibilance removal), compression/limiting, downward expansion, parametric EQ, and voice symmetry alignment. All six processors may be used simultaneously. Although we call the 528E a "Voice Processor", it is perfectly suitable for any signal, vocal or not. Each function features a full complement of controls in an easy-to-use layout. Separate LED meters monitor mic gain and dynamics gain reduction functions, thus facilitating quick and accurate adjustment of controls. As a dedicated single-channel voice processor, the 528E delivers the same processing power found in an entire recording studio signal chain. With the 528E you get all the control you need, without the cost or complication of separate units. |
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Symetrix 304 Headphone Amplifier : MusiciansFriend : USD309.0The stereo input, 4-output Symetrix 304 Headphone Amplifier drives headphones of any impedance. Use the 304 headphone amp in broadcast, installed sound, and recording applications. High voltage technology provides 6dB volume increase over most competing headphone amplifiers. Compact half rack chassis permits 8 channels in one rack space. |
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Universal Audio 1176LN Solid State Limiting Amplifier : MusiciansFriend : USD1999.0The original Universal Audio 1176LN designed by Bill Putnam was a major breakthrough in limiter technology — the first true peak limiter with all-transistor circuitry offering superior performance and a signature sound. Evolved from the popular Universal Audio 175 and 176 vacuum tube limiters, the 1176LN retained the proven qualities of these industry leaders and set the standard for all limiters to follow.Today, the 1176LN is new again. While it certainly would have been possible — and much simpler — to modernize and "improve" the 1176LN, Universal Audio made every effort to remain faithful to Putnam's design and intentions. Carefully trained staff hand-wire and test each unit to uncompromising standards. This version of the 1176LN captures all the nuance of the original through obsessive attention to detail and delivers that trademark sound. Demand the original. Accept no copies. |
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Universal Audio 1176SA Stereo Adapter : MusiciansFriend : USD99.0The Universal Audio 1176SA Adapter calibrates two mono 1176s for stereo operation. It's a small device (4.25" x2.5" x1.75") which rests behind the 1176s. The 1176SA sports a full metal enclosure for proper shielding, gold-plated connectors. A 2-year battery is included. The 1176SA is compatible with both new and vintage models. |
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Universal Audio 6176 Channel Strip : MusiciansFriend : USD2399.0The Universal Audio 6176 Channel Strip gives you the classic sound of the legendary 610 Modular Console. Advances in digital recording technology are providing users with tremendous power and flexibility for increasingly less money. All too often, however, the audio quality of these systems is limited by their input stages. Many users who demand the power and flexibility of today's recording technology find themselves yearning for the warmth and tone of yesteryear's hand-built analog circuitry. Now with the release of the 6176, Universal Audio combines their highly acclaimed 610 tube microphone preamp with their legendary 1176LN compressor to create the ultimate single-channel signal path for everything from vocals to vibraphones. |
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Universal Audio 4110 4-Channel Precision Analog Microphone Preamp : MusiciansFriend : USD3499.0The Universal Audio 4110 is a 4-Channel Precision Analog Microphone Preamp offering world-class audio fidelity with UA's classic musicality and warm euphonics. The pristine signal path uses no capacitors, reducing phase distortion and avoiding degradation in audio quality and image stability. Each channel features custom input stage transformers, dedicated gain and level controls, input and output metering, dual input impedance selection, and a 3-way shape switch.The 4110's shape switch offers a variable signal path for maximum sonic versatility, providing harmonic variations, subtle compression, and soft limiting. There are 3 shape modes: Modern — ultraclean, transparent, maximum headroom; Vintage — transformer-loaded with harmonic enhancement; and Saturate —ÿtransformer-loaded with soft limiting. |
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Universal Audio LA-3A Classic Audio Leveler : MusiciansFriend : USD1699.0This reissue Universal Audio LA-3A Audio Leveler meticulously retains all the internal and external qualities of the original: the same simple control set and the T4 electro-optical attenuator-the source of the unit's program-dependent compression. It also retains the 2RU half-rack design, and comes complete with a single-unit rack assembly-no additional kit is necessary. All the original rear panel connections and controls are also maintained, while the commonly performed LA-3A gain mod is added as an additional switch for maximum studio versatility.The original LA-3A Leveling Amplifier made its debut at the 1969 NY AES show and marked a departure from the tube design of its predecessors. The LA-3A incorporated components and design concepts from the Putnam-designed 1176LN Limiting Amplifier. Immediately embraced as a studio workhorse and still widely used today, the LA-3A remains a favorite of engineers and producers worldwide for its unique compression characteristics and sonic signature. |
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Universal Audio LA-3A Dual Classic Audio Leveler : MusiciansFriend : USD3299.0The original LA-3A Leveling Amplifier made its debut at the 1969 NY AES show and marked the departure from the tube design of the Teletronix LA-2A Leveling Amplifier. The LA-3A incorporated components and design concepts from the Putnam-designed 1176LN Limiting Amplifier. Immediately embraced as a studio workhorse and still widely used today, the LA-3A remains a favorite of engineers and producers worldwide for its unique compression characteristics and sonic signature.The Universal Audio Classics reissue of the LA-3A meticulously retains all the internal and external qualities of the original. It sports the same simple control set and the T4 electro-optical attenuator, which is the source of the LA-3A's program dependent compression. It also retains the 2RU half-rack design, and comes complete with a single-unit rack assembly; no additional kit is necessary. All the original rear panel connections and controls are enhanced by LA-3A gain mod switch for maximum studio versatility. |
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Universal Audio LA-3A Rack Kit : MusiciansFriend : USD99.0Are you considering a second Universal Audio LA-3A for your gear arsenal? Then this dual unit mounting kit will be necessary. Includes two strapping plates. |
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Universal Audio UA-S610 SOLO/610 Classic Vacuum Tube Microphone Preamp and DI Box : MusiciansFriend : USD799.0The SOLO/610 by Universal Audio is designed to deliver the classic sound of the Putnam 610 console. The all-tube SOLO/610 provides the silky vintage warmth of the original UA 610 console used by artists ranging from Sinatra to Van Halen. Its all-tube circuit was carefully created to maintain the character of its vintage predecessor with the audiophile components and solid build you'd expect from a UA product. It has mic and DI inputs; Thru output; continuous gain and level controls; a gain-structuring Shape switch; 48V phantom power; lo cut filter; phase reverse; ground lift; and versatile mic/line level output switch. The SOLO/110 is hand-assembled by Universal Audio in the USA. |
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Behringer PX2000 Unbalanced Patchbay : MusiciansFriend : USD49.99The Behringer PX2000 Unbalanced Patchbay keeps your cables under control. Gives you 4 different modes at the flick of a switch: parallel, half-normalized, normalized, and open. Equipped with 48 - 1/4" unbalanced jacks and 24 switches. The Behringer PX2000 is built to last with metal housing, metal-ring jacks, and fiberglass boards. Single rackspace. |
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Behringer MULTIGATE PRO XR4400 Quad Expander/Gate : MusiciansFriend : USD99.99The Behringer XR4400 Multigate Pro Quad Expander/Gate combines 4 frequency-selective expanders/noise gates in a single rackspace. Suppresses noise during quiet passages and reduces crosstalk between mics. Features extremely short attack time for super-fast transients, parametric side chain filter for fine tuning, and flexible master/slave configurations. Includes servo-balanced XLR and 1/4" inputs/outputs. |
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Behringer ULTRAGAIN PRO MIC2200 : MusiciansFriend : USD99.99When you want to warm up your sound, only a tube will do, and the Behringer MIC2200 Ultragain Pro is just the ticket! It's the ideal extension to your console, sampler, hard disk recording system, or DAT recorder. This extremely low-noise, high-end 2-channel mic/line preamp with its warm tube sound lends your most demanding instrumental and vocal recordings incredibly detailed resolution and musical warmth. Helpful supplementary functions like parametric EQ, phase reversal switch, phantom power, and independent level conversion make the Ultragain Pro an indispensable addition to your outboard gear. |
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Behringer ULTRALINK PRO MX882 : MusiciansFriend : USD99.99This 8-channel splitter/mixer incorporates a level conditioner/converter to solve a whole range of connectivity problems. Regardless of your application, the MX882 keeps your signal paths short and clean. This impressive audio mixer includes multiple matching amplifiers. The ULTRALINK PRO MX882 allows you to convert home-recording levels to quality professional sound. |
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Behringer ULTRA-DI PRO DI4000 Direct Box : MusiciansFriend : USD99.99The Behringer DI4000 Ultra-DI Pro Direct Box makes it easy to connect several signals to your console without hum or other noises. Up to 40dB of switchable input attenuation lets you connect anything from unbalanced line and instrument signals, to an amp's output with up to 3,000W. There's even a built-in preamp to pump up weak signals. 4-channel DI also includes gold-plated XLR and 1/4" inputs/outputs, shielded internal power supply, 8-segment LED, and more. One rackspace. |
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Behringer ULTRA-DI DI100 Direct Box : MusiciansFriend : USD39.99The Behringer Ultra-DI DI-100 Direct Box puts an end to hum and impedance problems. It features an extremely flat frequency response and ultralow noise for superior audio quality. An internal battery is automatically decoupled when phantom power is used. Solid metal chassis and 4 sturdy rubber legs protect the Ultra-DI from damage on tour. Frequency response: 10Hz to 90kHz. Noise level: -102dBu. |
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Behringer Shark DSP110 : MusiciansFriend : USD79.99The ultracompact Behringer Shark DSP110 is a 24-bit multipurpose signal processor that functions as a pro-quality ULN mic preamp with +48V phantom power. It's a feedback destroyer, a delay line for loudspeaker time alignment, a user-friendly yet effective compressor/limiter, and a noise gate with "learn" mode. 24-bit A/D/A converters and professional connectivity round out the Behringer Shark DSP110 package. |
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Behringer CX3400 Super-X Pro Crossover : MusiciansFriend : USD129.99The Behringer CX3400 Super-X Pro Crossover is a perfect solution for FOH or monitoring systems of any caliber—-live or in the studio. 24dB/octave, state-variable Linkwitz-Riley filters for precise frequency separation. Totally flat summed amplitude response with zero phase difference. Independent IGC limiter per output and adjustable time delay for phase alignment between drivers with phase reverse switch. Switchable 25Hz subsonic filter; switchable EQ; Low Sum function; servo-balanced, gold-plated XLR connectors (2 in, 6 out). |
