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Digital Music GCX Guitar Audio Switcher : MusiciansFriend : USD399.0Get total control over your pedals, rack effects, amp & channel switching, and more with the GCX Guitar Audio Switcher. You can use each of the eight loops for true bypass effect switching, A/B switching to select amps and preamps, or to control any type of footswitch function such as amp channel switching. GCX loops have no active circuitry, and use the finest gold relays sealed in nitrogen, so your tone will stay pure and dynamic no matter what kind or how many effects you use. Combine the GCX Guitar Audio Switcher with a Ground Control Pro to form a complete switching system that has been the touring and recording pro's choice for over 15 years! |
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dbx 1074 QuadGate : MusiciansFriend : USD529.95The dbx 1074 QuadGate is based on the legendary dbx V2 VCA and offers 4 channels of gating with threshold, depth, and release controls on each channel. It has gold-plated, balanced XLR and 1/4" inputs and outputs, and 1/4" key inputs. An internal filter can be independently activated and controlled on a channel-per-channel basis, allowing you to clean up tracks and have frequency selective control on each gate. An absolute must for those who require quad gating. |
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dbx 2231 Dual 31-Band Graphic Equalizer : MusiciansFriend : USD529.95The dbx 2231 Dual 31-Band Graphic Equalizer gives you 2 channels with 31 bands, each 1/3 octave to achieve the most precise tone control you can get. The dbx 2231 equalizer combines a superb EQ circuit, a powerful limiter, and revolutionary Type III noise reduction that increases S/N ratio by 20dB. The PeakPlus limiter's threshold ranges from 0dBu to +20dBu and can transparently tame the wildest hits or subtlest nuances of any signal. A 4-segment LED bar graph for both gain reduction and output level offers the most comprehensive visual feedback available. XLR, barrier strip, and 1/4" connectors; 45mm nylon sliders; and 12dB input gain stage provide pro flexibility and performance. dbx also includes status LEDs for all settings on the front panel of the 2231 Dual Graphic Equalizer. |
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dbx 223XL Stereo 2-Way/Mono 3-Way Crossover : MusiciansFriend : USD189.95The DBX 223XL Stereo 2-Way/Mono 3-Way Crossover has XLR balanced ins and outs. A mode switch for 2-way stereo or 3-way mono operation. Low-frequency summed subwoofer output. X10 range switch on both channels. 40Hz high-pass filter on both channels. Phase-reverse switch on all outputs. The dbx audio crossover has individual level controls on all outputs. 24dB-per-octave Linkwitz-Riley filters. Stereo/mono status LED. Built-in high-quality power supply. |
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dbx 266XL Compressor/Gate : MusiciansFriend : USD149.95The dbx 266XL Compressor and Gate features stereo operation with OverEasy compression, True RMS Power Summing, and XLR ins and outs. It also cuts no corners on visual feedback. The processor has a full complement of input/output metering as well as gain reduction metering and easy-to-read backlit switches. The 266XL provides traditional dbx sonic quality and performance for the working musician, DJ, studio operator or anyone who needs a friendly compressor/gate to achieve quality compression, gating and downward expansion quickly and easily.Most compressor/gates provide less than musical compression, coupled with gating that swallows transients or closes early, cutting off decay and reverb tails. The superb engineering in the 266XL ensures that both its compression and gating provide versatility and excellent sonic performance in situations where other compressor/gates typically produce undesirable processing artifacts.When using the 266XL s AutoDynamic Attack and Release controls, artists and engineers will find that the center settings deliver classic dbx compression, while the full control range produces voicings that extend from slow leveling to aggressive peak limiting.The Auto Dynamic circuitry continuously adjusts the actual attack and release times to optimally match the program material. Since you aren t restricted to using the Attack and Release controls only in peak operation, you can tailor the response of the 266XL for individual tracks, mixed program material, special effects or system protection. As a result, you can use the versatile 266XL to replace multiple single-purpose limiters while sound reinforcement users can standardize on the 266XL for all of your applications.The 266XL s advanced gate circuitry uses a completely new, program-dependent timing algorithm to produce ultra-smooth release characteristics even with complex signals, such as voice or reverb decays. dbx engineers went on to take advantage of the wide dynamic range and high precision of the dbx VCA to design in an extra-wide threshold range and ensure top gating performance for each application.Separate precision LED displays for gain reduction, compression threshold and gate threshold allow quick, accurate setup, while the 266XL s intuitive operation lets users easily smooth uneven levels, add sustain to guitars, squash drums or tighten up mixes. In Stereo couple mode, the Channel 1 controls become Master controls, and Channel 2 follows precisely to ensure a rock solid stereo image even with high amounts of compression. Professionals and newcomers will find that the 266XL sets up rapidly and musically the first time it is used, and every time thereafter.The dbx 266XL processor is the result of an intensive engineering and product development effort aimed at taking advantage of the latest and best advances in manufacturing technology to deliver true dbx audio performance and reliability at the lowest possible cost. The 266XL puts a completely new level of compres |
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dbx 234 Stereo 2/3 Way Mono 4-Way Crossover : MusiciansFriend : USD209.95The dbx 234 Stereo 2/3 Way Mono 4-Way Crossover lets you choose 2-way, 3-way, or mono 4-way operation via 2 back-panel switches. A third switch lets you mono sum the LF output. Crossover frequencies are selectable individually for both channels. Each channel has an input gain control ranging from 0 to +6dB, phase reverse switch, and 40Hz low cut filter. TRS differentially balanced 1/4" I/O, 24dB per-octave Linkwitz-Riley filters, and stereo/mono status LEDs. |
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dbx 234XL Crossover : MusiciansFriend : USD239.95The dbx 234XL Crossover is extremely well built and the controls are precise. Also, you won't find the external power supply that usually accompanies processors in this price range. A high-quality power supply is built into the unit. All the inputs and outputs are balanced XLR connectors that are screwed directly onto the chassis. This insures that even if someone steps on a cable plugged into the unit, it won't tear up the circuit board inside. It also features Linkwitz-Riley 24dB per octave filters, the professional standard. |
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dbx 386 Dual-Vacuum Tube Preamp : MusiciansFriend : USD529.95The dbx 386 Dual-Vacuum Tube Preamp is a 2-channel microphone preamp with digital outs and the dbx Type IV conversion system. It features selectable 96, 88.2, 48, or 44.1kHz sampling rates, 24-, 20-, and 16-bit wordlengths, selectable dither and noise shaping, AES/EBU and S/PDIF digital outputs, word clock sync input and output, separate analog and digital output controls, 60dB of gain and +/- 15dB of output gain, a selectable mic/line switch, 48V phantom power, a 75Hz low cut filter, phase reverse, 12 segment LED, and a 20dB pad. With its impressive features, the dbx 386 lets you work in the digital world while retaining the indispensable warmth of analog. |
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dbx iEQ-15 Graphic EQ : MusiciansFriend : USD529.95The dbx iEQ-15 Graphic EQ delivers uncompromised dbx sonic integrity enhanced with a powerful array of flexible feature. Includes AFS one-touch feedback suppression, Type V noise reduction, and PeakStopPlus limiting. Switchable ±6 or ±15dB boost/cut range; ±12dB input gain range; 40mm faders; and nonconductive nylon sliders give you precision command. 10Hz to 22kHz frequency response, 110dB dynamic range, 2/3-octave Constant Q frequency bands, and internal toroidal transformer. 1/4" TRS, XLR, and Euroblock balanced and unbalanced RF-filtered inputs and outputs. |
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dbx 131 Single 31-Band Graphic EQ : MusiciansFriend : USD159.95The dbx 131 Single 31-Band Graphic EQ has balanced inputs and outputs for quiet operation. Single 31-band, 1/3-octave channel; ISO frequency centers; ±12dB input gain range; switchable 50Hz/12dB per octave low-cut filter; 20mm faders; selectable 6dB or 12dB boost/cut range; XLR and TRS connectors. |
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dbx 215 Dual 15-Band Graphic EQ : MusiciansFriend : USD159.95The dbx 215 Dual 15-Band Graphic EQ was designed to be simple to use yet meet the demands of professionals. Dual channels, 15 - 2/3-octave bands, ISO frequency centers, ±12dB input gain range, and switchable 50Hz/12dB per octave low-cut filters. In addition — 20mm faders, selectable ±6 or 12dB boost/cut range, XLR and 1/4" TRS connectors, balanced inputs and outputs, and chassis/signal ground lift capabilities for hum isolation. 108dB of dynamic range, internal toroidal transformer, a front-panel bypass switch, and 4-segment LED ladders. You get uncompromised cutting-edge performance, entry-level simplicity, and an affordable price. Single rackspace. |
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dbx 231 Dual 31-Band Graphic EQ : MusiciansFriend : USD199.95The dbx 231 Dual 31-Band Graphic EQ is the end-result of a quest for exceptional sound, performance and reliability. Dual-channels, 31 - 1/3-octave bands, ISO frequency centers, ±12dB input gain range, switchable 50Hz/12dB per octave low-cut filters, 20mm faders, selectable 6dB or 12dB boost/cut range, XLR and TRS connectors, nonconductive nylon sliders, and balanced inputs and outputs for quiet operation. 2U rackmount. |
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dbx iEQ-31 Graphic EQ : MusiciansFriend : USD629.95Uncompromised dbx sonic integrity enhanced with a powerful array of flexible features define the dbx iEQ-31 Graphic EQ. You get AFS one-touch feedback suppression, Type V noise reduction, and PeakStopPlus limiting. Switchable ±6 or ±15dB boost/cut range; ±12dB input gain range; 40mm faders; and nonconductive nylon sliders give you precision command. 10Hz to 22kHz frequency response, 110dB dynamic range, 1/3-octave Constant Q frequency bands, and internal toroidal transformer. 1/4" TRS, XLR, and Euroblock balanced and unbalanced RF-filtered inputs and outputs. |
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dbx AFS-224 Stereo/Dual Mono Feedback Suppression Processor : MusiciansFriend : USD329.95The dbx AFS-224 Stereo/Dual Mono Feedback Suppression Processor provides all the feedback elimination processing and control necessary for both installation and live use. The dedicated processor offers up to 24 filters per channel with filter Qs up to 1/80th of an octave. The AFS-224 also has selectable modes, live filter lift, and types of filtration, all readily available via the intuitive user interface. |
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dbx DriveRack 260 Complete Equalization and Loudspeaker Control System : MusiciansFriend : USD999.95Designed to be the only device necessary between the mixer and the power amps, DriveRacks are all-inclusive loudspeaker management systems versatile enough to suit any sound reinforcement, monitoring, or install application. The DriveRack 260 offers 2 independent channels of processing power with a linkable 28-band graphic EQ, industry-standard dbx stereo compressor module, feedback eliminator, and the 120A Subharmonic Synthesizer on the input signal path. 6-channel output system includes parametric EQs, PeakStopPlus limiters (to provide protection against speaker blowouts), and alignment delay. Setup Wizard gets you up and running quickly and GUI control provides easy PC-based control.Click on the PDF link below for more complete details on this powerful PA control system. |
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dbx 220i 2X2 Loudspeaker Management System with Display : MusiciansFriend : USD629.95Designed to be the only device necessary between the mixer and the power amps, DriveRacks are all-inclusive loudspeaker management systems versatile enough to suit any sound reinforcement, monitoring, or install application. The DriveRack 220i provides both system and microphone processing thanks to its full set of processing features and mic/line inputs. Click on the "View additional manufacturer information" link below to get the full scoop! |
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"dbx PB-48 48-Point 1/4"" Patchbay" : MusiciansFriend : USD99.95Patchbays often go unappreciated until their contacts get rusty or you need just a few more connections. The dbx PB-48 48-point Patchbay takes care of both problems with the greatest of ease. This balanced DBX 1/4" TRS patchbay has 48 easy-to-reach jacks in the front and rear — 96 points in all. Each of its 24-card assemblies has 4 jacks and thumbscrews so switching from normalled to non-normalled positions is easy. Pure nickel silver self-cleaning contacts won't get funky and waste your connections. The patchbay uses one rackspace. You'll appreciate its dependability and the price! |
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dbx 376 Tube Channel Strip : MusiciansFriend : USD529.95The dbx 376 Tube Channel Strip employs standard strip features, then adds more to make it an all-inclusive tool. The menu includes a tube preamp section, 3-band parametric EQ, compressor, de-esser, and digital outputs. Other features include a front panel instrument input, drive meter LEDs, threshold and de-esser meters, an eight-segment analog or digital meter, and a Type IV conversion system. Selectable sampling rates of 96, 88.2, 48, and 44.1kHz and 24, 20, and 16-bit word lengths add flexibility. Digital outputs include AES/EBU and S/PDIF. Word clock sync input and output are provided, and you can select dither and noise-shaping algorithms. |
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dbx 162SL Stereo Compressor/Limiter : MusiciansFriend : USD2099.95The first thing you'll notice about the dbx 162SL Stereo Compressor/Limiter is its striking front panel, machined from 1/4" aircraft aluminum. The 162SL is adorned with handcrafted solid aluminum knobs, LEDs mounted individually in machined stainless steel housings, custom VU meters with peak indicators, and a heavy-gauge chassis. On the inside, the dbx 162SL combines the best features of all the great dbx compressors, past and present, and gives you more versatile performance than ever before. In addition to having the auto attack/release and hard-knee threshold characteristics of the classic dbx 160, the 162SL offers AutoVelocity manual mode and classic dbx OverEasy mode. Variable attack and release controls, as well as dbx's latest limiting algorithm PeakStopPlus, are included in the 162SL.The dbx 162SL also features dual proprietary dbx VCA modules. This state-of-the-art implementation of dbx's original Blackmer decilinear VCA boasts an unheard-of dynamic range and ultralow distortion seen only previously in the Blue 160SLs. It's built of the best parts available including Jensen transformers on each output standard and also takes full advantage of dbx's advanced manufacturing.Click on the additional manufacturer information and PDF links below to get the full scoop on this powerful compressor! |