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Behringer SUPER-X PRO CX2310 Crossover : MusiciansFriend : USD79.99The Behringer CX2310 Super-X Pro Crossover offers stereo 2-way or 3-way mono with subwoofer out and independent frequency control. Phase reverse switch for each output. ALPS pots, illuminated controls, and ultralow noise op amps. 24dB/octave, state-variable Linkwitz-Riley filters. Absolutely flat summed amplitude response. Individual output level controls and mutes. Switchable 25Hz subsonic filter on each input for LF driver protection. The Behringer CX2310 has gold-plated XLR ins and outs. |
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Behringer Feedback Destroyer Pro DSP 1124P : MusiciansFriend : USD99.99The 2-channel, digital Behringer DSP 1124P Feedback Destroyer Pro automatically and intelligently searches out and destroys up to 12 frequencies per channel. 24 fully programmable parametric filters can be set manually or via MIDI. Set-and-forget default setting enables immediate and super-easy performance. A single-shot mode automatically searches and destroys feedback, then locks the filter until you reset it. Auto mode continuously monitors the mix and resets the filters automatically. Servo-balanced inputs and outputs on gold-plated XLR and 1/4" TRS connectors assure high signal integrity. Accurate 8-segment LEDs simplify level setting. The Behringer DSP 1124P Feedback Destroyer Pro also gives you future-proof software-upgradable architecture. |
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Behringer FCB1010 MIDI Footcontroller : MusiciansFriend : USD149.99If you've got a MIDI rig you need to tame, you'll find the Behringer FCB1010 MIDI Footcontroller indispensable. With 10 banks of 10 presets, you'll have plenty of storage space. Each preset can send 5 MIDI program change commands and 2 MIDI control commands simultaneously so you can configure an entire synth rack with one stomp!2 expression pedals independently control any MIDI channel, controller number, and range. The footswitches can also be configured to send MIDI note numbers, perfect for tap-tempo functions. 2 programmable, relay-controlled footswitch jacks are great for switching guitar amp channels via MIDI! |
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True Systems Precision 8 Mic Preamp : MusiciansFriend : USD2595.0The Precision 8 Microphone Preamp is designed to provide the detailed, transparent sonic performance needed for high-quality direct tracking and live sound. Unique features make it useful as a complete input system for MDMs, HDRs, and DAWs. The signal processor provides 8 highly transparent solid state microphone preamps, plus 2 sonically accurate discrete FET instrument inputs. 5-segment peak-hold level metering with selectable peak reference allows rapid optimization of program levels between the Precision 8 and other devices. Intuitive functions make True Systems' Precision 8 preamp ideal for digital recording studios and project studios. |
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Behringer AUTOCOM PRO-XL MDX1600 Compressor : MusiciansFriend : USD79.99The Behringer MDX1600 Autocom Pro-XL Compressor is a dual-channel compressor/limiter/expander that will increase vocal presence and energy, compress mono or stereo signals without loss of high frequencies, and minimize dangerous signal peaks. Integrated dynamic enhancer, de-esser, and low-contour filter provide the utmost in signal enrichment. The MDX1600 features a stereo dynamic processor with couple function, auto and manual mode compression, and separate IRC expander/gate. Has accurate 12-point meters for in/out level and gain reduction, switchable +4dBu or -10dBV operating level, sidechain I/O, and servo-balanced XLR and 1/4" I/O. The Behringer MDX1600 Autocom Pro-XL Compressor takes up a single rackspace. |
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Behringer DSP2024P Virtualizer Pro : MusiciansFriend : USD99.99The Behringer DSP2024P Virtualizer Pro offers 71 breathtaking new algorithms, most in true stereo. Wave-adaptive Virtual Room reverb; awesome modulation; dynamic, psychoacoustic, and EQ algorithms; plus innovative amp simulation, distortion, and special effects make this a mind-blowing effects processor never before seen in this price range. 11 effect combinations with selectable serial/parallel configuration and up to 7 adjustable parameters plus 2-band EQ per effect provide precision control. 24-bit A/D/A converters with 64/128X oversampling, true stereo processing, and 24-bit internal processing offer studio-quality sound. Plus much more. |
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Behringer MULTICOM PRO-XL MDX4600 Processor : MusiciansFriend : USD129.99The Behringer MULTICOM PRO-XL MDX4600 is a great rack unit for live music on the road. A high-pass filter in the sidechain keeps the sound full and bright. Integrated dynamic enhancer, and low-contour filter provide the utmost in signal enrichment. Interactive auto-compressor delivers extremely musical processing. Program-adaptive attack and release times provide precise sound. Also includes link function for channel pairs, separate displays for in/out level and gain, peak limiter, illuminated switches, and servo-balanced XLR and 1/4" I/O. Single rackspace. |
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Behringer MDX2600 Composer Pro-XL Compressor : MusiciansFriend : USD99.99The Behringer MDX2600 Composer Pro-XL Compressor is surprisingly easy to use. It has all the basic tools for optimal sound onstage and in the studio plus integrated dynamic enhancer, de-esser, tube simulation, and low-contour filter. Revolutionary IKA circuitry combines the advantages of hard- and soft-knee compression in a single dynamic function to deliver natural, transparent results. Also equipped with fully automatic and manually adjustable attack and release times, IGC peak-limiting circuit, selectable dual-mono or stereo, 12-segment display, switchable sidechain input with sidechain monitor function, and servo-balanced XLR and 1/4" I/O. Single rackspace. |
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Behringer ULTRA-DRIVE PRO DCX2496 Crossover : MusiciansFriend : USD299.99The Behringer ULTRA-DRIVE PRO DCX2496 is an indispensable tool for the precise setup of multiple loudspeaker systems or arrays. Installation contractors, live-sound engineers, cinemas/discotheques/concert hall operators will quickly learn to love this model's rich features. Signals can be split in various ways to assure precise sound by using the optimal frequency range of each loudspeaker. Start with its 3 analog inputs (one suitable as a digital stereo AES/EBU input) and 6 analog outputs. You get maximum flexibility in just one rackspace. Superb high-end AKM 24-bit/96kHz A/D/A converters give you ultimate signal integrity and an extreme dynamic range of 113dB. Easy connection of external digital signals with sampling rates from 32-96kHz is a breeze with the integrated sample rate converter. There are precise dynamic EQs for level-dependent equalization and extremely musical parametric EQs, selectable for all inputs and outputs, and "Zero"-attack limiters on all output channels guarantee optimal signal and loudspeaker protection. You also get 4 different mono and stereo output operating modes, all with individual crossover filter types (Butterworth, Bessel, and Linkwitz-Riley) with selectable roll-off characteristics from 6-48dB/octave. The delays for all inputs and outputs are adjustable. This allows you to correct manually or automatically for room temperature, phase and arrival time differences. An additional sum signal is easily derived from the A/B/C inputs. Now that remote control is such a hot topic, you'll be glad that the future-proof Ultra-Drive Pro software enables single or multi remote control via PC through RS-232 and RS-485 interfaces. And the link option via RS-485 network interface enables cascading of several Ultra-Drive Pros. A Windows-based editing software is available for download free of charge. No matter what the future brings, its open architecture assures easy software updates. A PCMCIA slot allows you to store all your settings and recall them anytime you change the location-virtually taking your Ultra-Drive Pro with you.But don't be fooled by the Ultra-Drive Pro's sleek design. Its high-power 32-bit Sharc-DSP and ultrahigh resolution Crystal/AKM A/D & D/A converter provide outstanding audio performance-and the servo-balanced, gold-plated XLR connectors for all inputs and outputs guarantee excellent connectivity for the years to come. |
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Behringer SRC2496 ULTRAMATCH PRO Converter : MusiciansFriend : USD199.99The Behringer ULTRAMATCH PRO SRC2496 is the successor to the renowned SRC2000, and enables you to transfer digital audio signals between devices with different sample rates, formats, or interfaces; disable SCMS for 1:1 digital copies; and remove dropouts or jitter from digital media. Simultaneously operable outputs offer splitter functionality. The 24-bit/96kHz-compatible SRC2496 now offers high-quality 24-bit/96kHz A/D/A conversion. It's perfectly suitable for studio work with format conversion between AES/EBU and S/PDIF (coaxial or optical). High-quality signal output with 16-, 20- or 24-bit resolution. Universal sample rate synchronization is done via word clock or digital input. XLR, RCA, and optical outputs are simultaneously operational with separately selectable inputs, turning this unit into a digital patchbay. |
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Behringer DI20 Ultra DI 2-Channel Active DI Box/Splitter : MusiciansFriend : USD29.99The innovative, active 2-channel Behringer DI20 Ultra DI 2-Channel Active DI Box/Splitter takes the signal directly from an unbalanced high-impedance output-like an electric guitar-and feeds it directly into a mixing console or recorder. It is ideally suited to augment the traveling gear of musicians (especially guitar/bass players) as well as live/studio/broadcast engineers, installation contractors, and studios/live event engineers. The DI20 converts 2 separate unbalanced 1/4" jack inputs into 2 balanced XLR outputs. There is a 2-channel/link mode for flexible use as mono, 2-channel, or splitter box. In link mode, channel 1 can be split up into 2 balanced XLR connectors plus one unbalanced 1/4" jack connector. Switchable input attenuation in 3 ranges allows input levels of up to +48dBu, while a ground lift switch eliminates typical ground loop problems. Operates on 9V battery or 48V phantom power. Ultracompact rugged housing. |
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Behringer TUBE ULTRAGAIN MIC100 Preamp : MusiciansFriend : USD29.99The Behringer TUBE ULTRAGAIN MIC100 Preamp is designed for studio, live, and hard disk recording applications. Features a carefully selected 12AX7 vacuum tube with UTC technology for exceptional warmth and lowest noise. Thus the Behringer MIC100 can be used to eliminate the "dull" sound of standard digital recorders and sound cards. Also, it perfectly complements studio-grade condenser microphones. When used as a high-end DI-box, the MIC100 Preamp ensures outstanding signal integrity. The TUBE ULTRAGAIN MIC100 comes with phase reverse switch, +48V phantom power, and 20dB pad. Balanced inputs and outputs provide the finishing Behringer touch. |
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Behringer ADA8000 Ultragain Pro-8 A/D/A Converter : MusiciansFriend : USD199.99The Behringer ADA8000 Ultragain Pro-8 A/D/A Converter is a state-of-the-art 8-channel A/D/A converter with built-in phantom-powered Invisible Microphone Preamplification (IMP) mic preamps. You can connect analog audio signals directly to a multitrack recorder or similar equipment via the integrated ADAT interface — and it takes up only one rackspace. It will even connect the digital signal of a multitracker via ADAT to the 8 line outputs of the ADA8000. Selectable signal conversion allows processing at 44.1kHz or 48kHz with 24-bit resolution. The ADAT I/O can be operated independently with an identical word clock signal. |
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Behringer DEQ2496 Ultra-Curve Pro Mastering Processor : MusiciansFriend : USD299.99The Behringer Ultra-Curve Pro Mastering Processor is ideal for mastering and PA purposes. It offers 4 concurrently selectable EQ modules: 31-band graphic, 10-band parametric, Feedback Destroyer, and 3 dynamic EQs per channel. Other highlights are the 61-band RTA that can run simultaneously with the EQ section, high-quality 24-bit/96kHz A/D/A converters, and 2 high-performance 32/40-bit floating-point SHARC digital signal processors which yield ultimate sonic resolution and 113dB dynamic range. Multifunction level meters, 64 user memories, RTA mic/line input with phantom power, word clock input, and MIDI connections. Balanced inputs, servo-balanced outputs with gold-plated XLR connectors, stereo aux output, and AES/EBU and S/PDIF I/Os (XLR and optical). |
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Behringer Ultra-DI PRO DI800 : MusiciansFriend : USD99.99Beringer's Ultra-DI PRO DI800 converts unbalanced line inputs into balanced outputs, featuring optional mains or phantom-powered operation. Servo-balanced operation assures ultra-flat frequency response. The Pro D1800 has a ground lift switch plus a +20dB gain switch for pre-amplification of low-level signals and an attenuation switch for input levels up to +40dBu make it totally flexible. This direct box includes a gold-plated XLR and 1/4" TRS connectors for pristine signal quality and illuminated switches for easy operation on dark stages. |
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Behringer FBQ3102 Ultragraph PRO EQ : MusiciansFriend : USD129.99The Behringer FBQ3102 Ultragraph PRO EQ Professional is a 31-band stereo graphic equalizer for both live and studio applications. Its amazing patent-pending FBQ Feedback Detection System instantly detects feedback frequencies and can also be used as an audio analyzer, making it a welcome addition to every touring setup. Adding some extra oomph to your music is made easy with the dedicated mono subwoofer output with adjustable crossover frequency. You can effortlessly remove unwanted frequencies such as floor rumble and tape hiss by using the additional sweepable high- and low-cut filters for each channel, and level setting is a snap with the highly accurate 12-digit LED input/output metering and input gain control. Ultra low-noise audio operational amplifiers provide outstanding sound performance. Servo-balanced inputs and outputs with 1/4" TRS and gold-plated XLR connectors. Unmatched reliability and longevity with high-quality illuminated faders, d‚tente ALPS potentiometers, and illuminated switches, all designed for the rigors of everyday use. |
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Behringer ULTRAGRAPH PRO FBQ1502 EQ with Feedback Detection : MusiciansFriend : USD99.99The professional, 15-band Behringer FBQ1502 Ultragraph PRO with Feedback Detection features the FBQ Feedback Detection System for instantly detecting feedback frequencies. This stereo graphic equalizer is an invaluable addition to your gig rack. A subwoofer output with adjustable crossover frequency lets you put heavy bass impact into your sound. There's a low-cut filter for zeroing out unwanted frequencies, and a precision LED meters output and input gain control for tweaking levels. Includes ultra low-noise audio operational amplifiers for superb sound quality. Stereo balanced inputs and outputs with 1/4" TRS and gold-plated XLR connectors. Illuminated faders, detent ALPS potentiometers and illuminated switches for operation under dark conditions. With a Behringer FBQ1502 in your arsenal, annoying feedback will become a thing of the past. |
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Behringer V-VERB PRO REV2496 Reverb Modeling Processor : MusiciansFriend : USD79.99Hi-fi, reference-class reverb is yours with the Behringer V-VERB PRO REV2496 Reverb Modeling Processor. Powerful modeling technology nails down luscious, spacious 'verb from some of the world's most renowned reverb processors and gives you the control to dial in your own signature flavors. It draws its strength from 2 independent effects processors that can be accessed via both analog and digital connectors. It features 4-channel access to 8 high-end reverb algorithms, high-quality modulation effects, stereo compressor, and 24-bit/96kHz A/D/A with 10 different routing configurations. from X-over Delay to Chorus/Flanger plus stereo Compressor.Navigating the V-Verb Pro is intuitive and easy, with soft push/turn encoders, a big preset wheel, high-resolution LCD, and a TAP button for delay times. Tweak away at up to 30 effect parameters with 400 preset starting points. ROM is updateable via MIDI. |
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Behringer MIC200 Tube ULTRAGAIN Preamp : MusiciansFriend : USD39.99The Behringer Tube Ultragain MIC200 Mic Preamp is a vacuum tube preamplifier with preamp-modeling technology and an integrated limiter. It's perfect for studio, live, and hard-disk recording applications. Preamp modeling allows you to quickly optimize your recordings by choosing from 16 voicings for vocals, acoustic and electric guitars, bass, keyboards, drums, and more. A carefully selected 12AX7 vacuum tube provides warmth and low-noise operation. Includes a phase reverse switch, +48V phantom power, and 20dB pad. 1/4" TRS and gold-plated XLR connectors give the Behringer Tube Ultragain superior balanced I/O. |
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Behringer FBQ6200 Ultragraph Pro EQ : MusiciansFriend : USD179.99The Behringer FBQ6200 Ultragraph Pro is the flagship of the entire FBQ series. An ultra-musical 31-band stereo graphic equalizer, the FBQ6200 goes the distance to offer maximum performance and flexibility in both live and studio applications. Start with the forward-looking, patent-pending FBQ Feedback Detection System that instantly reveals feedback frequencies and also can be used as an audio analyzer. A whole battery of superb features makes the FBQ6200 score high on the ease-of-use scale: dedicated limiters with gain reduction meters for each channel protect your sound system from overload and distortion, and a pink noise generator provides test signals for equalizing your sound system to any room acoustics. A mono subwoofer output with dedicated level control and adjustable crossover frequency gives your music some extra verve. Additional sweepable high- and low-cut filters for each channel remove unwanted frequencies such as floor rumble and tape hiss. Level setting is no sweat thanks to the highly accurate 8-digit LED input/output metering and input gain control. Top-drawer components such as the ultralow-noise audio operational amplifiers, servo balanced inputs and outputs with 1/4" TRS and gold-plated XLR connectors and the relay-controlled hard-bypass with an auto-bypass function offer outstanding audio performance. Expect reliability in the long run with the high-quality illuminated 45-mm detented ALPS faders, potentiometers, and illuminated switches. Any way you look at it, the FBQ6200 has all the right stuff to become a welcome addition to your touring rack. |
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Behringer DEQ1024 Ultragraph Digital EQ : MusiciansFriend : USD199.99The Behringer DEQ1024 Ultragraph Digital EQ combines digital stereo operation and a powerful 31-band EQ with incredibly simple and effective feedback fighting. The FBQ Feedback Detection System responds quickly, utilizing LEDs in the 45mm faders to indicate the offending frequency. 24/48-bit Motorola DSP and high-resolution 24-bit/96kHz A/D/A converters deliver fantastic sonic resolution. The EQ features operating ranges of ±12dB, ±6dB, and 0/-24dB; 31 illuminated faders; True Curve/WYSIWYG function; sweepable low- and high-cut filters; a noise gate/peak limiter; and pink noise generator. Servo-balanced I/O with gold-plated XLR and 1/4" TRS connectors, plus digital AES/EBU and S/PDIF with 44.1, 48, and 96kHz sample rates. Switchable international power supply. |
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Behringer PX3000 ULTRAPATCH PRO Patchbay : MusiciansFriend : USD49.99The Behringer PX3000 Ultrapatch Pro provides an easy solution to route up to 48 mono/24 stereo units. This 48-point patchbay is fully balanced with high-quality TRS jacks, which keeps your system free of noise and AC hum. It has 3 modes including Normal, Thru, and Half Normal, and the best part is that you can change modes via switches on the top side of the unit - no more removing the patchbay, disconnecting cables, and flipping I/O circuit boards! Three modes: Normal interconnects the 2 rear jacks of one channel, and inserting a plug into one of the front jacks interrupts the connection of the rear jacks. THRU interconnects each rear jack with its corresponding front jack. HALF NORMAL interconnects the 2 rear jacks of one channel, and inserting a plug into the lower front jack interrupts the connection of the rear jacks. |
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Behringer ULTRA-DI DI400P Passive Direct Box : MusiciansFriend : USD24.99The Behringer DI400P Passive Direct Box lets you connect instruments or amplifier outputs to your mixer. The Ultra-DI converts any unbalanced signal to a balanced signal and eliminates unwanted noise. With its high-performance transformer, the Behringer Ultra-DI also allows you to use very long cables without the loss of high frequencies. |
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Behringer ULTRA-DI DI600P Passive Direct Box : MusiciansFriend : USD29.99The Behringer DI600P Passive Direct Box lets you connect instruments or amplifier outputs of up to 3,000 Watts. The Ultra-DI converts any unbalanced signal to a balanced signal and eliminates unwanted noise. With its high-performance transformer, the Behringer DI600P also allows you to use very long cables without the loss of high frequencies. |
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Alesis P4 Powersupply DIN : MusiciansFriend : USD27.99The P4 is a higher-capacity "in line" supply with an AC cable coming in, and a cable going out terminating in a DIN connector that is the same size as a MIDI plug (but has 4 pins instead of 5).Works with: Alesis QSR, DMPro drum machine, MIDI Data Disk, Quadraverb GT, Quadraverb, Quadraverb 2, S4 sound module, S4 Plus sound module, QS6 keyboard, Wedge, and 1622 mixer. |
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Alesis MidiVerb4 Digital Effects Processor : MusiciansFriend : USD199.0The Alesis MidiVerb4 Digital Effects Processor is perfect for professional project studios and musicians who require an affordable solution for fully programmable, hi-fi effects. Its excellent effects algorithms produce dense, natural reverb; rich chorus, flange, delay, and pitch effects; and up to 3 simultaneous multi-effects. The MidiVerb 4 offers 18-bit A/D/A converters and 24-bit internal processing for a 20Hz-20kHz bandwidth and 90dB dynamic range, making it ideal for digital recording. Plus, its valuable Auto Level Sensing feature can instantly set the optimum input levels . . . a great time-saver. MidiVerb 4's 32 algorithms give you a complete arsenal of fully programmable effects, many using true stereo parallel processing. A total of 256 programs include 128 spaces for user-created effects. With its easy-to-use graphic interface, programming your own effects is a snap. And by using MidiVerb 4's MIDI controller routing and assignable footswitch input, you'll have complete creative control over every aspect of your sound. |
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Alesis Microverb 4 Signal Processor : MusiciansFriend : USD159.0Alesis Microverb4The Key is SimplicityThe key to MicroVerb 4s power is in its simplicity. It offers 200 programs that include everything from high-quality reverb, delay, chorus and flange to exciting multieffects and more. To customize your programs, two front panel knobs allow for quick, easy, user-storable edits, or use its MIDI inputs for control over program changes and modulation. You can then save your edited programs in the 100-space user program bank. Even though its affordable and easy to use, the MicroVerb4 offers the superb audio quality that you should expect from every Alesis processor. |