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dbx 286A Microphone Preamp Processor : MusiciansFriend : USD209.95The dbx 286A Microphone Preamp Processor has a preamp and 5 processors that can be used independently or in any combination. The mic preamp features a wide-ranging input gain control, switchable 48V phantom power, and an 80Hz high-pass filter. The dbx 286A's OverEasy compressor smoothes out uneven acoustic tracks or delivers in-your-face vocals. The frequency tunable de-esser takes out vocal sibilance and high-frequency distortion in cymbals. An enhancer lets you bring out HF and LF detail and cleans up muddy low-midrange frequencies. And the expander/gate on the dbx 286A preamp lets you reduce headphone leakage and gate noisy guitar amps. The 286A preamp from dbx has a full complement of metering and status LEDs. XLR mic input and additional 1/4" TRS for connection and processing of live instruments or pre-recording tracks at mixdown. |
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dbx 160A Compressor/Limiter : MusiciansFriend : USD429.95The dbx 160A Compressor/Limiter provides overEasy or classic hard-knee compression with ultra-musical, program-dependent attack and release times. Variable compression ratio from 1:1 through infinity:1 to negative compression. Input or output and gain reduction over a wide range are monitored by precision dual RMS LED displays that can be calibrated for different operating levels. Over 60dB of gain reduction. The dbx 160A has independent balanced and unbalanced outs can drive 600 ohm loads to +24dBm simultaneously. |
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dbx 166XL Dual Compressor Limiter : MusiciansFriend : USD259.95Most compressor/gates provide less than musical compression, coupled with gating that swallows transients or closes early, cutting off decay and reverb tails. The superb engineering in the 166XL ensures that both its compression and gating provide versatility and excellent sonic performance in situations where other compressor/gates typically produce undesirable processing artifacts.The dbx 166XL Dual Compressor Limiter uses advanced gate circuitry to yield ultrasmooth release characteristics, no matter how complex the signals. The Stereo Couple mode with True RMS Power Summing produces a solid image, even with high compression. Full sidechain functionality with hard knee or OverEasy compression algorithms. Single rackspace. |
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dbx 1046 Quad Compressor Limiter : MusiciansFriend : USD529.95The DBX 1046 Quad Compressor Limiter is designed to provide the audio professional with 4 channels of great sounding dbx compression. Smooth classic dbx OverEasy or hard knee compression perfectly suited for use on individual tracks of your multitrack recorder. Separate channels can be individually interfaced and used for entirely independent purposes. PeakStopPlus protects your system from violent peaks that can KO your P.A. or studio monitors. Each channel features threshold, OverEasy or hard knee compression, ratio, input/output meter, output gain, hard-wire bypass, stereo link combining channels 1&2 and 3&4 for 2 channels of true stereo compression, balanced gold-plated XLR and 1/4" inputs and outputs, and switchable +4dBu or -10dBV operating level. So whether you need to control the level, placement in the mix, or overall characteristics of 4 independent signals or control the gain leveling on a couple of stereo pairs, the dbx 1046 Quad Compressor Limiter is for you. |
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dbx 1066 Compressor/Limiter/Gate : MusiciansFriend : USD429.95With the dbx 1066 Compressor/Limiter/Gate impressive noise and THD performance specs are the essentials, but the 1066 doesn't stop there. Features like sidechain (with SC Monitor), Contour, True RMS Power Summing, Neutrik XLR audio connectors, OverEasy or hard-knee compression algorithms, auto or manual attack and release times, and PeakStopPlus limiting also serve to set the dbx 1066 Compressor unit out front in the world of high-performance compression. |
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dbx 1215 Dual 15-Band Graphic Equalizer : MusiciansFriend : USD259.95Designed for use in the most demanding live situations, the dbx 1215 Dual 15-Band Graphic Equalizer provides dual channels, 15 - 2/3-octave bands, ISO frequency centers, ±12dB input gain range, and switchable 40Hz/18dB per octave low-cut filters. Other quality features of the dbx 1215 EQ include 45mm faders; selectable ±6dB or 15dB boost/cut range; XLR, barrier strip, and 1/4" TRS connectors; balanced inputs and outputs for quiet operation; and chassis/signal ground lift capabilities for quick hum isolation. |
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dbx 1231 Dual 31-Band Graphic Equalizer : MusiciansFriend : USD359.95Precision engineered to provide years of maintenance-free operation, the DBX 1231 Graphic Equalizer provides such standard features as dual channels of 31 - 1/3-octave bands, ISO frequency centers, +/-12dB of input gain range, and switchable 40Hz/18dB per octave low-cut filters. Other features on the 1231 Equalizer include 45mm faders, selectable +/-6dB or +/-15dB boost/cut range, XLR, barrier strip, and 1/4" TRS connectors, balanced inputs and outputs, and chassis/signal ground lift for quick hum isolation. |
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dbx 2031 Single Channel 31-Band Equalizer/Limiter : MusiciansFriend : USD429.95The dbx 2031 is a single-channel, 31-band, 1/3-octave equalizer. The PeakPlus limiter's threshold ranges from 0dBu to +20dBu and can transparently tame the wildest hits or subtlest nuances of any signal. The 4 segment LED bar graph for both gain reduction and output level offers the most comprehensive visual feedback available. The single channel dbx 2031 also includes status LEDs for all settings on the front panel. XLR, barrier strip, and 1/4" connectors; 45mm nylon sliders; and 12dB input gain stage provide pro flexibility and performance. |
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dbx 2215 Dual-Channel 15-Band Equalizer/Limiter : MusiciansFriend : USD429.95The dbx 2215 Dual-Channel 15-Band Equalizer/Limiter employs a PeakPlus limiter with a threshold that ranges from 0dBu to +20dBu and can transparently tame the wildest hits or subtlest nuances of any signal. The 4-segment LED bar graph for both gain reduction and output level offers the most comprehensive visual feedback available. The dbx 2215 includes status LEDs for all settings on the front panel. XLR, barrier strip, and 1/4" connectors; 45mm nylon sliders; and 12dB input gain stage provide pro flexibility and performance. |
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dbx 120A Subharmonic Synth : MusiciansFriend : USD199.95The dbx 120A Subharmonic Synth delivers the throbbing low-end bass you want. It produces new, Waveform Modeled bass notes an octave below the bass in the original audio — smooth, musical, and floor-shaking even when output at system levels well below system and hearing damage thresholds. Provides 1/4" and RCA input connectors along with balanced 1/4" main outputs which can be full range (including synthesis) or HF only, plus a separate subwoofer output with level control. |
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True Systems P-SOLO Single Channel Microphone Preamp : MusiciansFriend : USD535.5The single-channel P-SOLO Microphone Preamp offers TRUE high-end quality at a moderate price. Unlike lower-cost preamps, where affordability comes at a big cost to sound, the True Systems P-SOLO has a natural, detailed soundfield no matter what type of microphone you use. A high-impedance instrument input provides exceptional articulation, presence, and depth for your instrument as well. 48V phantom power; dual analog outputs; 4-level metering; and a balanced, dual-servo transformerless design in one compact package. |
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Nady GEQ 131 Single 31-Band EQ : MusiciansFriend : USD59.95The Nady GEQ131 is a single-channel 31-band, 1/3-octave equalizer in a single rack space. It features constant Q-circuitry with a 5% center frequency accuracy, switchable low-cut filter with LED, selectable 6dB or 12dB range with LED, active balanced and unbalanced input/output connectors (XLR, 1/4" TRS, and RCA), variable level control, passive bypass switch, signal, overload threshold LEDs, and a ground lift switch. |
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Nady CX-22SW 2-Way Stereo Crossover : MusiciansFriend : USD59.95Crossovers provide precise frequency dividing for multi-amplified speaker applications. The Nady CX-22SW Crossover will give superior performance with transparent audio. Features include a shielded internal power supply with AC voltage select switch (115V/60Hz or 230V/50Hz), phase inversion switches, low-cut subsonic filters for low-frequency driver protection, and servo-balanced XLR inputs. |
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Nady MSE-100A Multiband Sound Enhancement Processor : MusiciansFriend : USD61.95The Nady MSE-100A is a professional multiband enhancer/exciter for all studio and stage applications. Provides subjective loudening, and improves intelligibility, bass punch, presence, and transparency. Simultaneous enhancer and exciter effects. Dual mono or stereo operation. |
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Nady PB48 Patch Bay : MusiciansFriend : USD50.95Designed for top performance and affordability. |
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Nady PEQ-5B 5-Band Parametric EQ : MusiciansFriend : USD79.99The Nady PEQ-5B lets you notch out unwanted frequencies, EQ for room characteristics, and sweeten audio. The PEQ-5B provides five bands of parametric EQ with 15dB boost/cut per band, constant-Q, state-variable filter circuitry for precision control of tone coloration, parallel phase filters for minimal phase shifting, and tunable high- and low-cut filters for eliminating undesired frequencies. Each of the Nady PEQ-5B's five bands is independently switchable and adjustable in bandwidth (from .03 to 2 octaves wide). Operating features include servo-balanced XLR and 1/4" TRS inputs and outputs, bypass switches on each channel, and a twelve-segment LED switchable input/output meter. Housed in a single rackmount metal housing designed for long-haul reliability. |
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Nady SDP-20 Programmable Digital Multi Effects Processor : MusiciansFriend : USD164.95The dual-engine Nady SDP-20 Programmable Digital Multi-Effects Processor offers 256 of the latest and most useful effects presets: room and hall reverbs, gates, delays/echoes, chorus/flanging/Leslie, pitch shifting, and overdrive/distortion. 20-bit A/D/A converters with 64/128X oversampling for ultrahigh headroom and resolution. Internal 20-bit processing with 44.1kHz sampling rate. Also features a 4-band digital equalizer, programmable by push-buttons and jog wheel. Servo-balanced I/O with XLR and 1/4" TRS connectors. |
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Nady CX23SW 3-Way Stereo Crossover : MusiciansFriend : USD68.95The Nady CX23SW 3-Way Stereo Crossover gives you options for virtually all live sound reinforcement amplifier configurations. High slew rate circuitry, over 115dB dynamic range, phase inversion switches, low-cut subsonic filters for low-frequency driver protection, servo-balanced XLR inputs, and shielded internal power supply provide pro functionality anybody can afford. |
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Nady ADI-1 Active Direct Box : MusiciansFriend : USD30.95The handy Nady ADI-1 Active Direct Box eliminates impedance mismatches allowing you to run long cables without hum and noise. It is capable of converting nearly any sound source from guitar to speaker and includes attenuation and ground lift functions. Housed in a rugged aluminum case for years of hard-living road service. Full-featured controls and connections of the Nady ADI-1 include On/Off, Ground Lift, and Guitar/Speaker Source Select input attenuation switches; unbalanced 1/4" TS Input and Parallel Link Output jacks; and servo-balanced XLR Output jack. Parallel link output allows ultimate hookup flexibility by enabling applications such as connection to the input of the backline or monitor amplifier.No compromise circuit design and stringent component selection provide absolutely flat, full frequency response across the entire audio spectrum, and negligible distortion for the most natural, powerful audio available. Portable aircraft aluminum extruded case for ultimate roadworthiness, long life and reliability. The Nady ADI-1 Active Direct Box is powered either by console's +48V phantom power or internal 9V battery. |
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Nady RL-2 1U Rack Light System : MusiciansFriend : USD29.95Nady's RL-2 Rack Light System is an inexpensive way to add light to your gear. Two flexible lights extend from a 1U rack unit allowing you to get the light where it is needed. |
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TL Audio Classic EQ-2 : MusiciansFriend : USD1999.0The TL Audio Classic EQ-2 is a high-end equalizer offering the power and flexibility on a par with the very best EQs in the industry. The EQ-2 features a raven blue 6mm CNC milled aluminum front panel, General Electric US military-specification valves and high-retention gold-plated ceramic-valve bases, but TL Audio also added two much-requested features: a peaking/shelving switch on the low-frequency and high-frequency bands, and drive/peak LEDs. The internal circuit design has also been refined quite significantly to produce an even fatter, smoother sounding equalizer.The EQ-2 boasts two channels of fully parametric 4-band valve equalization-which, in conjunction with variable high- and low-cut filters, offers unlimited control of any audio source. But that's not all: unlike many valve equalizers, the EQ-2 provides continuously variable frequency controls, so choice of frequency is not limited to switched selections. It also features a pair of the acclaimed TL Audio mic preamps (with phantom power), to enable high quality direct-to-tape microphone recording, and a pair of front panel auxiliary inputs enable a guitar or keyboard to directly access the EQ-2.Another refinement is the stereo mode switch: When activated, the EQ controls of Channel A automatically process the signal on Channel B in an identical fashion - thus the audio signals through both channels have the same EQ applied to them: ideal for precise equalization of stereo sources and overall mixes. The EQ-2 is one of the best sounding and most versatile equalizers currently available.The EQ-2 employs a total of six valve stages per channel: one in each of the four EQ bands, followed by a pair in the output stage. General Electric US military specification valves are used throughout, run from a stabilized 250v DC supply.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and reselling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and repackaged to make them suitable for music production studios. A little later, Tony Larking joined forces with David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio s first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produce |