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Alesis NanoVerb 18-Bit Digital Effects Processor : MusiciansFriend : USD99.0The Alesis NanoVerb 18-Bit Digital Effects Processor has lush hall, plate, and room reverbs; rich, true stereo chorus, flange, delay, and useful multi-effect program. The NanoVerb gives you 16 powerful algorithms plus 18-bit digital converters and a flexible assortment of programs that make it an all-purpose processor. Fully adjustable programs can be tweaked to fit your tastes, and input/output and mix controls ensure proper effects levels for almost any application. The Alesis NanoVerb 18-Bit offers versatile digital audio processing for individual, studio or live performance applications. |
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Alesis PicoVerb Digital Multi Effects Processor : MusiciansFriend : USD89.0The Alesis PicoVerb Digital Multi-effects Unit has 16 presets including halls, rooms, plates, chorus, flange, delay, and Leslie. They are all created with 28-bit internal processing, 24-bit A/D/A, and a 48kHz sample rate. The Alesis PicoVerb is flexible for studio and stage use with unbalanced 1/4" analog I/O and -10dBV operation. 1/4 rack unit width x one rack unit high. |
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Alesis 3630 Dual-Channel Compressor/Limiter with Gate : MusiciansFriend : USD99.0With the Alesis 3630 Dual-Channel Compressor/Limiter with Gate you get 2 channels priced lower than most single-channel compressors. Ideal for recording, mixdown, instrument rigs, and sound reinforcement. Features fully variable threshold; compression ratio; attack, release, and output levels; selectable peak/RMS; and hard- and soft-knee compression styles. Input/output metering, gain reduction metering, adjustable gate, TRS sidechain for ducking and de-essing, and true stereo linkable operation. |
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Alesis DEQ-230 Programmable Digital Stereo Graphic EQ : MusiciansFriend : USD329.0The Alesis DEQ-230 Programmable Digital Stereo Graphic EQ gives you 2 channels of fantastic signal quality with 24-bit A/D/A conversion, 28-bit internal processing, and a 48kHz sample rate. The Alesis DEQ-230 has a large intuitive graphic display, 50 preset and user programs, and unbalanced 1/4" analog I/O to make it flexible enough for stage and sound reinforcement applications. -10dBV operation and external 9V AC power supply. |
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Alesis POWERTRIP-8 Conditioner and Light Module : MusiciansFriend : USD99.0The Alesis POWERTRIP-8 Conditioner and Light Module protects delicate rack gear with surge and transient suppression and an RFI/EMI interference filter. The Powertrip's 8 outlets are controlled by a front-panel switch and have circuit-breaker protection rated at 15 amps. 2 pull-out, swiveling rack lights are controlled by a front-panel on/off switch and dimmer control. A line voltage monitor displays incoming voltage. One rackspace. |
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Monster Power PRO 2500 Rack PowerCenter : MusiciansFriend : USD199.95The Monster Cable MP PRO 2500 Rack Power Center gives you 10 noise-filtered outlets. Affordable, audiophile-grade Power Center that provides better sound and complete protection against electrical surges and spikes for performing musicians and recording professionals. Features Monster Clean Power Stage 2 v2.0 filtering for high-quality sound and Dual-Mode Plus protection to provide audible and visual alarm for maximum protection and performance. |
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Monster Cable PRO 3500 Rack PowerCenter : MusiciansFriend : USD299.95The Monster Cable MP PRO 3500 Rack Power Center delivers serious security for your gear while cleaning up some of the most pesky electrical noise. 12 outlets. Affordable, audiophile-grade power center for superior sound and total surge and spike protection. Clean Power Stage 3 filtering for high-quality sound while Tri-Mode circuitry provides audible and visual alarm for comprehensive power surge protection. |
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Monster Power MP PRO 5100 Rack Power Center : MusiciansFriend : USD799.95Equipped with 10 color-coded, programmable outlets, a digital volt meter, and 5 separate filters to ensure squeaky-clean sound in live and studio applications. The application-specific filters reject AC power pollution. Tri-Mode circuitry provides the most comprehensive power surge protection available. The digital volt and amp meters precisely measure AC power fluctuations. It also features sequenced power turn-on and turn-off for equipment and overload protection. 3145 joule rating provides a high level of surge protection. The 8', heavy-duty, PowerLine 300 cord optimizes power delivery. 24k gold-plated contacts on grounded plugs assure maximum conductivity. The component-width chassis has built-in rack mounts and handles. |
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Monster Power PRO 1000 with Clean Power Stage 2 Power Outlets : MusiciansFriend : USD149.95Whether you're gigging, laying down tracks or mixing, the AC power feeding your gear is full of interference and line disturbances that you'll hear loud and clear-annoying clicks, buzzes, and hums. And although you may not hear it immediately, dirty power can also cause loss of dynamic range, a harsher-sounding mix, and increased noise floor that can transform your tube-warm tone into a transistorized sonic nightmare that can ruin every song in a set or destroy an otherwise perfect studio take.Always sound your bestThe Monster Clean Power circuitry of the PRO 1000 uses patented filters to dramatically reduce electronic noise on the power line. With clean power, you'll enjoy purer, more natural tone and increased dynamic range, so you'll always sound your best-onstage and in the studio.Prevent damageLike personal computers, the sensitive electronics inside your equipment can be easily damaged or destroyed by the surges and spikes common with power lines today. The problem is even worse if you live in an area plagued by lightning or power blackouts. Extremely high voltage can travel through an unstable power line at any time-mid-set on any stage or mid-take in any studio session-seriously damaging or even destroying your precious gear. The Monster Power PRO 1000 features extreme surge protection with 2775 joules of metal oxidized varistor protection for limiting surge voltage and current no matter where your music takes you.More than just a surge protectorIt doesn't just stop with surge. Clearly labeled sockets differentiate between the Analog, Digital, and High Current filters, allowing you to organize your connected gear for easy hookup while also optimizing its performance. That saves a lot of aggravation when you are behind your equipment rack trying to find the right plug.And unlike regular power strips that always come up just a little too short, you'll appreciate PRO 1000's extra heavy duty cord, which features gold-plated contacts for maximum power transfer, just like you expect in a Monster Power product. |
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Monster Power Pro 2000 Floor Standing Power Supply : MusiciansFriend : USD199.95The Monster Power Pro 2000 Floor Standing Power Supply has Clean Power circuitry that uses patented filters to dramatically reduce electronic noise on your power line. With Clean Power, you'll enjoy purer, more natural tone and increased dynamic range, so you'll always sound your best-onstage and in the studio.Like personal computers, the sensitive electronics inside your equipment can be easily damaged or destroyed by the surges and spikes common with power lines today. The problem is even worse if you live in an area plagued by lightning or power blackouts. Extremely high voltage can travel through an unstable power line at any time, seriously damaging or even destroying your precious gear. The Monster Power PRO 1000 features extreme protection with 2775 joules of metal-oxidized varistor protection for limiting surge voltage and current.Surge protection featuring 3 isolated Clean Power filters with dual power-status digital meters, 12 wide-spaced outlets and studio network protection. Perfect for the pro musician.Whether you're gigging, laying down tracks or mixing, the AC power feeding your gear is full of interference and line disturbances that you'll hear loud and clear as annoying clicks, buzzes, and hums. And although you may not hear it immediately, dirty power can also cause loss of dynamic range, a "harsher" sounding mix, and an increased noise floor. Your tube-warm tone can be transformed into a transistorized sonic nightmare that can ruin every song in a set, or destroy an otherwise perfect studio take.Clearly labeled sockets differentiate between the analog, digital, and high-current filters, allowing you to organize your gear for easy hookup while also optimizing its performance. That saves a lot of aggravation when you are behind your equipment rack trying to find the right plug. And unlike regular power strips that always come up just a little too short, you'll appreciate PRO 1000's extra heavy-duty 10' cord. Gold-plated contacts provide maximum power transfer. |
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Monster Power Pro 7000 Rack PowerCenter : MusiciansFriend : USD1499.95The top-of-the-line Monster Power Pro 7000 Rack PowerCenter is a rackmountable power unit that features filter circuitry designed by Richard Marsh. Triple-shielded transformers (with uniquely switchable balanced or isolated settings) in the Pro 7000 will subdue any noise or ground loop you can throw at it. The current that comes from most AC outlets is inherently imbalanced, causing high-frequency oscillations that get picked up by your gear in the form of performance-robbing hum, buzz, and static. And while filtering radio frequency and electromagnetic interference can remove much of this extraneous noise from your system, only a power center with perfectly balanced power can fully remove interference for the best possible sound from your audio components. Monster Pro Power 7000 is a rackmountable PowerCenter featuring rack handles for easy moving, 2 free and flexible XLR lights with an adjustable dimmer for hassle-free installation and wiring, a 2-line red LED display, removable feet for easy stacking and a snug fit with any 19" EIA-standard rack mount shelf. Plus, it uses a heavy-duty, double-shielded PowerLine 300 power cable for ultra-sophisticated power protection that automatically resets for trouble-free use. The Pro 7000 employs cutting-edge technology to perform the difficult task of balancing the power used by your pro audio components. Equipped with unique twin isolation transformers, the unit refines and matches the current from your wall outlet to achieve a perfect balance between the negative and positive current flowing to and from your gear. Thus it virtually eliminates power line oscillations and the extraneous noise they can cause. With Pro 7000 as an integral part of your studio or tour, your analog components will perform with stunning clarity, significantly expanded frequency response, and powerfully precise imaging, while your digital components-digital multitrack, DAT machine, MiniDisc, digital signal processor or recorder-will deliver clearer, sharper sound. Pro 7000 is also equipped with Monster Power's Clean Power Stage 5 v2.0 circuitry, which uses five ultra-advanced isolated filters to provide further rejection of the electromechanical and radio frequency interference from AC power lines and other audio components. Its 2 optimized digital filters, analog audio and video filters, and a high-current audio filter minimize the types of interference that affect each individual application to provide a superior level of interference rejection. The Pro 7000 also features intelligent, microprocessor-controlled turn-on sequencing to protect your components from damage that may occur when they're powered on in an incorrect sequence. It allows switching to be performed through its front panel for maximum convenience. The unit also provides superior surge/spike protection for your components with Monster's exclusive Tri-Mode circuitry and a surge/spike capacity of 3145 joules, the highest capacity currently avail |