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TL Audio DO-2 S/PDIF Digital Output Card : MusiciansFriend : USD459.0The DO-2 Digital Card by TL Audio allows you to add digital output capabilities to TL-Audio outboard gear. The DO-2 card fits 5013 Dual Valve Equalizer, 5021 Dual Valve Compressor, 5050 Mono Valve Mic Preamp and Compressor, 5051 Mono Valve Processor, and 5052 2-Channel Tube Processor and provides fixed 24-bit output on single coaxial SPDIF connector, a sample rate switchable between 44.1 and 48kHz, and an external BNC wordclock input.In addition to the models listed above, the DO-2 Card is compatible with A1 Discrete Class A and Tube Dual preamp/DI. About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and reselling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and repackaged to make them suitable for music production studios. A little later, Tony Larking joined forces with David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio s first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the Classic range, and was followed by what has become possibly TL Audio s best known product - the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel s mixdown compressor on Alanis Morissette s multi-million selling Jagged Little Pill album. Today, TL Audio has become one of the most respected names currently manufacturing Pro Audio equipment. According to designer David Kempson, Our hybrid design approach was not chosen to cut costs: we created it because we genuinely believe it is a better way of producing valve processors. It makes them consistent, reliable, quiet, and - best of all - it means that by gearing ourselves up for large-scale production we can make the products affordable as well. Every studio deserves to benefit from the advantages of valve signal processing - with our products, we make that possible. TL Audio Plug in the real thing. |
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TL Audio DO-4 Digital Output Card : MusiciansFriend : USD599.0The TL-Audio DO-4 Card allows you to add digital output capabilities to your TL Audio 5001 Quad Valve Preamp. The DO-4 card provides fixed 24-bit output on two coaxial SPDIF connectors, a sample rate switchable between 44.1 and 48kHz, and an external BNC wordclock input.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and reselling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and repackaged to make them suitable for music production studios. A little later, Tony Larking joined forces with David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio s first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the Classic range, and was followed by what has become possibly TL Audio s best known product - the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel s mixdown compressor on Alanis Morissette s multi-million selling Jagged Little Pill album. Today, TL Audio has become one of the most respected names currently manufacturing Pro Audio equipment. According to designer David Kempson, Our hybrid design approach was not chosen to cut costs: we created it because we genuinely believe it is a better way of producing valve processors. It makes them consistent, reliable, quiet, and - best of all - it means that by gearing ourselves up for large-scale production we can make the products affordable as well. Every studio deserves to benefit from the advantages of valve signal processing - with our products, we make that possible. TL Audio Plug in the real thing. |
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TL Audio DO-8 Digital Card : MusiciansFriend : USD999.0The DO-8 Digital Card adds ADAT interface capabilities for easy digital connection to your recording device and software and provides 8 channels over an ADAT lightpipe and masterclock input.The DO-8 can be connected to the Fat Track Tube Production Suite, M1 8- or 12-Input Tube Mixer, or the M4 Tube Console.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and reselling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and repackaged to make them suitable for music production studios. A little later, Tony Larking joined forces with David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio s first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the Classic range, and was followed by what has become possibly TL Audio s best known product - the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel s mixdown compressor on Alanis Morissette s multi-million selling Jagged Little Pill album. Today, TL Audio has become one of the most respected names currently manufacturing Pro Audio equipment. According to designer David Kempson, Our hybrid design approach was not chosen to cut costs: we created it because we genuinely believe it is a better way of producing valve processors. It makes them consistent, reliable, quiet, and - best of all - it means that by gearing ourselves up for large-scale production we can make the products affordable as well. Every studio deserves to benefit from the advantages of valve signal processing - with our products, we make that possible. TL Audio Plug in the real thing. |
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TL Audio Ebony A1 Discrete Class A and Tube Dual Preamp/DI : MusiciansFriend : USD1149.0The Ebony A1 Tube Preamp is a sleek-looking discrete Class A preamp designed to heighten your audio experience. It uses Discrete Class A circuitry and has an optional tube stage with variable drive putting you in control of how creamy or how cool your unit sounds.Hand assembled in England to the highest standards, the Ebony uses stylish, quality chrome knobs together with a high-gloss black finish to make the exterior look just as smooth as the circuits sound. The Ebony Series have all the features you come to expect with TL Audio, including balanced I/O, multi input options, analogue VU metering and intuitive, precise controls. All units are also compatible with the TL Audio DO-2 digital SPDIF interface for easy digital connectivity with high quality conversion. A combination of supreme quality, unrivaled sound, and stylish aesthetics: This range offers superior analog processing to accompany a digital world.Why Class-A? Class A circuits are designed with constant current flowing through all of the transistors, which is sufficient to drive the peak output required from each block of the circuit. This ensures that every transistor is kept at its optimum operating point, minimizing non-linearities due to changes in current and internal thermal effects, and eliminating the objectionable "cross-over" distortion typical of class AB circuits.Due to the higher steady state (or "quiescent") currents used, the power dissipation of class A circuits is substantially higher than can generally be handled by integrated circuits. It is also possible to design discrete transistor circuits to operate at higher voltage rails than are available for audio integrated circuits, adding the benefit of greater headroom and improved dynamic range. For these reasons, there are no integrated circuits in the audio paths of the Ebony Series.The outstanding audio quality is reflected in the technical specification of the units, with particularly low noise and distortion, and wide frequency response.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and reselling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and repackaged to make them suitable for music production studios. A little later, Tony Larking joined forces with David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio s first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve |
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TL Audio Ebony A2 Tube Stereo Processor : MusiciansFriend : USD1549.0The Ebony A2 Tube Stereo Processor is a sleek-looking discrete Class A processor designed to heighten your audio experience. It uses Discrete Class A circuitry and has an optional tube stage with variable drive putting you in control of how creamy or how cool your unit sounds.Hand assembled in England to the highest standards, the Ebony uses stylish, quality chrome knobs together with a high-gloss black finish to make the exterior look just as smooth as the circuits sound. The Ebony Series have all the features you come to expect with TL Audio, including balanced I/O, multi input options, analogue VU metering and intuitive, precise controls. All Ebony A2 units are also compatible with the TL Audio DO-2 digital SPDIF interface for easy digital connectivity with high quality conversion. A combination of supreme quality, unrivalled sound, and stylish aesthetics: This range offers superior analog processing to accompany a digital world.Why Class-A? Class A circuits are designed with constant current flowing through all of the transistors, which is sufficient to drive the peak output required from each block of the circuit. This ensures that every transistor is kept at its optimum operating point, minimizing nonlinearities due to changes in current and internal thermal effects, and eliminating the objectionable "cross-over" distortion typical of class AB circuits.Due to the higher steady state (or "quiescent") currents used, the power dissipation of class A circuits is substantially higher than can generally be handled by integrated circuits. It is also possible to design discrete transistor circuits to operate at higher voltage rails than are available for audio integrated circuits, adding the benefit of greater headroom and improved dynamic range. For these reasons, there are no integrated circuits in the audio paths of the Ebony Series.The outstanding audio quality is reflected in the technical specification of the A2 stereo processor, with particularly low noise and distortion, and wide frequency response.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and reselling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and repackaged to make them suitable for music production studios. A little later, Tony Larking joined forces with David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio s first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering relia |
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TL Audio Ebony A3 Tube Mono Channel Strip : MusiciansFriend : USD1329.0The Ebony A3 Tube Mono Channel Strip is a sleek-looking discrete Class A channel strip designed to heighten your audio experience. It has a tube stage with variable drive letting you control how creamy or cool your unit sounds.Hand-assembled in England to the highest standards, the Ebony A3 channel strip uses stylish, quality chrome knobs together with a high-gloss black finish to make the exterior look just as smooth as the circuits sound. The Ebony Series has all the features you have come to expect from TL Audio, including balanced I/O, multi input options, analog VU metering and intuitive, precise controls. All units are also compatible with the TL Audio DO-2 digital S/PDIF interface for easy digital connectivity with high quality conversion.A combination of supreme quality, unrivaled sound, and stylish aesthetics: This range offers superior analog processing to accompany a digital world.Why Class-A? Class A circuits are designed with constant current flowing through all of the transistors, which is sufficient to drive the peak output required from each block of the circuit. This ensures that every transistor is kept at its optimum operating point, minimizing non-linearity due to changes in current and internal thermal effects, and eliminating the objectionable "crossover" distortion typical of class AB circuits.Due to the higher steady state (or "quiescent") currents used, the power dissipation of class A circuits is substantially higher than can generally be handled by integrated circuits. It is also possible to design discrete transistor circuits to operate at higher voltage rails than are available for audio integrated circuits, adding the benefit of greater headroom and improved dynamic range. For these reasons, there are no integrated circuits in the audio paths of the Ebony Series.The outstanding audio quality is reflected in the technical specification of the Ebony A3 unit, with particularly low noise and distortion, and wide frequency response.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and reselling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and repackaged to make them suitable for music production studios. A little later, Tony Larking joined forces with David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio s first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing th |
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TL Audio Fat Track Tube Preamp and EQ : MusiciansFriend : USD1999.0Designed to be the centerpiece of any home, project, or professional studio, the Fat Track combines some of the best-loved TL Audio features into one compact and professional unit, adding warmth and sonic pleasure to all recordings and mixes. Drawing on TL Audio's larger and highly acclaimed M series consoles, the Fat Track offers you that unrivaled big desk sound in a more compact, intuitive and affordable package.The Fat Track captures your recordings with two premium TL Audio tube preamps as used on TL's M Series consoles contained within two fully featured channel strips with a 3-band swept musical EQ taken from TL Audio's M1 console. Use the Fat Track for summing and mix-down with 4 stereo and two mono returns. You will be astounded by the richness and clarity you gain when summing your audio analog via the Fat Track. You can even bring your entire mix back via the 2 mono channels to add some EQ or final warmth. Patch in a compressor to the master inserts and suddenly you have a complete audio mastering solution!The monitor section also comes packed with features including separate return solo and selection buttons, effects return, alternative loudspeaker mode, loudspeaker mute, and 2 headphone outputs with individual rotary control. Headphone output 1 (producer) follows your selections in the master section while headphone output 2 (artist) stays fixed on the stereo bus.The multitude of inputs and outputs available within easy reach on the top panel makes for a flexible and intuitive workstation where quick cable changes are made easy. Space for fitting a TL Audio DO-8 ADAT interface is also provided allowing easy digital connectivity.Designed for the producer, musician, singer/songwriter, engineer or general enthusiast, the TL Audio Fast Track caters to every requirement. It's easy to use and produces fantastic, professional sound results.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and reselling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and repackaged to make them suitable for music production studios. A little later, Tony Larking joined forces with David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio s first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, w |
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TL Audio Ivory 5001 4-Channel Preamp : MusiciansFriend : USD999.0The 5001 4-Channel Tube Mic Preamp offers four top-quality valve mic preamps in a single 2U package, and now boasts extra features including a discrete mic preamp stage, 30dB pad, instrument DI inputs, improved metering, and optional 24-bit digital output. The 5001 preamp's combination of sound and functions is guaranteed to bring out the best in any microphone from a low cost dynamic to a vintage large capsule condenser. Separate input and output level controls allow the valve stages to be driven harder if necessary for increased warmth, while still allowing the overall output level to be regulated-absolutely essential if recording direct to tape. The TL Audio 5001's output fader permits anything from complete attenuation through to +15dB of extra output gain-making it ideal for driving today's high-level digital recorders.Each channel of the 5001 preamp employs one half of an ECC83/12AX7A Sovtek dual-triode valve, run from a stabilized 150V DC supply. The valve stage is positioned just after the initial discrete mic preamp stage.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio s first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the Classic range, and was followed by what has become possibly TL Audio s best known product - the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel s mixdown compressor on Alanis Morissette s multi-million selling Jagged Little Pill album. The Ivory Series With the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory series of preamps, equalizers and dynamics devices has become TL Audio s best |
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TL Audio Ivory 5013 Parametric EQ : MusiciansFriend : USD999.0The TL Audio 5013 Parametric EQ offers a perfect combination of performance and affordability among TL Audio equalizers. The 5013 is a rackmount EQ that features a peaking/shelving option on both low-frequency and high-frequency bands plus a Fat-contour switch on both channels. Like all TL Audio equipment, the interfacing options couldn't be more flexible-separate input and output level controls allow easy level matching with any other equipment, and a choice of balanced and unbalanced line inputs/outputs plus instrument DI inputs means you can get yourself up and running in seconds. Once you have experienced high-quality equalization, you won't want to record without it. If you've always thought that your console EQ is good enough, just try the 5013 equalizer and you won't go back.The 5013 EQ unit employs two valve stages per channel, in the form of a Sovtek ECC83/12AX7A twin triode valve. One stage is positioned prior to the EQ filters, and one is post EQ. Both are run at 150V DC from a fully stabilized PSU.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio s first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the Classic range, and was followed by what has become possibly TL Audio s best known product - the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel s mixdown compressor on Alanis Morissette s multi-million selling Jagged Little Pill album. The Ivory Series With the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory series of preamps, equalizers and dynamics devices has become TL Audio s best selling range of |
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TL Audio Ivory 5021 Tube Compressor : MusiciansFriend : USD999.0Valve compression is now universally recognized as one of the essential tools for today's recording engineer. The Ivory 5021 Tube Compressor provides everything you would expect from a TL Audio compressor: first class audio quality, bags of flexibility and a price tag so modest you'd be forgiven for thinking it was a printing error. Now the TL Audio 5021 Compressor features hard and soft knee modes, four attack and release times, an improved optical gate design and an optional digital output. Like the C-1 compressor, the 5021 uses TL Audio's special transconductance amplifier design that avoids the use of VCAs, ensuring maximum audio transparency. So whether you're hitting the end stops or just providing gentle dynamic control, the 5021 delivers super-smooth results every time.The 5021 employs two valve stages per channel, in the form of a Sovtek ECC83/12AX7A twin triode valve run from a stabilized 150V DC supply. One stage is in the preamp, and the other is in the gain control element of the compressor.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio s first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the Classic range, and was followed by what has become possibly TL Audio s best known product - the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel s mixdown compressor on Alanis Morissette s multi-million selling Jagged Little Pill album. The Ivory Series With the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory series of preamps, equalizers and dynamics devices has become TL Audio s best selling range of produc |
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TL Audio Ivory 5050 Mono Tube Preamp and Compressor : MusiciansFriend : USD659.0The Ivory 5050 came directly from user requests for a simple, yet great-sounding, valve front end and boasts the winning combination of a mic/line/instrument preamp and mono compressor, making it a very cost-effective way of processing your audio sources. The Ivory 5050 now features extras including a 30dB pad, hard/soft knee compression modes, a fully balanced line output, and an optional digital output.The 5050 compressor features two valve stages, one in the preamp circuit, and one in the gain control element of the compressor. These Sovtek valve stages are run from a stabilized 150V DC power supply. So whether it's your best microphone, your vintage Strat, or your latest sample-don't trust it with anything less than the TL Audio 5050.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio s first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the Classic range, and was followed by what has become possibly TL Audio s best known product - the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel s mixdown compressor on Alanis Morissette s multi-million selling Jagged Little Pill album. The Ivory Series With the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory series of preamps, equalizers and dynamics devices has become TL Audio s best selling range of products to date. The Ivory Series satisfied all the criteria that we knew customers were looking for: a great sound, flexibility and user friendliness, all with a smaller price tag!Today, TL Audio has become one of the most respected names currently manufacturing Pro Audio equipment. |
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TL Audio Ivory 5051 Mono Tube Voice Processor : MusiciansFriend : USD999.0The TL Audio 5051 is a single channel voice processor format that has become the accepted way of getting the most out of any sound source. The Ivory 5051 provides the perfect front end for any system by offering a combined preamp, compressor, equalizer, and noise gate, all in one easy-to-use package. There is also now an optional digital output. The 5051 compressor section is identical to that of the 5021 and includes hard/soft knee modes, and the four-band equalizer section is modeled on that of the legendary TL Audio EQ-1, yielding superb results instantly, with an improved optical gate for removing unwanted source noise. So whatever your source, let the 5051 unlock its true potential.The TL Audio 5051 voice processor features six valve stages, supplied by three twin triode ECC83/12AX7A valves running from a stabilized 150V DC power supply. One valve stage is located in the preamp, one in the compressor gain control circuit, and four in the equalizer section.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio s first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the Classic range, and was followed by what has become possibly TL Audio s best known product - the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel s mixdown compressor on Alanis Morissette s multi-million selling Jagged Little Pill album. The Ivory Series With the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory series of preamps, equalizers and dynamics devices has become TL Audio s best selling range of products to date. The Ivory Series satisfied all the criteria that |
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TL Audio Ivory 5052 Stereo Tube Processor : MusiciansFriend : USD2399.0The TL Audio 5052 is a 2-channel Tube Processor is the latest addition to the best-selling Ivory 2 series. The 5052 provides everything you would expect from a high-quality channel strip product, and then doubles it, making it the ideal system front end and the perfect stereo mixdown and mastering device. While most channel strip products provide a single mono channel made up of preamp, dynamics and EQ stages, the 5052 Processor provides two channels of each with independent stereo linking of the compressor, EQ, and limiter sections. Recording a mono or stereo source to multi-track through the 5052 becomes simplicity itself, yet when it comes to mixdown, the 5052 comes into its own by offering full stereo linked EQ and dynamics, allowing unparalleled processing of the stereo buss while mixing.Couple this supreme flexibility with TL Audio's class-leading valve circuit design, and the 5052 represents the ultimate tracking and mixing tool for today's digital environment. The 5052 Processor utilizes six triode valve stages shared between the two channels, run from a high-quality internal 150V stabilized DC supply.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio s first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the Classic range, and was followed by what has become possibly TL Audio s best known product - the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel s mixdown compressor on Alanis Morissette s multi-million selling Jagged Little Pill album. The Ivory Series With the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory s |
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TL Audio Ivory 5060 Preset 2-Channel Tube Compressor EQ : MusiciansFriend : USD799.0Using the same high-quality discrete microphone preamp as other products in the TL Audio Ivory 2 series, the 5060 also has stereo line level /instrument inputs. The 5060 Tube Compressor EQ is equally versatile as a front-end tracking device as it is for the final stage mixdown or mastering compressor. One set of controls operates both the channels for quick and easy setup. The compressor section has 15 expertly programmed presets designed to work with a typical selection of vocal and instrumental sources as well as a manual mode for user adjustment of the compressor. The output section includes a Fat EQ switch for adding some presence or weight to your signal.As with all the mono or stereo Ivory 2 units, it is possible to install the optional D0-2 converter card in the 5060 for premium-quality 24-bit SPDIF analog-to-digital conversion. This allows you to connect to your hard disc recorder, mixer, or soundcard in either an analog or digital format. The combination of flexibility, ease of use, and the renowned warmth of the TL Audio valve circuit design makes the 5060 unbeatable for value and performance.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio s first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the Classic range, and was followed by what has become possibly TL Audio s best known product - the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel s mixdown compressor on Alanis Morissette s multi-million selling Jagged Little Pill album. The Ivory Series With the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory series of preamp |
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TL Audio VP-1 Mono Tube Vocal Processor : MusiciansFriend : USD2999.0In recent years, the analog voice processor has become an indispensable direct link between microphone and multi-track recorder, enabling engineers to capture the highest quality vocal sound on tape or hard disc without the compromises in sound quality that most mixing consoles impose. Going straight to multitrack through a well-designed voice processor has unlocked the true potential of microphones and transformed the sound of modern vocal recordings.TL Audio has long recognized the benefits of this approach, including high-quality mic preamps on every Valve Classics product since the original EQ-1 Dual Valve Equalizer was launched in 1993. The VP-1 is the latest addition to the Valve Classics range, and combines all the best elements of the PA-1 pentode preamp, C-1 compressor, and EQ-2 parametric equalizer to create a truly flexible and spectacular-sounding valve front end for any audio system.The VP-1 features seven valve stages, run from a stabilized 250v DC supply. The first stage is a Siemens EF86 pentode in the front end of the preamp, followed by six Sovtek ECC83/12AX7A stages: one in the secondary stage of the preamp, one in the compressor, and four in the EQ section.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and reselling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and repackaged to make them suitable for music production studios. A little later, Tony Larking joined forces with David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio s first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the Classic range, and was followed by what has become possibly TL Audio s best known product - the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel s mixdown compressor on Alanis Morissette s multi-million selling Jagged Little Pill album. Today, TL Audio has become one of the most respected names currently manufacturing Pro Audio equipment. According to designer David Kempson, Our hybrid design approach was not chosen to cut costs: we |