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Monster Power Pro AVS 2000 Rack PowerCenter : MusiciansFriend : USD1699.95The Monster Power Pro AVS 2000 is a serious rackmountable PowerCenter for serious audio pros. It is designed to stabilize powerline fluctuations and maintain constant voltage to your studio gear to achieve maximum performance. While AC input fluctuates anywhere from 80-140V, the Pro AVS 2000 provides a consistent 120 volts output so amplifiers maintain the stability needed to deliver peak power and performance. The result is that you hear the smoothest, most natural sound and tone. Voltage sags (below the standard RMS value of 120 volts) are often caused by power-hungry appliances that draw more power (over 1,800W) than your studio was designed to support. This can have a direct effect on components such as amplifiers which require high power levels for optimum performance, causing them to lose tone and clarity. Power sags cause amplifiers to change gain structure which results in easy-to-hear distortions. Nor will they deliver peak power, dropping as much as from 100W to 60W. Other pro audio gear can be very power hungry, too, adding further problems. With the AVS 2000 PRO, all your high-power devices will maintain the stability needed to deliver peak power and performance. |
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Monster Power PRO 800 High-Performance PowerCenter : MusiciansFriend : USD79.95The Monster Power Monster Power PRO 800 High-Performance PowerCenter gives you a professional musician-level AC power protection system for great sound onstage and in the studio. Features Monster's patented Clean Power Stage 1, 1850-joule surge protection for better sound and 24k gold contacts to maximize power transfer from AC lines to power-hungry amps for optimum performance. Outlets are clearly labeled and color-coded, and labels for your power cords are provided for easy identification. |
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Rane AC 22S Active Crossover : MusiciansFriend : USD375.0The Rane AC 22S Active Crossover employs state-variable 4th-order Linkwitz-Riley filter alignments to eliminate phase problems. To further enhance transparency, it features adjustable time delay circuits on the low (and mid when used as a 3-way) outputs to compensate for any physical misalignment of the drivers. A mono subwoofer switch provides the option to sum both low outputs in stereo 2-way mode. The Rane AC 22S utilizes XLR connectors with active balanced inputs and outputs. |
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Rane AC 23S Active Crossover with Linkwitz-Riley Filter : MusiciansFriend : USD469.0The Rane AC 23S Active Crossover can be configured as Stereo 2- or 3-way, or Mono 4- or 5-way. Connects with XLR active I/O. Employs 4th-order Linkwitz-Riley filter alignments to minimize phase difficulties. Adjustable time delay circuits appear on the Low and Mid outputs of each channel to compensate for any physical misalignment of the drivers. |
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Rane MM 42 Personal Monitor Processor : MusiciansFriend : USD559.99Connect the Rane MM 42 Personal Monitor Processor between your mixing console and your monitor system (wired or wireless). The MM 42 will process one stereo or 2 mono mixes with shelf/cut filters, 3-band compressor, 5-band parametric EQ, and 3-band peak limiter. You can output to a powered sub without an external crossover thanks to an assignable sub output with adjustable bandpass filter. Monitor multiple mixes easily with the MM 42's headphone amp (1/4" and 1/8" jacks) and Cue Bus functionality.Process one stereo mix or 2 independent mono mixes using the MM 42's flexible input to output routing. Any combination of the MM 42's 4 line-level inputs can be assigned to any output processing chain. The relative mix of inputs is easily adjusted using front-panel level controls, making "more me" mixes a breeze.Create a separate low-frequency mix for driving onstage subwoofers or tactile "thumpers" using the sub output with adjustable bandpass filter. Any input or combination of inputs is assignable to the sub output. External crossover not required!Connect multiple MM 42s together using the cue bus and avoid the hassle of having to constantly re-patch headphones when monitoring more than one mix. Any mix can be placed on the cue bus and monitored (soloed) simply by pressing the desired mix's cue bus button. Connect the dedicated cue outputs on the rear panel to a spare transmitter or hardwired beltpack and hear the mix exactly as the performer hears it.Add low-frequency thump and high-frequency sparkle to a mix using the adjustable low and high shelf/cut filters.Control the dynamics of a mix with precision using the 3-band compressor. Adjustable crossover frequencies allow you to easily tame excess low end, while keeping the vocals and guitars clear and present.Use the 5-band parametric EQ to improve the overall sound of the mix. Uses range from simple, broad sweetening effects to precise boosts or cuts to account for a performer's hearing loss or a particular earphone's response.Protect the performer's hearing and keep output levels under control using the 3-band peak limiter. The limiter's crossover frequencies are fully adjustable and independent of the compressor's crossover settings.Monitor the mix pre- or post-processing using the headphone amp. Both 1/4" phone and 1/8" mini jacks are offered on the front panel. In many cases the headphone amp can replace a hardwired beltpack for the less mobile musicians onstage-the drummer or keyboard player, for example.Save precious aux outputs on the mixing console by using the direct outputs to daisy-chain (pass-through) a common mix or mixes across multiple MM 42s. Feed a band's stereo mix through to multiple MM 42s using the direct outs, then use the additional Inputs on each device to add solo instruments to the overall mix.Recall memory presets and adjust parameters remotely via MIDI. Sys Ex is also used to backup system set |
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Rane PEQ 55 Parametric EQ : MusiciansFriend : USD799.0The Rane PEQ 55 Parametric EQ is a problem solver, creative tool, and secret weapon. It features 5 bands of fully parametric equalization, adjustable High-Cut and Low-Cut Filters, and 3 bands of Accelerated Slope Tone controls per channel. Front panel controls select between dual mono 5-band, stereo-linked 5-band or stereo-linked 10-band operating modes. Familiar analog ease-of-use combined with high performance digital technology make the PEQ 55 ideal for professional sound reinforcement, fixed installation, broadcast and recording applications. Its digital design allows features not possible with conventional analog EQs,. These include the ability to A/B two curves, link channels, improved accuracy, and exceptional immunity to RF and electromagnetic interference. It also results in lower cost per filter. |
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Rane G4 Quad Gate/Ducker/Expander : MusiciansFriend : USD799.0Rane's G4 Quad Gate/Ducker/Expander combines familiar front-panel controls with the accuracy and performance of digital signal processing, The G4 is suitable for use in a variety of demanding dynamics processing applications. Gating, ducking and downward expansion modes are offered, together with internal high- and low-cut filters and external side-chain inputs. It is the ideal tool for front of house, monitor, instrument and voice processing, broadcast and recording. |
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Rane DEQ 60L 1/3-Octave Graphic Equalizer : MusiciansFriend : USD879.0The Rane DEQ 60L 1/3-Octave Graphic Equalizer was made to provide a tool you could use to draw the frequency response you wanted on the unit's front panel. For years, graphic equalizers compromised the seemingly unattainable goal of a response that truly matches the slider settings-until Rane designed the DEQ 60L.Digital Signal Processing (DSP) allows filter technology not possible with analog designs. Rane coined this new technology "Perfect-Q" to describe the world's first true graphic equalizer whose output response precisely matches its front-panel settings.Perfect-Q features virtually no band interaction and extremely low ripple between adjacent bands. Rane wanted to keep things interesting and flexible-fear not proportional-Q lovers-for each channel of the DEQ 60 is selectable between Perfect-Q or proportional-Q response. |
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TC Electronic D-Two Multi-Tap Delay : MusiciansFriend : USD499.0With the TC Electronics D-Two, you can also quantize them according to a specific tempo and subdivision, control the exact number of repeats, and specify repeats of up to 1 second each. It's the most flexible and musical delay unit ever. The D-Two can provide up to 10 seconds of delay, features 24-bit A/D-D/A conversion and 24-bit internal processing, comes with 50 factory presets and 100 user, and provides S/PDIF digital I/O at 44.1kHz and 48kHz. 6 unique direct-access features include Spatial (provides extra-wide delay at a single keystroke), Ping-Pong (pick any 5 patterns and set the relationship between panning speed and delay tempo), Reverse (reverse delay with the flick of a key), Dynamic (sets the release time and threshold to let the input signal control level of delay), Chorus (hit a single key to instantly add chorus or flange to your delay), and Filter (increases filtering as repeats decay). |
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TC Electronic M3000 Studio Reverb Processor : MusiciansFriend : USD1499.0Featuring VSS3 technology, the TC Electronic M3000 Studio Reverb Processor gives you greater realism, accurate early reflections, smooth tail, pitch accuracy, and sound free of modulations. The M3000 comes loaded with 300 high-grade factory presets to cover any imaginable situation and a wide range of parameters for editing. It is a dual-engine, true stereo unit and features 24-bit A/D/A conversion. Other features include dynamic morphing, tap tempo, and a "wizard" function (tell it the application source and size you are looking for and it suggests appropriate presets). The TC Electronic M300 Reverb Processor also offers a wide selection of I/Os to cover any analog or digital requirements you might have. |
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TC Electronic Finalizer Express : MusiciansFriend : USD999.0The TC Electronic Finalizer Express is the fast and efficient way to turn your mix into a professional master. Based on TC Electronic's award-winning Finalizer technology, Finalizer Express delivers the finishing touches of clarity, warmth, and punch to your mixes. Features multi band compressor and limiter algorithms, boost and cut over 3 bands, soft clipping to prevent overs, look-ahead delay that foresees incoming peaks, automatic make-up gain to optimize overall level, emphasis keys that let you add extra compression to each band, and built-in digital fader. 24-bit A/D/A conversion. AES/EBU, S/PDIF, Optical TOSLINK, and MIDI I/Os. |
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TC Electronic Finalizer Express Factory B-Stock : MusiciansFriend : USD699.99The TC Electronic Finalizer Express is the fast and efficient way to turn your mix into a professional master. Based on TC Electronic's award-winning Finalizer technology, Finalizer Express delivers the finishing touches of clarity, warmth, and punch to your mixes. Features multi band compressor and limiter algorithms, boost and cut over 3 bands, soft clipping to prevent overs, look-ahead delay that foresees incoming peaks, automatic make-up gain to optimize overall level, emphasis keys that let you add extra compression to each band, and built-in digital fader. 24-bit A/D/A conversion. AES/EBU, S/PDIF, Optical TOSLINK, and MIDI I/Os. |