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TL Audio PA-1 Dual Pentode Tube Preamp : MusiciansFriend : USD1599.0The PA-1 Dual,Pentode is TL Audio's top-of-the-range preamp, producing a stunning sound from any source. The PA-1 offers several improvements over its best-selling forerunner, including a raven blue 6mm aluminum front panel, General Electric US military-specification ECC83/12AX7A valves, gold-plated ceramic valve bases, and circular back-lit VU meters which monitor output level. Internal circuitry has been refined to offer smoother frequency response around the valve stages and provide extra output gain, thus enabling easier interfacing with digital recorders.All microphones from inexpensive dynamics to top-quality condensers produce a fuller, more open and more vibrant sound when fed through the TL Audio PA-1, Instruments fed through the dedicated front panel DI input take on added weight and presence. Separate input and output level controls offer the ability to drive the valve stages harder for increased warmth while simultaneously controlling the overall output level. Switchable high- and low-pass filters, LED level indicators, and a phase reverse facility are refinements that make the PA-1 Tube Preamp a natural choice for any track laying or direct-to-tape recording situation.The PA-1 differs from TL Audio's standard hybrid preamp design. It features a transformer-coupled mic input followed by a low-noise, high-gain EF86 pentode valve. Two further triode valve stages (supplied by 250v DC) are incorporated into each channel. The instrument input bypasses the transformer and feeds straight into the pentode valve. TL Audio's usual high-drive solid state output stage completes the signal chain.About TL Audio TL Audio began manufacturing audio products in 1990, when the company, founded by Tony Larking, was largely involved in the restoration and reselling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and repackaged to make them suitable for music production studios. A little later, Tony Larking joined forces with David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio s first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the Classic range, |
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TL Audio C-1 2-Channel Valve Tube Compressor : MusiciansFriend : USD1999.0The TL Audio C-1 compressor maintains its position among the most flexible, polished-sounding high-end compressors on the market today. Featuring a spectacular raven blue 6mm milled aluminum front panel, General Electric US military-specification valves, high retention gold-plated ceramic valve bases and circular back-lit VU meters, the C-1 is even fatter-sounding and more rugged than its legendary predecessor.All controls are continuously variable (unlike some other compressors with switched parameters) and high-quality onboard mic preamps allow direct-to-tape recording of microphone sources. Stereo front panel instrument inputs mean a keyboard or guitar can feed straight into the C-1 and down to tape with a minimum of fuss. Whether the C-1 compressor is tracking vocals and instruments or adding roundness and warmth to a complete mix, it will become an indispensable part of your signal path within hours.The TL Audio C-1 features a low-noise solid state preamp followed by two valve stages per channel. The valves are General Electric ECC83/12AX7A types, run from a stabilized 250v DC power supply. The first valve stage acts as a voltage amplifier, with the second stage forming part of the gain control element. The gain control is performed by TL Audio's own unique transconductance stage that avoids the use of VCAs, thus improving transparency and minimizing distortion, which is virtually constant at 0.05% over the full bandwidth. The frequency response of the C-1 compressor is virtually flat between 20Hz and 40kHz, and measured between -3dB points, the C-1's bandwidth is a staggering 5Hz to 70kHz.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and reselling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and repackaged to make them suitable for music production studios. A little later, Tony Larking joined forces with David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio s first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the Classic range, a |
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M-Audio Octane 8-Channel Mic Preamp with ADAT Lightpipe : MusiciansFriend : USD599.99The M-Audio Octane 8-Channel Mic Preamp with ADAT Lightpipe adds connectivity and studio-quality preamps to your recording rig. Excellent for input-hungry miking applications. 2 mic/instrument channels provide input for guitars, basses, keyboards, and other instruments. Enables sophisticated stereo miking. Analog preamp direct outputs on every channel. ADAT lightpipe output. Word clock lets you sync multiple units. |
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PreSonus ACP-88 8-Channel Compressor/Gate : MusiciansFriend : USD899.958 full-featured compressors/limiters/gates in the Presonus ACP-88 8-Channel Compressor/Gate transparently control unwanted noise and bleed-through. Control vocals, tame drums, protect speakers, tighten low end — all from just 2 rackspaces. Each compressor features control of threshold, ratio, attack, release, hard/soft knee, auto/manual attack and release curves, and gain. Has balanced or unbalanced inputs and floating balanced or unbalanced outputs. There are 2 side chains for every channel: one for spectral compression, one for gate processing. Each channel has full gain reduction metering, compression threshold indicators, and gate open/close. |
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PreSonus ACP-88 8-Channel Compressor/Gate Factory B-Stock : MusiciansFriend : USD699.998 full-featured compressors/limiters/gates in the Presonus ACP-88 8-Channel Compressor/Gate transparently control unwanted noise and bleed-through. Control vocals, tame drums, protect speakers, tighten low end — all from just 2 rackspaces. Each compressor features control of threshold, ratio, attack, release, hard/soft knee, auto/manual attack and release curves, and gain. Has balanced or unbalanced inputs and floating balanced or unbalanced outputs. There are 2 side chains for every channel: one for spectral compression, one for gate processing. Each channel has full gain reduction metering, compression threshold indicators, and gate open/close. |
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PreSonus GTX44 Quad Professional Noise Gate/Expander Factory B-Stock : MusiciansFriend : USD299.99Can be used as a noise gate or downward expander. A special duck mode allows for ducking via gate sidechain input. Also includes high- and low-pass filters with sidechain monitoring for flawless isolation of instruments. Adjacent channels are stereo linkable. XLR balanced I/O and single TRS unbalanced I/O. Gate key/sidechain jack on every channel. 1U rack. |
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PreSonus DigiMax LT Mic Pre Interface : MusiciansFriend : USD699.95The PreSonus DigiMax LT Mic Pre Interface is essential to the modern digital studio. 8 channels of pristine mic preamplification, inserts on every channel, and an internal power supply set this unit apart. Lightpipe output means you have instant compatibility with ADAT recorders. The DigiMAX channels feature high-performance, dual-servo microphone preamps with 48V phantom power, -20dB pads, and Neutrik combo connectors that accept line level or microphone inputs. Digital synchronization is achieved by offering word clock in and out via BNC connectors. The sample rate can be set on the front panel to 48K, 44.1K, and 32K providing compatibility across multiple platforms. The DigiMAX LT provides TRS inserts on every channel to allow external dynamics processors or equalizers to be placed in the signal chain. |
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PreSonus Digimax LT Mic Pre-Interface Factory B-Stock : MusiciansFriend : USD599.99The PreSonus DigiMax LT Mic Pre Interface is essential to the modern digital studio. 8 channels of pristine mic preamplification, inserts on every channel, and an internal power supply set this unit apart. Lightpipe output means you have instant compatibility with ADAT recorders. The DigiMAX channels feature high-performance, dual-servo microphone preamps with 48V phantom power, -20dB pads, and Neutrik combo connectors that accept line level or microphone inputs. Digital synchronization is achieved by offering word clock in and out via BNC connectors. The sample rate can be set on the front panel to 48K, 44.1K, and 32K providing compatibility across multiple platforms. The DigiMAX LT provides TRS inserts on every channel to allow external dynamics processors or equalizers to be placed in the signal chain. |
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PreSonus DigiMax 96 8-Channel Microphone Preamp : MusiciansFriend : USD1299.95The PreSonus DigiMax 96 8-Channel Microphone Preamp gives you 8 channels of pristine mic preamplification with 24 simultaneous digital and analog outputs with 96, 44, 44.1, or 32kHz resolution. Class A discrete buffers are followed by dual-servo gain stages for 60dB of preamp gain with 52dB of headroom. 20dB pad and selectable phantom power on each channel. A unique EQ Enhance feature contours the EQ curve to bring out definition and notch out problem frequencies. For compression, the DigiMax uses both RMS and peak detection for fast performance and musical, natural sound. Connectivity includes 8 XLR mic inputs plus 2 - 1/4" instrument inputs. Outputs: 8 balanced TRS analog outputs, a 24-bit ADAT lightpipe output, and 4 stereo RCA S/PDIF digital outputs. The PreSonus DigiMax 96 takes up a single rackspace. |
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PreSonus DigiMax 96 8-Channel Mic Pre Factory B-Stock : MusiciansFriend : USD1099.99The PreSonus DigiMax 96 8-Channel Microphone Preamp gives you 8 channels of pristine mic preamplification with 24 simultaneous digital and analog outputs with 96, 44, 44.1, or 32kHz resolution. Class A discrete buffers are followed by dual-servo gain stages for 60dB of preamp gain with 52dB of headroom. 20dB pad and selectable phantom power on each channel. A unique EQ Enhance feature contours the EQ curve to bring out definition and notch out problem frequencies. For compression, the DigiMax uses both RMS and peak detection for fast performance and musical, natural sound. Connectivity includes 8 XLR mic inputs plus 2 - 1/4" instrument inputs. Outputs: 8 balanced TRS analog outputs, a 24-bit ADAT lightpipe output, and 4 stereo RCA S/PDIF digital outputs. The PreSonus DigiMax 96 takes up a single rackspace. |
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PreSonus TubePre Microphone Preamp : MusiciansFriend : USD129.95The PreSonus TubePre Microphone Preamp lets you add character to your signal by varying the amount of gain and tube drive. A 12AX7 tube in this single-channel mic preamp fattens your signal while dual-servo gain stages let you simultaneously output to your amp and console. Sterling specs include 10Hz-80kHz frequency response, a 94dB noise floor, and >90dB S/N ratio. Capacitor-free circuitry and wide dynamic control give you a big boost without noise. Includes 48V phantom power, phase reverse, 20dB pad, and 80Hz rumble filter. A large VU meter with a cool blue backlight keeps you informed. Balanced/unbalanced and XLR I/O give the PreSonus TubePre flexibility. Great as a studio direct box. |
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PreSonus COMP16 Compressor : MusiciansFriend : USD129.95The Presonus Comp16 Compressor features many of the presets contained in the award-winning BlueMax. It further simplifies compression and limiting by offering 16 preset compression curves with variable input and output. The presets include vocal, percussion, fretted, keyboard, limit, and effect. The front panel boasts a large blue, backlit VU meter that can either be used to monitor output level or gain reduction. There is also a bypass button to compare the processed and non-processed signals. -98dB noise floor. +24dBu headroom. Balanced XLR and unbalanced 1/4" inputs and outputs. The Presonus is powered by an external wall-mounted power supply. |
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PreSonus EQ3B Parametric Equalizer : MusiciansFriend : USD129.95The Presonus EQ3B Parametric Equalizer offers 3 bands of fully parametric equalization. Each band is overlapping with adjustable frequency range, Q, and cut/boost control. The faceplate also houses a bypass button and 80Hz roll-off. Other specifications include -98dB noise floor, +24dBu headroom, truly balanced I/O, and a wide frequency response. The back of the equalizer unit houses balanced XLR and unbalanced 1/4" TS inputs and outputs. the EQ3B is powered by an external wall-mounted power supply. |
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PreSonus HP4 Discrete 4-Channel Headphone Amp : MusiciansFriend : USD129.95The PreSonus HP4 Discrete 4-Channel Headphone Amp features 4 headphone outputs on the front panel, each with its own volume, and 150mW of amplification per channel — extremely loud output with a low -98dB noise floor. It also allows control over control room monitors with a separate volume knob that can be muted using the Monitor Mute button. 1/3 rackspace. Accepts balanced/unbalanced inputs and outputs (1/4" TRS). Input can either be set to stereo or mono (the mono selector button on the front channel simply copies both inputs to both sides). Powered by an external wall-mounted supply.The HP4 represents a tremendous value as echoed by this email received by PreSonus:"To my amazement, your HP4 sounded as good as both of my hi-fi stereo heaphone amps. Very very clean and loud. I can't believe you put 150 mw per channel, @52 ohms, to four headphone outputs and offer such a quality unit for very little over $100." (M. Burke via email) |
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PreSonus MaxRack Desktop Tower : MusiciansFriend : USD79.95The PreSonus MaxRack Desktop Tower is a perfect desktop rack for holding the HP4, EQ3B, TUBEPre, and Comp16. Holds up to 6 units. |
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PreSonus Eureka Pro Recording Channel : MusiciansFriend : USD499.95Every one of your mics will benefit from the PreSonus Eureka Pro Recording Channel. It is a high-quality single-channel recording front end with mic preamp, compression, EQ, phase inversion, rumble filter, and high-pass filter. The Class A transformer-coupled channel strip device features variable impedance and a saturation knob for tube saturation emulation. The full-featured compressor has variable threshold, attack, release, and gain makeup controls. Soft-knee compression mode and a hi-pass filter on the sidechain for frequency-dependent compression such as de-essing.The audio transformer on the input stage offers a fully parametric 3-band EQ with overlapping bands and switchable staging for the EQ and compressor, enabling you to swap the order of the EQ and compression. Instrument, line, and microphone inputs as well as switchable gain reduction for the VU meter, dual outputs (TRS and XLR) that can be used simultaneously, and an optional digital output card capable of up to 24-bit 96kHz output on AES/EBU or S/PDIF. 48V phantom power unit with an 80Hz rumble filter, a 20dB pad, a phase inversion button, and balanced send and return jacks for inserting outboard gear. |
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PreSonus Eureka Pro Recording Channel Factory B-Stock : MusiciansFriend : USD399.99Every one of your mics will benefit from the PreSonus Eureka Pro Recording Channel. It is a high-quality single-channel recording front end with mic preamp, compression, EQ, phase inversion, rumble filter, and high-pass filter. The Class A transformer-coupled channel strip device features variable impedance and a saturation knob for tube saturation emulation. The full-featured compressor has variable threshold, attack, release, and gain makeup controls. Soft-knee compression mode and a hi-pass filter on the sidechain for frequency-dependent compression such as de-essing.The audio transformer on the input stage offers a fully parametric 3-band EQ with overlapping bands and switchable staging for the EQ and compressor, enabling you to swap the order of the EQ and compression. Instrument, line, and microphone inputs as well as switchable gain reduction for the VU meter, dual outputs (TRS and XLR) that can be used simultaneously, and an optional digital output card capable of up to 24-bit 96kHz output on AES/EBU or S/PDIF. 48V phantom power unit with an 80Hz rumble filter, a 20dB pad, a phase inversion button, and balanced send and return jacks for inserting outboard gear. |
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PreSonus BlueTube DP Stereo Dual Path Microphone/Instrument Preamp With 12AX7 Tube : MusiciansFriend : USD229.95The PreSonus BlueTube DP Stereo Preamp is among the most versatile two-channel mic and instrument preamps in its class. Its Dual Path technology lets you choose between two preamp stages: a transparent solid-state or warm tube preamp. Each gain stage of the BlueTube DP is pure Class A with high headroom.Each channel of the BlueTube DP includes a -20dB pad, polarity reverse, 80Hz filter, and +48v phantom power. On the front panel you'll find controls for solid state gain and switchable on/off tube drive. When the tube drive is off, the tube preamplifier stage is bypassed delivering ultra-quiet and transparent solid state preamplification.Large analog VU meters provide precise visual monitoring. Dual Neutrik combo jacks for microphones or instruments provides quality I/O and make the BlueTube DP great as a DI for electric bass and guitar. |
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PreSonus BlueTube DP Stereo Microphone Preamp Factory B-Stock : MusiciansFriend : USD169.99The PreSonus BlueTube DP Stereo Preamp is among the most versatile two-channel mic and instrument preamps in its class. Its Dual Path technology lets you choose between two preamp stages: a transparent solid-state or warm tube preamp. Each gain stage of the BlueTube DP is pure Class A with high headroom.Each channel of the BlueTube DP includes a -20dB pad, polarity reverse, 80Hz filter, and +48v phantom power. On the front panel you'll find controls for solid state gain and switchable on/off tube drive. When the tube drive is off, the tube preamplifier stage is bypassed delivering ultra-quiet and transparent solid state preamplification.Large analog VU meters provide precise visual monitoring. Dual Neutrik combo jacks for microphones or instruments provides quality I/O and make the BlueTube DP great as a DI for electric bass and guitar. |
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PreSonus FireBox 24-bit/96kHz FireWire Recording System : MusiciansFriend : USD249.95The PreSonus FireBox is a 24-bit/96kHz FireWire Recording System with a 6-in, 10-out computer recording interface that fits in the palm of your hand. It boasts 2 crystal-clear Class A preamps with 45dB gain, ultra-wide 10Hz-50kHz frequency response, and professional 24-bit/96kHz converters with 110dB dynamic range for a big, musical sound.It has 2 mic/instrument preamps with 48V phantom power conveniently located on the front panel. On the back you'll find 2 balanced TRS line inputs, 6 balanced TRS analog outs, MIDI I/O, and S/PDIF I/O. You can record through 6 inputs and playback through 8 outputs simultaneously. It also has a stereo headphone output and the main volume control on the front panel.The FireBox is compatible with both Windows XP and Mac OS X and comes with Steinberg's Cubase LE 48-track, 24-bit/96K recording software. It's also compatible with many popular ASIO/WDM and Core Audio based applications including Sonar, Cubase, Nuendo, Logic, Digital Performer, Premier, and many others. |
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PreSonus ADL 600 Stereo High Voltage Tube Microphone Preamp : MusiciansFriend : USD2199.95The PreSonus ADL 600 is a high-voltage, 2-channel microphone preamp designed by world-renowned analog tube circuit designer Anthony DeMaria. It utilizes a Class A discrete design with 3 vacuum tubes per channel for maximum headroom and tonality.Control and Flexibility The ADL 600 is designed for supreme sonic performance and flexibility with XLR microphone/line inputs and 1/4" instrument inputs. The input selector allows for selection between Hi-Z instrument input, line input, and 4 different mic impedances for a number of applications. The rotary High Pass Filter switch has 3 settings (40Hz, 80Hz, and 120Hz @ 6dB per octave) for controlling room rumble and low-frequency noise. The input gain attenuator delivers 5dB-step increments and a total gain of over 72dB. The output stage is controlled by a variable conductive plastic attenuator that delivers +/-10dB of fine tune trim adjustment to dial-in the perfect gain structure for the application at hand. The ADL 600 also includes 48V phantom power and a -20dB pad. Under the Hood There are no op-amps or integrated circuits (IC's) in the signal path to ensure the purest sound possible. The dual-transformer design guarantees ultralow-noise operation with maximum common mode rejection.Metering The ADL 600 is loaded with both fast-acting 8-segment LED meters for accurately detecting fast transients and peaks, as well as large analog VU meters for metering output level.Components The overall approach to the ADL 600's design was to keep the signal path as simple as possible by keeping the component count to a minimum. The few components that are in the signal path were chosen for their sonic qualities: custom audio transformers, polyfilm pulse capacitors, 1% metal film resistors, and conductive plastic potentiometers. Also, rotary switches and fixed 1% metal film resistors are used in the preamp gain circuit to keep noise to a minimum and to prevent any coloration that may be caused by a potentiometer.The custom-designed input transformer is fully encased in a Mumetal enclosure, yielding excellent noise characteristics and magnetic shielding. The transformer interfaces the balanced mic/line inputs to the tube preamp circuits. On the primary side of the transformer are circuits for +48V phantom power, microphone impedance, 20dB pad, and line input. All of these are switched by sealed relays for reliability. Also, the relays are located at the point where the switching is required. This minimizes the signal path length and helps to keep noise low.The combination of a 12AT7A tube and a 6922 tube form the principle gain stage, giving the ADL 600 its open and airy sound. This is primarily due to the circuit topology and the wide power supply rails applied to this stage-+/-320VDC. A high endurance Grayhill rotary switch and 1% metal film resistors are used to set the gain in 5dB steps. Polyfilm pulse capacitors are used for interstage coupling to maintain stunning clarity. The preamp stage drives th |
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PreSonus ADL-600 Stereo Hi Volt Tube Mic Preamp Factory B-Stock : MusiciansFriend : USD1699.99The PreSonus ADL 600 is a high-voltage, 2-channel microphone preamp designed by world-renowned analog tube circuit designer Anthony DeMaria. It utilizes a Class A discrete design with 3 vacuum tubes per channel for maximum headroom and tonality.Control and Flexibility The ADL 600 is designed for supreme sonic performance and flexibility with XLR microphone/line inputs and 1/4" instrument inputs. The input selector allows for selection between Hi-Z instrument input, line input, and 4 different mic impedances for a number of applications. The rotary High Pass Filter switch has 3 settings (40Hz, 80Hz, and 120Hz @ 6dB per octave) for controlling room rumble and low-frequency noise. The input gain attenuator delivers 5dB-step increments and a total gain of over 72dB. The output stage is controlled by a variable conductive plastic attenuator that delivers +/-10dB of fine tune trim adjustment to dial-in the perfect gain structure for the application at hand. The ADL 600 also includes 48V phantom power and a -20dB pad. Under the Hood There are no op-amps or integrated circuits (IC's) in the signal path to ensure the purest sound possible. The dual-transformer design guarantees ultralow-noise operation with maximum common mode rejection.Metering The ADL 600 is loaded with both fast-acting 8-segment LED meters for accurately detecting fast transients and peaks, as well as large analog VU meters for metering output level.Components The overall approach to the ADL 600's design was to keep the signal path as simple as possible by keeping the component count to a minimum. The few components that are in the signal path were chosen for their sonic qualities: custom audio transformers, polyfilm pulse capacitors, 1% metal film resistors, and conductive plastic potentiometers. Also, rotary switches and fixed 1% metal film resistors are used in the preamp gain circuit to keep noise to a minimum and to prevent any coloration that may be caused by a potentiometer.The custom-designed input transformer is fully encased in a Mumetal enclosure, yielding excellent noise characteristics and magnetic shielding. The transformer interfaces the balanced mic/line inputs to the tube preamp circuits. On the primary side of the transformer are circuits for +48V phantom power, microphone impedance, 20dB pad, and line input. All of these are switched by sealed relays for reliability. Also, the relays are located at the point where the switching is required. This minimizes the signal path length and helps to keep noise low.The combination of a 12AT7A tube and a 6922 tube form the principle gain stage, giving the ADL 600 its open and airy sound. This is primarily due to the circuit topology and the wide power supply rails applied to this stage-+/-320VDC. A high endurance Grayhill rotary switch and 1% metal film resistors are used to set the gain in 5dB steps. Polyfilm pulse capacitors are used for interstage coupling to maintain stunning clarity. The preamp stage drives th |
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PreSonus BlueTube DP Preamp and AT2041 Microphone Package : MusiciansFriend : USD249.99The PreSonus BlueTube DP Stereo Preamp is among the most versatile two-channel mic and instrument preamps in its class. Its Dual Path technology lets you choose between two preamp stages: a transparent solid-state or warm tube preamp. Each gain stage of the BlueTube DP is pure Class A with high headroom.Each channel of the BlueTube DP includes a -20dB pad, polarity reverse, 80Hz filter, and +48v phantom power. On the front panel you'll find controls for solid state gain and switchable on/off tube drive. When the tube drive is off, the tube preamplifier stage is bypassed delivering ultra-quiet and transparent solid state preamplification.Large analog VU meters provide precise visual monitoring. Dual Neutrik combo jacks for microphones or instruments provides quality I/O and make the BlueTube DP great as a DI for electric bass and guitar.The Audio-Technica AT2041SP Microphone Pack gives you 2 studio condenser microphones for use in your recordings. They deliver versatility and durability with remarkable specs and superior build. The critically acclaimed AT2020 is a side-address mic for vocal and instrument applications, while the AT2021 small-diaphragm condenser microphone is a natural for solo acoustic instruments and vocal and drum overheads. Each mic offers a wide dynamic range and handles high SPLs with ease. An innovative pivoting stand mount is included along with a microphone clip and protective pouches.Using proven Audio-Technica technology, 20 Series microphones deliver great performance for digital and analog recording at a low price. Audio-Technica's stringent quality/consistency standards set both microphones apart from other mics in their class. |
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Neutrik 48-Point TRS Patchbay : MusiciansFriend : USD99.99The Neutrik 48-Point TRS Patchbay is a 1/4" patch panel with 2 rows of sockets, 24 front pairs and 24 rear pairs. 19" rackmount and fully PCB-wired (24 vertical PC boards) without nut fastening. Identification strips included for front and rear panel. |
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Whirlwind IMP 2 Standard Direct Box : MusiciansFriend : USD39.99The Whirlwind IMP 2 Standard Direct Box is an economical direct box that converts line or instrument level unbalanced signals to low-impedance balanced. Input is Hi-Z bridging. Output has a ground lift switch. Basic, low cost, and it does the job. |
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Whirlwind Director Deluxe Direct Box : MusiciansFriend : USD74.95This passive Whirlwind Director Deluxe Direct Box converts line, instrument, or speaker level signals to a low impedance mic level. The input is Hi-Z bridging. The DI box includes a 30dB pad switch for selecting level, a switchable low pass roll-off filter to eliminate amp noise, and a ground lift switch on the Lo-Z output. |
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Waves MaxxBCL Digital Stereo Maximizer : MusiciansFriend : USD2760.0The Waves MaxxBCL Digital Stereo Maximizer pumps up your bass with psycho-acoustic technology for a gigantic low end that doesn't tax your system.MaxxBass© is an exclusive Waves process that delivers rich, deep bass from virtually any speaker. Using the psycho-acoustic phenomenon of the missing fundamental, MaxxBass combines precise harmonics to extend perceived bass by up to 1.5 octaves, while protecting speakers and amplifiers from overload.Renaissance CompressorWarm up your sound with the classic compression used on countless hit records and major motion pictures. The Renaissance Compressor is the ultimate dynamics processor, delivering studio-style warmth with vintage Opto or modern Electro modes. Featuring Waves Automatic Release Control , RenComp produces increased RMS level with unmatched clarity. It's like a leveler and a fast compressor in one.L2 UltramaximizerCrank up your volume with plenty of headroom to spare, for that in-your-face signal that rocks the house. The L2 is one of the most widely heard digital effects on hit records today. Increase your average signal level without artifacts or distortion. Simply set the threshold and define the peak level. The L2 does the rest.State-of-the-art transformers96kHz, 24-bit resolutionDynamic range of 125dB48-bit double precision internal processing pathMaxxBCL supports optical, coaxial SPDIF, AES/EBU, balanced and unbalanced line level analog signals. Built for the rigors of the road, MaxxBCL's rugged construction handles even the toughest environments. Best of all, it's easy to use. Its sleek precision controls and back-lit display let you focus on the sound, not the box. |