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TC Electronic Finalizer 96K : MusiciansFriend : USD2499.0The TC Electronic Finalizer offers full up- and down-sampling, 24-bit/96kHz resolution A/D/A converters, and 30 presets to automatically produce quality masters. Or specify 4 simple parameters and the wizard will do the setup. The Finalizer's Extremely advanced intuitive LCD interface gives you precision monitoring and control of every stage in the signal path: analysis of signal types, internal effects abilities, external inserts, EQ, spectral stereo imaging, normalizer, compressor/limiter/expander, crossover, and much more. XLR (AES/EBU), RCA (S/PDIF), and optical (Tos-link, ADAT) connectors, plus balanced XLR ins. Asynchronous conversion with 5 sample rates. |
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Carl Martin 3-Band Parametric EQ/Pre-amp : MusiciansFriend : USD234.5The Carl Martin 3-Band Parametric EQ/Pre-amp is designed specifically for use with such acoustic instruments as guitar, violin, and harmonica. These instruments sometimes use combo amps, which require a high-quality EQ (3-band parametric) and balanced line driver. These features have been integrated into a convenient stompbox format with both XLR and 1/4" outputs. The Carl Martin Parametric EQ/Pre-amp also works well for tweaking the sound of electric guitars, basses, and other electronic instruments in the studio. Integrated regulated power supply. |
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TC Electronic G-Force Guitar Multi Effects Processor : MusiciansFriend : USD1499.0The TC Electronic G-Force Effects Processor was designed for incredible ease of use. Includes more than 150 presets featuring simultaneous gating, compression, filters, harmonics, tremolo, intelligent pitch shift, chorus, delay and reverb. Capable of performing eight full-blown effects, in any order, at any time. A logical interface makes editing fast and easy. Tempo control is as easy as tapping, setting the note value, and assigning it to a preset parameter. Expression pedal input allows you to use MIDI controllers or a volume pedal, assign it to any number of parameters, so you can open, change, and vary simultaneous effects. Also features S/PDIF ins/outs and supports both 44.1 and 48kHz sample rates; comprehensive LED that shows the whole shebang at a glance; 16 assignable modulators that can be routed to any of the hundreds of parameters; 24-bit A/D as well as 24-bit D/A converters; internal universal power supply; 24K gold-plated audio jacks; heavy-duty extruded aluminum chassis; and more. |
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TC Electronic FireworX Multi Effects Processor : MusiciansFriend : USD1499.0The TC Electronic FireworX Multi-effects Processor boasts a 64-position routing grid. Simply place algorithms anywhere on the grid and they will be automatically wired together. Features an 80 million ips processor with the TC DARC3 chip, and the FireworX monitors the amount of DSP power being used, so you can wire together as many algorithms as you want until it tells you it's maxed out. Sound palette includes vocoder, ring modulation, synth algorithm, format filter, resonant filter, multi tap delay, reverse delay, reverb, delay, chorus, flange, phase, pitch, and fractal noise. You can change the order of effects, repeat certain blocks, add feedback loops, even insert an external effect. It shreds. And now it's available with word clock for MIDI sync. |
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TC Electronic M-One XL Effects Processor : MusiciansFriend : USD399.0The TC Electronic M-One XL Effects Processor delivers jaw-dropping effects. XL technology benefits from the TC reverb heritage and takes advantage of both complex early reflection patterns and dense reverb decays to bring more natural and useful reverbs to all applications. This technological development combined with XLR connectors makes the M One XL well-suited for live situations. It comes loaded with 200 high-grade factory presets and can store up to 100 favorite presets in the user bank. Multi-effects include a wide range of reverbs, delays, and choruses. Also includes flanger, gate, expander, de-esser, tremolo, and phaser. Special drum verbs bring out the best in live drums. |
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TC Helicon VoiceWorks Vocal Processor : MusiciansFriend : USD499.0The TC Helicon VoiceWorks Vocal Processor is hands-down the best harmony generator in its class. Creates 4-voice harmonies and 4 harmony modes and provides transparent pitch correction and fat automatic double-tracking, all so realistic you can solo them with confidence. It also includes superb T.C. Electronic effects and new HarmonyHold which lets you freeze your backing harmonies while you sing over them. Add a quality mic preamp, compression, EQ, tap-tempo delay, and reverbs and you have a complete vocal channel with 100 user presets. |
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TC Helicon Helicon Quintet Vocal Processor Factory B-Stock : MusiciansFriend : USD219.99Quintet is an affordable processor combining TC•Helicon's renowned harmony algorithms and reverb technology, which are key to great live and recorded vocals. Features include a high-quality preamp, 4 harmony voices plus double-tracked lead, timing and pitch humanization, TC reverb, and A/B program switching. 24-bit processing and MIDI control. XLR mic inputs, 1/4" line, RCA phono S/PDIF digital output. |
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TC Helicon VoiceLive Vocal Floor Processor : MusiciansFriend : USD499.0The TC Helicon VoiceLive Vocal Floor Processor puts all the vocal tools you love and use in one dedicated box engineered for live music performance. Powerful EQ, compression, and delay are combined with rich reverb, harmony, correction, and doubling algorithms from TC-Helicon.4 unique harmony logic algorithms can add harmonies generated from your lead voice or can be used by a backup singer to create a multivoice back-up ensemble. Each of the 4 harmony voice parts use the Hybrid Shifting algorithm. This superior pitch-shifting algorithm is combined with a voice-trained pitch-detection algorithm and human-modeled naturalization parameters to create natural-sounding harmonies.The automatic pitch correction is the most transparent available. With factory and custom scales the Correct block can fix intonation problems in any musical style. Amount, Attack and a 200-cent window control make natural pitch correction easy to achieve.The VoiceLive contains the VOSTM Limiter-an optical limiter optimized for voice. Its analog architecture ensures you'll never distort the mic input and maintain premium sound quality.8 footswitches and 4 control modes make VoiceLive easy to use in your performance. A user footswitch is assignable to TAP Tempo (for delay), Harmony Hold, and other useful parameters. You can also use an expression pedal to sweep through assignable modifiers.The bottom plate is constructed using a powder-coated steel-plate with anti-skid rubber matting. Controls are recessed and reinforced by double aluminum construction. |
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TC Electronic G-Sharp Rack Mount Guitar Multi Effects Processor : MusiciansFriend : USD149.0G-Sharp is a dual-engine guitar effects processor that combines superior TC Electronic effects with an easy-to-use audio interface. If you play the guitar you probably already know TC Electronic and the award-winning quality it stands for. The G-Sharp Multi-Effects Processor is no exception, and it comes packed with lots of modulations, delays, and reverbs.Each of the two engines gives you 15 different factory presets that let you navigate smoothly through the parameters and quickly achieve the sound you're after. As this is a true guitar effects processor, you can control the G-Sharp via an optional footswitch or MIDI controller. The 99 user presets and a separate engine bypass function are easily controlled from the floor.With G-Sharp you get full and direct access to all the legacy reverbs and effects, and their parameters. Everything is easy to control from the front panel and that gives you a maximum of flexibility — at home, in the rehearsal room, or when you're playing live. High density 24-bit processing and A/D/A converters fully live up to the TC reputation of high quality and tone preserving I/O.Auto-sensing digital input at 24-bit S/PDIF gives you a secure and bulletproof input connection in any setup. If digital input fails to register, the G-Sharp will automatically switch back to analog input selection. Easy-to-read preset display, MIDI in/out, MIDI clock tempo sync, tap tempo from a pedal, and a global bypass function makes MIDI implementation a snap.Plug the G-Minor triple footswitch or the TC G-Switch pedal to the G-Sharp, and you have instant access to parameters and changes right from the floor.Adaptive built in power supply secures seamless operation at any voltage.7 Delay Types:DelayStandard Delay fits most uses and it will give you a precise and high quality delay that ensures that there is no deterioration of the original sound. This is a type of delay that you can use for all kinds of music and it will treat your original source material with great respect. Soft DelayThe Soft Delay gives you a clear yet soft reproduction of your original sound. TC has integrated a subtle yet significant high cut with a relatively high crossover frequency, and that gives you a soft and smooth delay. Use this delay when you want to achieve the clarity and presence that you would normally only hear on studio recordings. Tape DelayThis algorithm emulates the old school tape delays that were created using a tape recorder with a tape-loop. Of course, this deteriorated the sound. The Tape Delay in the G-Sharp preserves the original source material and gives you a perfect emulation of all the good characteristics of the original Tape Delays. Lo-Fi DelayDo you want that ugly and muddy, yet funky delay sound that defective and low-end gear produces? Well, look no further, the Lo-Fi Delay will do the job. No highs or lows escape the filtering of this grainy algorithm, and it is a brilliant addition to those classic fuzz and tube overdr |
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TC Electronic M350 Reverb and Effects Processor : MusiciansFriend : USD199.0The TC Electronic M350 combines 15 brand-new TC-quality reverbs with 15 multi-purpose effects including delay, modulation, and compression. Included AU/VST compatible software editor allows for seamless control and editing integration with DAW systems. Through the included software editor, parameters and preset recalls may be fully automated or real-time controlled. High-density 24-bit processing and A/D/A conversion delivers the full transparency of TC reverbs and effects. Choice Selection of Effects The M350's reverbs include: classic TC hall, cathedral, ambience, room as well as plates and springs, and the comprehensive effects section includes a number of essential compression, modulation, and delay variations.Optimized Presets The 256 factory presets cover a wide range of applications and audio sources, and enable you to use the M350 right out of the box. With 99 additional user presets, the total number of presets amounts to 355.Easy Front Panel Access M350 was designed with the utmost user-friendliness in mind. All reverb and effect types and parameters are accessible directly from the front panel, ensuring maximum flexibility in any given situation. Perfect for Computer Recording Through the included software, the user can control and edit the M350's parameters stand-alone and in any AU/VST environment. Comprehensive I/O The auto-sensing digital input at 24 bit S/PDIF ensures bullet-proof input connection in any setup. Furthermore, the M350 comes with an easy-to-read preset display, and provides MIDI in/out, MIDI clock tempo sync, pedal control of tap tempo, and global bypass. |