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Waves APA32 Audio Processing Accelerator : MusiciansFriend : USD199.99The APA32 Audio Processing Accelerator is a rackmount hardware unit for running Waves plug-ins in your DAW. This hardware solution lets you easily run multiple instances of Waves' most CPU-intensive plug-ins. The APA32 lets you run 6 IR-1 Reverbs, or 9 Linear Phase Equalizers, or 12 C4 Multiband Parametric Processors at 44.1kHz. Plus, it doesn't require a PCI, Firewire, or USB connection—you simply connect them to a standard Ethernet port, install the NetShell software, and cut loose.Expand and Share Waves Power What if you need even more power? Easy: add another APA. You can connect up to 8 APA units to a single host computer using a standard Ethernet switch. Mix and match the APA32 and APA44-M units if you like. Because APA units use standard Ethernet hardware, you can expand your Waves power easily, without the need for proprietary gear.If you have more than one workstation, you can also distribute your Waves power among them. With each machine authorized and using NetShell, all you need is a V-LAN switching system to assign any combination of APA units to whoever needs the most power—up to 8 APA units per workstation. For example, with 16 APA units and 4 workstations, you could allot 4 APAs to each computer. But if the next job requires two machines each running 8 APAs, you can make the change in minutes without even unplugging a single cable.For Mac or PC, Native or TDM On the Mac, NetShell currently supports Pro Tools, Cubase, Nuendo, Logic Pro and Digital Performer. On the PC, NetShell supports Pro Tools, Cubase, and Nuendo. Look for more platform support in the near future. Whether you use a Native or TDM system, the included NetShell software handles shipping audio from your host computer to the APA unit(s) and back. The insert drop-down menu in your DAW will give you the choice to open a plug-in on an APA or on your regular system.Portable Waves Power You can easily transport an APA unit to another computer. Just plug in your authorized iLok, connect the APA to the computer's Ethernet port, install the NetShell software, and you're ready to use any set of authorized Waves plug-ins on that computer. Ready for the Future An APA unit will add awesome capability to your system today. And beyond that, it will give you the power you need to run the next generation of Waves audio tools. Because when you need Waves power, nothing else will do. |
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Kurzweil KSP8 Multi-Bus Signal Processor : MusiciansFriend : USD2696.0The Kurzweil KSP8 multi-bus signal processor is an 8-channel effects system designed for the professional engineer, producer, or musician who requires high-performance effects, excellent sound quality, and unparalleled realtime control. It has over twice the processing power of KDFX, the world-class effects system found in Kurzweil's award-winning K2600 synthesizer. The KSP8 extends the arsenal of effect algorithms from KDFX, adding newly-developed surround reverbs and many more stereo and mono algorithms. The architecture has enough flexibility and power to process up to 8 channels of audio simultaneously, in mono, stereo, and surround combinations. Unlike other high-end effects systems whose DSP resources are fixed to a small number of processing engines, the 16 available processing units in the KSP8 may be freely shared among up to 8 effect buses. The sonic quality of the KSP8 is stunning; it has the best analog audio specifications in the industry, featuring unique output circuitry (patent-pending). The power, flexibility, and sound of the KSP8 truly make it a must-have for professional and semi-pro studios, as well as for sound designers in search of exciting new timbres. |
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Kurzweil Rumour Multi-Effects Processor : MusiciansFriend : USD584.0The Kurzweil Rumour Multi-Effects Processor offers you gated, reverse, and reverb/compression combinations for a wide range of flavors to spice up the mix. A raft of pro features include stereo balanced analog I/O, stereo digital S/PDIF I/O, stereo and mono input channels, stereo effects bus, support for 44.1kHz and 48kHz, internal/external clock, selectable word length of 16 to 24 bits, 3-band parametric EQ, 192 effects presets, 64 user locations, 16 editable effects parameters in basic user mode, and 44 editable effects parameters in advanced user mode. Output clip LED, tap tempo and BPM sync, effects bypass with conditional EQ bypass and tap/bypass pedal input add an amazing degree of versatility. |
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TC Electronic M-4000 Stereo Reverb Unit : MusiciansFriend : USD2499.0The TC Electronic M-4000 Stereo Reverb Unit is also the first stereo reverb capable of rendering credible space onto two discrete sources, or to truly process a composite stereo source. Utilizing the latest hardware technology and software based upon 30 man-years of development, Reverb M-4000 offers the most immense and innovative selection of state-of-the-art stereo reverbs-—at the touch of a button. Designed as a single rack space module with an extremely easy to use instant access interface, and with the option of using the ICON software editor for PC (Mac OSX version available spring 2004) in DAW environments, the Reverb M-4000 is the ultimate choice for live and studio applications working in stereo.In the Studio Reverb M-4000 complements any large scale mixing console, and provides the professional studio with the ultimate Main Reverb featuring an amazing palette of simulated rooms from natural sounding credible spaces to emulations of vintage reverbs and TC Classics. On top of offering front-edge pristine reverb technology, it features impressive headroom, level handling and analog as well as digital interfacing capabilities.Reverb M-4000 integrates perfectly with DAWs and features 24 bit AD/DA converters as well as 44.1 to 96kHz Sample Rates, hence offering processing power not obtainable inside any workstation available today. Connectable via USB the included ICON software editor provides easy access and complete overview for detailed editing purposes, and is a genuine tool in a studio environment.At the Venue The Instant Access front panel is a great advantage for Live applications. Never before has a Main Reverb provided so many colors to the palette, and been so easy to operate. Switch between Character, Glossy and Vintage Reverb effects with just a single touch of a button. The front panel always keeps important parameters within reach, and thanks to the latest DSP and power supply technology, as well as TC Electronic's heritage of making top-end reverbs, the new Reverb 4000 delivers the best true stereo reverbs imaginable.Features in Reverb M-4000 also include Generic Reverbs providing Polished Sustain, Vintage Reverb emulations, True Stereo Reverbs with several flavours, Favourite presets and algorithms from the past, Mono Reverbs covering arbitrary formats, Credible Environments spanning from claustrophobic to outdoor scenarios, Analog domain converter scaling with wide headroom and AES/EBU, S/PDIF, TOS-Link and ADAT digital I/Os. |
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Dean Bass in a Box Bass Headphone Amplifier : MusiciansFriend : USD59.99The Dean Bass in a Box Bass Headphone Amp lets you plug in your bass, put on the headphones, and start playing. You'll hear the coolest, punchiest bass tones you've ever heard. Has a flat/normal/bright selector. |
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Drawmer S3 Multi-Band Stereo Tube Compressor : MusiciansFriend : USD5395.0The Drawmer S3 Multi-Band Stereo Tube Compressor offers previously unattainable control and tonality over each of the three bands. Gain control at each stage provides precise spectral balancing. The signal path consists of high performance input/output transformers, passive components and 10 tubes: 8 ECC83 and 2 12BH7 configured as a fully balanced Class A design. Because the LDR's (Light Dependent Resistors) in the compressors are temperature sensitive the Drawmer S3 houses an electronic oven' which provides and sustains the optimum LDR operating temperature - thereby maintaining calibration accuracy and improving performance. The S3 stereo tube compressor's front panel LED indicates temperature status. Large-scale VU meters are switchable to Peak' mode to show transient information. Two further VU meter re-scale modes are available (+10dB and +20dB) to accurately display the S3 compressor's ability to output levels of up to +30dBm. The Drawmer S3 Multi-Band Stereo Tube compressor has a master output section that includes controls for both Gain and stereo balance to compensate for source material with a Left/Right imbalance or disproportionate processing. |
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Drawmer S2 Signature Series Dual Channel Tube Compressor : MusiciansFriend : USD5395.0The Drawmer S2 is a dual channel tube compressor that features a host of creative processing possibilities.BIG- Retains bass frequencies and minimizes undesirable pumping' by rolling off the detection signal at 75, 125 or 250Hz (user switchable). A fully variable level control allows for the desired amount of Big processing and an in/out switch provides the option to remove from the signal path for A/B comparison.BRIGHT- A dynamic high-frequency enhancer to keep compressed audio sounding fresh and bright with continuously variable frequency control (500Hz to 20kHz) and amount of dynamic enhancement.DRY- Mixes user defined amount of uncompressed' signal with the compressed signal to create parallel compression effect' without the need for external mixing devices. |
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Drawmer M Clock Plus Master Clock/Dual Sample Rate Converter : MusiciansFriend : USD1625.0The Drawmer M-Clock Plus: As the complexity of digital studios grows, and new equipment is added, or the ability to send a stable clock signal to different types of gear is essential in order to avoid digital clicks and pops. But what about DJ or other gear that doesn t have word clock? Or maybe you have AES digital outputs without any clocking at all. The Drawmer M-Clock Plus Grade 1 Master Clock Dual SRC is the answer.The Drawmer M-Clock Plus is a high stability master clock generator offering clock rates from 44.1 to 192kHz, coupled to 2 sample rate converters, which allow material to be re-sampled and syncronized to the selected high precision clock.The Drawmer M-Clock Plus supplies ten word clock outputs, as well as two simultaneous outputs of S/PDIF and AES/EBU allowing you to synchronize your digital workstation, A/D converter, digital mixer and a host of other digital audio equipment through one stable and very accurate unit. Certain equipment in the studio may not have word clock inputs, which has in the past caused synchronization problems. Using the DMS-5 M-CLOCK Plus, these digital audio sources may be synched to the same ultra low-jitter, AES grade 1 stability master clock generator as the equipment using the word clock outputs from the DMS-5. In addition, if any equipment in the studio suffers jitter at its output these sample rate converters may be used to de-jitter and re-clock the signals before further transmission. The M-clock Plus provides a wide range of sample rates from 44.1k upto 192k, all set using the front panel switching. Each sample rate converter input is fed simultaneously to AES/EBU, SPDIF and TOSLINK outputs solving any connectivity problems and allowing signal distribution. The Drawmer M Clock Plus has precision clock frequency measurement and display that indicate the exact frequency of the selected clock, whether internal or external, to an accuracy of 2ppm. |
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Drawmer M Clock Lite Master Clock : MusiciansFriend : USD995.0The Drawmer M-Clock Lite: One of the essential requirements for high-quality digital recording is a first class, high-stability master clock generator. And it's pretty much a guarantee that you're going to adding more digital gear to your setup, which means you'll need to provide a master clock for more units. And as digital technology improves, clock rates are going to get higher. Rather than adding more clocks and daisy chaining to get the number of WC I/O you need, or paying for I/O you won't use, the Drawmer M-Clock Lite provides you with a simple, high-quality clock generator with 10 word clock outputs, and is forward compatible with high-speed clocks predicted for the future. M-Clock Lite features an AES Grade 1 master clock generator, meaning that the generated clock has a long-term frequency accuracy of +/- 1ppm. |
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Drawmer A2/D2 Dual Output A/D Converter : MusiciansFriend : USD1625.0The Drawmer A2/D2 has been meticulously designed to faithfully and transparently recreate your analog signal in digital in as simple and intuitive method as possible. The A2/D2 is a stereo A/D converter giving simultaneous dual stereo outputs at different selectable sample rates from 44.1kHz to 192kHz - so it is possible to have a main output at, say 192kHz with another at 44.1kHz as a low resolution copy.A high-quality Burr Brown input stage has been incorporated, coupled with the AES Grade 1 digital converted outputs, making the A2D2 perfect for recording, mastering and post-production from all of your analog to digital devices. The analog input is fed simultaneously to two separately controlled outputs both in AES/EBU, SPDIF and TOSLINK formats enabling a backup copy to be made of the signal, as well as solving any connectivity problems and allowing signal distribution.Microphones are analog, speakers are analog, storage is mostly digital and signal processing can be either analog or digital, software or hardware based. So at some point in the signal path, you'll need an A/D converter. Step up to the Drawmer A2/D2 a high quality A/D converter that faithfully reproduces analog signals in the digital domain. |
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Nady DB-1 Direct Box : MusiciansFriend : USD24.95The Nady DB-1 Direct Box is one of the most useful and versatile tools available. The DB-1 enables the connection of any high-impedance unbalanced audio source signal to any low-impedance mic-level balanced input. Its parallel output allows the simultaneous connection to 2 separate inputs. A 3-position input attenuation switch (0dB, -20dB, -40dB) facilitates optimum level matching to connected equipment, and a ground lift switch eliminates ground loop-induced hum. The DB-1's rugged, roadworthy all-steel construction assures you years of continuous reliability. |
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Nady PRA-8 Mic Preamp : MusiciansFriend : USD91.95The Nady PRA-8 Mic Preamp gives you 8 independent preamps in one rackspace with servo-balanced XLR inputs. 1/4" outputs for each preamp. Each channel on the Nady PRA-8 has its own gain control, peak LED indicator, and phantom power with on/off switch and LED power-on indicator. |
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Avalon Ultra Five Direct Box Instrument Preamplifier : MusiciansFriend : USD585.0The Avalon Ultra Five is the most powerful direct box available. Variable gain Class A preamplifier to boost low-level pickup signals and a high-level speaker input for capturing the live sound of the instrument's amplifier. Six passive tone-EQ curves enhance a variety of acoustic and electric instruments. Twin DC-coupled Class A output amplifiers drive both low-level mic preamp inputs and high-level +4dB inputs for direct-to-tape recording or processing. Direct box has dual mic and line outs, very low noise -100dB, high headroom +30dB, low-pass filter, LED active signal indicator, headphone out. |