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TC Electronic C-300 Dual Stereo Gate/Compressor : MusiciansFriend : USD129.0C300 dual stereo gate/compressorThe TC Electronic C300 is an easy-to-use dual-engine dynamics processor that gives you superior compression/limiting and gate/expansion possibilities. Designed primarily for insert applications, it features flexible control of the signal path, 16 gate/expander and 16 compressor/limiter audio-optimized presets with intelligent TC multi-band and full-band technology, innovative new-style compression, state-of-the-art TC quality, and an extremely intuitive and straightforward user interface that gives you access to complex and comprehensive dynamics processing with just a few buttons and simple operations.Optimized presetsThe C300 gives you source-based presets that are tailor-made for various types of sources. Depending on the preset you select, you have access to intelligent TC full-band- or multi-band technology. The C300's multi-band processing is built on a state-of-the-art TC algorithm that bases it's calculations on the incoming source. A multi-band compressor, as opposed to a full band compressor, acts differently on different frequency bands. Each frequency band actually has its own little compressor with unique settings like threshold, ratio, attack, and release. Create, for instance, a steep compression on the lower frequencies, soft compression on the mid frequencies, and bright and light compression on the higher frequencies. The C300 comes with several presets that are fully optimized for this kind of compression. You'll be surprised how easy it is to use. New-style compression — an innovative approach Mix a compressed signal with a dry signal to enhance all the details in the music, just by turning the mix knob. Rather than pressing down the signal peaks, you can preserve all the higher dynamics while simultaneously bringing out the details from the lower end of the signal. Apply parallel compression to a drum kit and all the lower details hit you smack in the face, while all the bells and high dynamics of the snare and cymbals are preserved. Just select the appropriate preset, and you're up and running!Simple, intuitive and straightforward user interfaceAll nonessential knobs and tweaking possibilities have been eliminated and replaced with innovative combinations and expansions of parameter indicators and knobs. For instance, the gate and the compressor are both controlled with the same knob, giving you improved and much faster access to important parameters.Flexible control of the signal pathThe C300 gives you all combinations of parallel and serial link modes. Stereo serial mode allows you to process a composite full-mix signal on both engines simultaneously, virtually giving you an extra device. Or insert a stereo full-mix signal into one engine and compress it, for example, then send the stereo signal into the second engine, limit it, and send out a processed full-mix stereo signal. Full stereo processing on two serial connected engines is not normally possible for this type |
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Millennia STT-1 Origin All-In-One Recording Front End : MusiciansFriend : USD3055.99The Millennia Origin Twin Topology STT-1 is a rackmountable single-channel music recording system offering a selection of Millennia's core vacuum tube or solid state circuits, including mic preamps, line input with gain, opto-compressor / limiters, parametric equalizers, DI instrument input with gain, and opto-inductive de-essers.Virtually every audio function is available with 100% Class A, all-discrete J-FET solid state topology or 100% Class A, all triode vacuum tube topology, each topology selectable with the touch of a button. The STT-1 Origin also offers a choice of colorful transformer-coupled or transformerless audio paths, all switch selectable. Audio transformers provide an extra layer of preamp personality.With 134 different product combinations in one 2U rack chassis, and the associated range of sonic possibilities, the Millennia STT-1 is designed for the producer/engineer/musician who doesn't have large blocks of time to spend patching and repatching racks of analog front-end gear trying to achieve "that sound." Now, in one chassis, it's possible to easily and quickly connect Class-A vacuum tube equipment to Class A discrete solid state equipment with transformer-coupling and non-transformer coupling.For example, select the transformerless M-2 vacuum tube mic preamp feeding the NSEQ discrete solid state parametric EQ. Or select the transformerless solid state line level input feeding the vacuum tube gain amplifier, routed into the vacuum tube TCL compressor and vacuum tube NSEQ parametric EQ. Or plug an electronic instrument (guitar, bass, etc..) into the vacuum tube DI input and feed this to the solid state gain amplifier, and compress it with the TCL solid state opto-compressor. Or use the acclaimed HV-3 solid state mic amplifier — the choice of top audio professionals worldwide — routed via transformer coupling to both the direct mic preamp output and NSEQ solid state parametric EQ and solid state de-essing circuits.To select the tube mic preamp, tube line input gain stage, tube EQ, tube compressor/limiter, or tube de-esser, simply press the appropriate front panel switch(es). To use the solid-state mic preamp, s/s line input gain stage, s/s EQ, s/s compressor/limiter, or s/s de-esser, press the switch(es) again. Twin Topology! To use the input transformer, press the associated switch. For transformerless operation, press the switch again. All circuit topologies are designed to deliver a musical optimization of their inherent character. A special collection of vintage vacuum tubes (old Telefunkens & Mullards) are also available for greatly enhanced euphonic character.Twin Topology products also sport new cosmetics. The ORIGIN offers unique illuminated push-button switches, hand-machined solid aluminum knobs, extruded and radiused 3/8" thick face plate which is processed in an artistic 'platinum-crackle' finish (optional) looking something like an aged spruce guitar top. There's ev |
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Millennia TD-1 Half Rack Recording Channel : MusiciansFriend : USD1795.99Introducing the Millennia TD-1 Half-Rack Recording Channel. The TD-1 is a compact yet sophisticated analog channel strip for microphones, electric guitars and basses, acoustic instrument transducers, keyboards, DAWs, and all MIDI systems. TD-1 Twin Direct includes Millennia's acclaimed HV-3 microphone preamplifier, making it an uncompromised front-end for virtually any audio recording application. Some have called the TD-1 a Mini-Origin.Audio engineers no longer need to choose between a tube or solid state front end. TD-1's instrument input employs Twin Topology — Millennia's innovative merging of vacuum tube and solid state circuit topologies. TD-1 offers a high voltage 100% vacuum tube instrument amplifier or a transparent 100% discrete F.E.T. solid state instrument amplifier in the same indestructable military-grade chassis. Both topologies can be switch selected and musically tuned via 3 selectable input impedances (470K/2M/10M). Up to 65dB of adjustable microphone and instrument gain is available via front-panel control.A simultaneous pair of patented Reamp outputs allow TD-1 to emulate both Les Paul and Strat pickups (Les Paul himself plays through a Millennia Origin). Reamp causes the guitar amplifier to think it's connected to a high impedance passive guitar pickup, instead of a very low impedance (and much too clean) active tape recorder or digital workstation output. Millennia's uncompromised DIT-01 mic-level DI output transformer (Frequency Response -3 dB @ 3 Hz & 300 kHz) is also included.Recording directly from any guitar amplifier is now possible with Millennia's innovative Speaker Soak technology. Simply connect any parallel speaker output (300W max) and start recording the authentic character of your guitar amplifier output under true dynamic speaker loading. An audiophile-grade headphone output with separate level control is also provided for pre-auditioning.A fully sweepable NSEQ-style parametric equalizer (20 Hz - 25 kHz) provides an unlimited range of adjustable tonality. NSEQ is the same equalizer used by top mastering facilities around the globe. Ultra-transparent NSEQ bands are provided for high-resolution audio sculpting of instruments such as guitars, bass, and keyboards, or artistic and corrective work — adding "air" and "punch," removing "mud," and so forth — all with the smooth and artifact-free audio qualities for which NSEQ is well respected.Use as much or as little signal processing as you desire. TD-1's main signal path employs 100% discrete circuitry from input to output for critical sonic transparency and wide dynamic range. Switch in any number of additional processing features for enhanced utility and innovative functionality. Useful features such as polarity reversal (on all inputs), relay controlled -20 dB auto-balanced PAD (on all inputs), 3 ground lift switches + isolations (power/input/output), logic-controlled switch mutes, and wo |
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Millennia TCL-2 Twincom Stereo Compressor / Limiter : MusiciansFriend : USD3221.99The Millennia TCL-2 Twincom is an ultratransparent, 2-channel opto-compressor/limiter. The Twincom delivers Class-A biased all-discrete J-FET solid-state operation or Class-A biased all-triode vacuum tube operation at the touch of a switch.The TCL-2 Twincom stereo compressor/limiter with Twin Topology is Millennia's innovative new merging of vacuum tube and solid state circuit topologies. A front panel switch selects between a complete vacuum tube audio path or a fully discrete solid-state audio path - in the same chassis. Both circuit topologies are entirely transformerless, high voltage, and minimalist.The Twincom has only one active stage in the audio signal path for greater sonic integrity and heightened musical reality. This stage is optimized as an input buffer, dynamics amplifier, and output driver. Greatly increased musical clarity is achieved as precious audio signals are spared from successively colored amplifier stages.The Twincom is also designed as an entirely balanced circuit. The balanced input signal remains balanced from input to output, avoiding the need for audio transformers or additional amplifiers in the signal path.Why transformerless? Transformers add coloration to audio signals; coloration which is not conducive to sonic purity. Via innovative design techniques, the Twincom avoids audio transformers entirely, allowing the remarkable musicality of Class-A triode dynamics without the unavoidable sonic artifacts common to signal path transformers.The solid-state aspect of Twin Topology consists of 100% Class-A all discrete J-FET (field effect transistor) amplifiers. The vacuum tube aspect of Twin Topology employs 300 volt, 100% Class A, hand-tested and selected triode vacuum tubes. To use the vacuum tube amplifier, simply press a front panel switch. To use the solid-state amplifier, press the switch again. Both topologies are designed to deliver musical optimization with individual character.The Twincom offers illuminated push-button switches, machined aluminum knobs, extruded and radiused face plate (nearly 3/8" thick), and a stylish "TT" logo deeply engraved into every panel. The Twincom employs exquisite high voltage amplifiers free of transformer coupling, carefully designed around the finest grades of passive components (Vishay pots, Roederstein resistors, Wima and Electrocube capacitors, Neglex OFC audio cabling, gold tube connectors and relay contacts, silver Teflon power wiring, large Sifam true audio level meters, etc.). |
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Millennia HV-3C Stereo Microphone Preamplifier : MusiciansFriend : USD1843.99The HV-3C Stereo Microphone Preamplifier is an entirely double-balanced, extremely wide dynamic range stereo microphone preamplifier intended for demanding audio recording. In it Millenia combines precisely matched, discrete bipolar transistors with a laser trimmed DC coupled FET-based output driver stage. Unlike standard mic preamplifiers, the HV-3C never unbalances or rebalances the original signal, thus maintaining the highest degree of signal integrity. Unlike preamps using vacuum tubes, IC function modules, and audio transformers (all of which can lend their own audio coloration) the Millennia HV-3C is precisely optimized to capture the subtlest detail of the music and ambience. With +23 dBu native input headroom, it requires no input pads, attenuators, or switch points as found on common textbook preamp designs - thus avoiding yet another source of sonic degradation. Moreover, with its +32 dBu output headroom, ultra-high dynamic stability and linearity are assured |
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Millennia HV-3D-4 Four Channel Microphone Preamplifier : MusiciansFriend : USD2968.99The Millennia HV-3D is a 4-channel, fully matched microphone preamplifier of uncompromising sonic character, technical specification, and mechanical workmanship. It offers 4 double-balanced, extremely wide dynamic range stereo microphone preamplifiers intended for demanding acoustic recording. It combines precisely matched, discrete bipolar transistors with a laser trimmed DC coupled FET-based output driver stage. Unlike standard mic preamplifiers, the HV-3D-4 never unbalances or rebalances the original signal, thus maintaining the highest degree of signal integrity. Unlike preamps using vacuum tubes, IC function modules, and audio transformers (all of which can lend their own audio coloration) the Millennia HV-3D is precisely optimized to capture the subtlest detail of the music and ambience. With +23 dBu native input headroom, it requires no input pads, attenuators, or switch points as found on common textbook preamp designs - thus avoiding yet another source of sonic degradation. Moreover, with its +32 dBu output headroom, ultra-high dynamic stability and linearity is assured. |
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Millennia HV-3D-8 8-Channel Microphone Preamplifier : MusiciansFriend : USD4012.99The Millennia HV-3D-8 is a microphone preamplifier of superb sonic character, technical specification, and mechanical workmanship. It offers 8 double-balanced, extremely wide dynamic range stereo microphone preamplifiers intended for demanding acoustic recording. It combines precisely matched, discrete bipolar transistors with a laser trimmed, DC-coupled, FET-based output driver stage. Unlike standard mic preamplifiers, the HV-3D never unbalances or rebalances the original signal, thus maintaining the highest degree of signal integrity. Unlike preamps using vacuum tubes, IC function modules, and audio transformers (all of which can lend their own audio coloration) the Millennia HV-3D is precisely optimized to capture the subtlest detail of the music and ambience. With +23 dBu native input headroom, it requires no input pads, attenuators, or switch points as found on common textbook preamp designs - thus avoiding yet another source of sonic degradation. Moreover, with its +32 dBu output headroom, ultra-high dynamic stability and linearity are assured. |
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Millennia M-2B Transformerless Stereo Vacuum Tube Microphone Preamplifier : MusiciansFriend : USD3337.99The M-2B Stereo Vacuum Tube Microphone Preamplifier from Millennia is a 2-channel, high voltage, transformerless, 100% Class-A biased design unrivaled in delivering the essential nature of triode musicality. The M-2B imparts to recorded material a heightened sense of ambience and euphonic space, a subtle but enhanced musical sweetness, and a particular quality of intimacy not normally associated with solid-state designs.The advanced M-2B circuits employ differential topologies, ultra-high headroom, electrically correct transformerless coupling, high-voltage rails, hand-selected components, unfailing attention to power and ground integrity to achieve exceptional dynamic stability, ultra-high headroom, and superior objective performance in areas of THD, common mode rejection, noise, frequency response, and output drive capability. |
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dbx IEM In-Ear Personal Monitor System Processor : MusiciansFriend : USD1399.95Designed to enhance the sonic quality of in-ear personal monitors and provide level protection, the dbx IEM in-ear personal monitor processor features legendary dbx effects like 4-band stereo compression with gating and limiting, PeakStop limiting, and 5-band parametric EQ, plus stereo adjust, dbx proprietary Type IV conversion system, and custom reverb algorithms using industry-standard Lexicon technology. The intuitive front panel provides instant access to all effects within the IEM at the push of a button, and a large custom display clearly shows all operational information. |
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Eventide Eclipse Multi Effects Processor : MusiciansFriend : USD1995.0The Eventide Eclipse Multi-Effects Processor offers up a full complement of Eventide's signature pitch change, reverb, and special effects program presets; and a dual processor architecture that is configurable in series, parallel, stereo, or dual mono. Audio performance features 24-bit conversion, 96kHz sampling, and signal-to-noise better than 104dB. Digital S/PDIF and AES/EBU I/O, analog balanced and unbalanced I/O, and ADAT lightpipe support. Compact Flash Type I and II preset memory storage. It also offers the Eventide "knob," full numeric keypad, and customizable "hot keys" for frequently used parameters to combine maximum flexibility and ease of operation. |
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Eventide Reverb 2016 : MusiciansFriend : USD1995.0The Eventide Reverb 2016 employs algorithms that are identical to the originals, but the hardware implementation is state-of-the-art. While re-creating the original SP2016 reverbs is the Eventide Reverb 2016's main purpose, it also features enhanced versions of the originals with more complex early reflections, higher density, and finer control of the parameters. Includes a high-performance, 24-bit DSP, 24-bit analog audio I/O, digital I/O, and MIDI interface. Easy-to-use interface with dedicated controls for each effect parameter. Up to 99 user presets can be stored. The Eventide Reverb 2016 represents the natural evolution of the development work that maxed out the processing power of the SP2016. |
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Eventide H7600 Ultra-Harmonizer Effects Processor : MusiciansFriend : USD3995.0The Eventide H7600 Ultra-Harmonizer Effects Processor provides nearly 1100 programs, a 174-second sampler, and sorting capabilities for unprecedented stereo effects processing prowess. The H7600 has more power than its predecessor (the DSP7000 series), has a new operating system, and a new search function that provides instant access to a deep catalog of professional effects. Every preset on the H7600 Ultra-Harmonizer is its own unique algorithm made up of a combination of effects from 230 stereo effects modules. Eventide's exclusive Building Block Architecture lets you create your own unique preset-algorithms as well. The H7600 comes with PC and Mac preset development software. It comes with AES/EBU, S/PDIF, word clock digital I/O, and two analog I/O channels with XLR and Hi-Z jacks. |
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Eventide H8000FW 8-Channel Ultra-Harmonizer Effects Processor : MusiciansFriend : USD5495.0The Eventide H8000FW Ultra-Harmonizer 8-Channel Effects Processor provides high-quality 24-bit audio performance and over 1,600 preset effects algorithms including presets for 5.1 surround sound. It features UltraShifter, Eventide's most natural-sounding, formant-corrected pitch changer which is optimized for voice and includes automatic pitch correction. It also comes with twelve channels of AES/EBU, ADAT, S/PDIF, and FireWire digital I/O, up to 96kHz sampling frequency, 174-second mono sampler with looping, beat-sync tools, and four channels of XLR/TRS analog inputs. Also comes with search-engine functionality for easier preset sorting, Monolithic Tandem mode for running one large algorithm using two DSP chips, building-block custom effects architecture, and ultra-versatile anything-to-anything routing. FireWire ports deliver computer interactivity with graphic computer editor/development tools and routing software. |
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Juice Goose 8.0 Power Distribution Center : MusiciansFriend : USD59.99The Juice Goose 8.0 Power Distribution Center brings you affordable and convenient power protection with a full 3-year warranty. Eight outlets, 15 amp capacity, lighted power switch, circuit breaker, spike protection, and unsurpassed line noise reduction for its class — all built into a compact 7" deep chassis. |
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Juice Goose 8.0L Power Distribution Center : MusiciansFriend : USD89.99The Juice Goose 8.0L Power Distribution Center provides 8 outlets, 15 amp capacity, lighted power switch, circuit breaker, spike protection, and line noise reduction. 2 lights enclosed in metal casings provide a full 14 watts of luminescence, and it's easy to change both position and brightness of the lights. Comes with 3 year warranty. |
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Juice Goose JG Junior Power Distribution Center : MusiciansFriend : USD39.99The Juice Goose JG Junior Power Distribution Center helps you to get power where you need it and to protect your sensitive audio gear at a lower cost. The economical Junior Power system provides 6 outlets with power overload and spike protection, plus noise reduction. 4-1/2" deep, 1RU chassis. One-year warranty. |
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Peavey PV 231EQ Graphic Equalizer : MusiciansFriend : USD159.99The PV 231EQ dual 31-band 2/3-octave graphic EQ features Peavey's legendary low-noise, low-distortion design. The PV 231EQ has center-detented fader controls and offers selectable ±6 dB or ±12 dB gain over frequencies ranging from 20 Hz to 20 kHz and an LED display indicating level. Other features include variable-state low-cut and high-cut filters, XLR balanced inputs and outputs and bypass switches. PV 231EQ filters are set at ISO center frequencies within 3% accuracy. |
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Peavey PV 215EQ Graphic Equalizer : MusiciansFriend : USD99.99The rack mountable PV 215EQ is a dual 15-band 1/3-octave graphic equalizer incorporating Peavey's legendary low-noise, low-distortion design. Ruggedly constructed, the PV 215EQ lets you select between 6 dB or 12 dB cut or boost over frequencies ranging from 25Hz to 16kHz. Low cut filter switch with status LED helps remove rumble from open mics. Other features include balanced inputs and outputs and bypass switches. |
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Peavey PV 23XO 2-Way Stereo 3-Way Mono Crossover : MusiciansFriend : USD99.99A two dual-channel crossover incorporating Peavey's legendary low-noise, low-distortion design. The ruggedly contructed PV 23XO gives you the flexibility to manage a two-way stereo system or run in a three-way mono configuration. The PV 23XO has variable-state filter controls with 24dB per octave filters and utilizes XLR inputs and outputs for balanced operation from 20Hz to 20kHz. |
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Peavey PV 350XO 2/3-Way Stereo - 4/5 Way Mono Crossover : MusiciansFriend : USD159.99Peavey reinforces performance and value reputation with the PV 35XO stereo/mono crossover. |
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Peavey VSX 26 3 In - 6 Out Loudspeaker Management System : MusiciansFriend : USD449.99The VSX 26 features exclusive Peavey digital processing technology, upgradeable software and functionality for use in single- or multi-zone applications-an all-in-one solution in a single 1U rack space! Any combination of input to output is user configurable to match your system needs. Symmetrical and asymmetrical crossover configurations are user selectable. |
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Peavey Kosmos V2 Generator-Processor : MusiciansFriend : USD239.99The rackmountable Peavey Kosmos V2 drastically improves the listening experience in any space with any sound system. Peavey's Kosmos is a dynamic phasing technology that manipulates low and high frequencies to deepen bass and widen highs through phasing rather than equalization, and helps mask the comb-filtering problems common in live sound productions. Replace lost atmosphere and stereo separation as well as that kick in the gut bass that gets lost in the normal system chain. |
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