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Avalon Vt 737sp Mono Mic Pre/Compressor/EQ : MusiciansFriend : USD2249.99The Avalon Vt 737sp Mono Mic Pre/Compressor/EQ is a combination tube preamp, opto-compressor and sweep equalizer, with output level and VU metering in 2 rackspaces. Balanced mic, front-panel instrument DI, and balanced line inputs. Class A preamp uses 2 cascaded, dual vacuum-tube triodes configured with minimum negative feedback. The Avalon Vt 737sp has a high-gain switch, high-pass filter, and hardwire relay bypass. |
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Avalon VT-747SP Stereo Compressor EQ : MusiciansFriend : USD2449.99The Avalon VT-747SP Stereo Compressor EQ lets you choose between tube tone and the classic Class A discrete transistor sound. Ideal for high-performance DAW input signal conditioning, stereo bus compression-EQ, stereo keyboards, and analog mastering applications. This Avalon Compressor combines a stereo tube-discrete Class A opto-compressor with musical 6-band program EQ, L-R output level and gain reduction metering, and internal regulated power supplies. All in just 2 rackspaces. |
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Avalon M5 Mono Pure Class A Microphone Preamp : MusiciansFriend : USD1575.0The Avalon M5 Mono Pure Class A Microphone Preamp delivers smooth musical detail and sonic excellence. Features include a low-ratio, high-performance input transformer and balanced inputs coupled with high-voltage cascade FET twin bipolar discrete Class A amplifiers. Equipped with a large illuminated VU meter, twin LED peak signal indicators, regulated +48V phantom power supply, variable passive high-pass filter, and all signal routing with sealed silver relays. The Avalon M5 preamp is a vocalist's dream machine that turns ordinary recordings into masterpieces. |
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Avalon AD2022 Pure Class A Dual Mono Microphone Preamplifier : MusiciansFriend : USD2969.99The Avalon AD2022 Dual Mono Microphone Preamplifier includes the original sonic capabilities and transparency of the M2, M22, and M5 preamps adding selectable microphone source loading for optimized cable/mic matching, improved high-voltage Class A regulated power supplies, 2 Hi-Z instrument inputs, variable-passive high pass filter, Teflon/silver wiring, and double-plated circuit boards for superior low-level signal transfer. |
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BSS Audio FDS-366T Omnidrive Compact Plus Loudspeaker Management System : MusiciansFriend : USD3149.99The BSS Audio FDS-366T Omnidrive Compact Plus Loudspeaker Management System is the one loudspeaker management system that really satisfies all your system requirements, and it just got even better! It includes the first pro audio implementation of WHISEWORKS - NTM * filter technology, which means that you can take your loudspeakers closer to their operating bandwidths without fear of over-excursion. One FDS-366 can drive a true stereo 3-way system, or 3 bi-amp outputs for monitors. Add more units and MIDI slave linking to make stereo 4, 5 and even 6-way systems.Other applications are also covered, such as zoning to six discrete areas using full range or band-restricted outputs. As a mono sum of all three inputs is available, the FDS-366 will find favor with LCR post-production monitoring systems where a mono sub output is required. A stereo AES/EBU digital input also means that the FDS-366 is an ideal product for studio monitoring applications. BSS has incorporated the very latest digital technology and DSP algorithms to provide the Compact Plus with truly astonishing audio performance. The latest generation of 24-bit converters with carefully engineered support electronics provides a dynamic range in excess of 112dB (unweighted) without employing 'massaging' techniques that could have side effects. Using a 96kHz sample rate further enhances the sonic performance of the FDS-366. The advantages of this higher rate mean a more natural and open sound thanks to a 40kHz bandwidth and improved filter responses that are possible with the higher Nyquist frequency.BSS Audio pioneered the use of dynamic equalization on the DPR-901, a tool well known to engineers the world over. Essentially a way of compressing selected frequencies when the signal reaches a preset threshold, adding dynamic EQ to every input and output on the FDS-366 provides the engineer with a way to control some of the non-linearities in drivers (such as 2" horns) and room resonances. Two new facilities, the Alignment Assistant and Dynamic EQ, help to reduce setup time and enhance creativity.The effects of non-identical delays between loudspeaker drivers in cabinets, and between cabinets are well known. The FDS-366's Alignment Assistant makes the calculation and implementation of driver delay settings quick and automatic. A microphone input directly measures and corrects for driver and cabinet displacement and also takes into account inherent phase shifts present in these and other system elements. |
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BSS Audio FDS-334T Minidrive Loudspeaker Management System 2x4 : MusiciansFriend : USD1099.99Minidrive provides all four core functions of the Omnidrive range: crossovers (Linkwitz-Riley, Bessel or Butterworth), mid-band limiters, equalisation freely assignable to inputs and outputs, and both input and output delay. However, by leaving out the more advanced features in the Omnidrive, BSS has achieved dramatically lower prices, ensuring that Minidrive is suitable for a range of applications for which an Omnidrive would simply not have been affordable.BSS Audio recommends the FDS-334T for pro audio use in the monitor rack. Up to 38 bands of filtering are available in each unit. As an added bonus, the Minidrive can be controlled by SIASoft's Smaart Live analysis program, allowing the installer or engineer to create systems with integrated measurement and processing.Individual Minidrive outputs can also be run full range. With the low price of the units, this means that they are highly suited to use as zone controllers for convention centres, ballrooms, under-balcony feeds or downfills with EQ and delay, or for replacing several traditional analogue units in an installed sound system in just one rack space. BSS has provided Minidrive with a similar user interface to its big brother the FDS-366T "Omnidrive Compact Plus".The four-arrow "navipad" allows access to menus and facilties, while push-to-select switches on the output level controls ensure fast access to channels for editing. Data is shown on a bright blue LCD display, with data entry via a parameter wheel. Input and output level meters are an immediate comfort for the engineer, and individual output band mute keys are provided. Together, these make the Minidrive more convenient and faster to set up and adjust than any DSP unit in its class.For program archiving and storage, BSS Audio recommends MINISTORE, a PC application that allows you to dump programs from your Minidrive to a PC, arrange them and download any or all programs to any similar Minidrive unit. Minidrive provides all four core functions of the Omnidrive range: crossovers (Linkwitz-Riley, Bessel or Butterworth), mid-band limiters, equalisation freely assignable to inputs and outputs, and both input and output delay. However, by leaving out the more advanced features in the Omnidrive, BSS has achieved dramatically lower prices, ensuring that Minidrive is suitable for a range of applications for which an Omnidrive would simply not have been affordable. BSS Audio recommends the FDS-334T for pro audio use in the monitor rack. Up to 38 bands of filtering are available in each unit. As an added bonus, the Minidrive can be controlled by SIASoft's Smaart Live analysis program, allowing the installer or engineer to create systems with integrated measurement and processing. Individual Minidrive outputs can also be run full range. With the low price of the units, this means that they are highly suited to use as zone controllers for convention centres, ballrooms, under-balcony feeds or downfills with EQ an |
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BSS Audio FDS-336T Minidrive Loudspeaker Management System 2x6 : MusiciansFriend : USD1299.99Minidrive provides all four core functions of the Omnidrive range: crossovers (Linkwitz-Riley, Bessel or Butterworth), mid-band limiters, equalisation freely assignable to inputs and outputs, and both input and output delay. However, by leaving out the more advanced features in the Omnidrive, BSS has achieved dramatically lower prices, ensuring that Minidrive is suitable for a range of applications for which an Omnidrive would simply not have been affordable.The FDS-336T is able to drive a stereo 3-way system, and is a natural for the front-of-house rack. Up to 38 bands of filtering are available. As an added bonus, the Minidrive can be controlled by SIASoft's Smaart Live analysis program, allowing the installer or engineer to create systems with integrated measurement and processing.Individual Minidrive outputs can also be run full range. With the low price of the units, this means that they are highly suited to use as zone controllers for convention centres, ballrooms, under-balcony feeds or downfills with EQ and delay, or for replacing several traditional analogue units in an installed sound system in just one rack space. The user interface of the FDS-366T Omnidrive Compact Plus is easy-to-use and effective. The four-arrow "navipad" allows access to menus and facilties, while push-to-select switches on the output level controls ensure fast access to channels for editing. Data is shown on a bright blue LCD display, with data entry via a parameter wheel. Input and output level meters are an immediate comfort for the engineer, and individual output band mute keys are provided. Together, these make the Minidrive more convenient and faster to set up and adjust than any DSP unit in its class. |
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BSS Audio FCS-960 Graphic Equalizer : MusiciansFriend : USD1499.99The BSS Audio FCS-960 is a 30-band graphic equalizer featuring Dual Mode switching between Normal and Fine filter width settings on each channel.The FCS-960 provides 2 channels in 3U of rack space. Constant Q-filters with filter-bypass center taps are controlled by high grade, 45mm faders with molded polymer fader knobs that eliminate visual parallax error even under low light conditions.Also included are sweepable/switchable Hi-pass filter, Gain control and electronic balanced inputs and outputs. |
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BSS Audio Opal FCS-966 Graphic Equalizer : MusiciansFriend : USD919.99BSS Audio provides the Opal FCS-966 Constant Q Graphic Equalizer with separate LF and HF contour filters that can change an overall sound balance without disturbing a detailed room or loudspeaker response. Graphic equalizers are found in just about every sound application, from room contouring to feedback control and general audio sweetening. With the Opal Constant Q you're able to make greater use of the faders at each end of the scale for precision EQ work in a wider range of settings. These filters are very musical gentle boost and cut shelving filters that can be used to add (or remove) room effects that change with temperature, audience numbers or humidity.All these effects can be easily made without disturbing the critical fader settings already made. Constant Q Filters The modern generation of graphic EQs uses the Constant Q topology, pioneered by BSS Audio, which means that the filter width is constant whatever the fader gain setting. Compared to the earlier 'gyrator' style of filters, Constant Q filters provide a smoother and more predictable interaction between adjacent faders and the resulting EQ curve more closely resembles the actual fader positions. More Gain Control Per Filter Each EQ fader has +/-15dB of adjustable gain, more than many competitive graphic EQs. The faders are long-throw 45mm types for precision control. High-Pass Filter Also provided on the FCS-966 is a sweepable high-pass filter which can be used very effectively to restrict the low-energy output for better amplifier and loudspeaker performance. Stage monitors also benefit from the application of a high-pass filter to remove bass signals (e.g. from vocal-only wedges).Metering BSS Audio believes in providing engineers with information, and the FCS-966's 8-segment LED meter shows output level and warns of signal clipping within the EQ. When the unit is switched to bypass, the meter will read the input level, allowing accurate matching of the 'dry' and equalized signals using the gain control. Center Bypass When any EQ fader is in it's center detent position the filter is automatically bypassed for optimum performance.Input/Outputs All the inputs and outputs of the FCS-966 are electronically balanced, with optional transformer balancing. To make installation of the FCS-966 easier, there are three different interface connectors: XLR-type, 1/4" TRS jack and Phoenix/Combicon screw terminals.Relay Bypass The EQ IN buttons switch the EQ path into circuit. When switched out, or power fails, a high-quality relay switches the input signal directly to the output connectors.Control Descriptions • Faders - 30 EQ filter faders on ISO centres, each with nominal +/-15dB of gain. Positive center detent on 45mm long-throw precision faders • HP Filter - Sweepable high pass filter, frequency adjustable from OUT (flat) up to 250Hz • LF Contour - Smooth shelving filter, +/-6dB of gain at 50Hz • HF Contour - Smooth shelving filter, + |
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BSS Audio DPR-402 Dual Compressor De-esser Limiter : MusiciansFriend : USD1499.99The DPR-402 is a 2-channel compressor/limiter, high frequency de-esser and wide band de-esser with peak limiting, adjustable speed, dynamics program manipulation, and full LED metering for both input and output. Integrated side-chain and gain reduction metering allow for continuous dynamic activity monitoring. Auto mode provides program dependent attack and release control. |
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BSS Audio DPR-404 Quad Compressor De-esser : MusiciansFriend : USD1349.99The DPR-404from BSS Audio is a compact and professional 4-channel compressor and de-esser. Based on the well established BSS subtractive gain reduction principle, it offers you four independent channels of high quality, musical compression and high frequency de-essing, with the minimum of operator controls. Attack and release time constants are automatically and continually regulated by dynamic and harmonic content of program material. The DPR-404 features electronically balanced inputs and outputs. The DPR-404 was designed to be quick and easy to operate by both skilled and novice engineers alike. |
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BSS Audio DPR-504 Quad Noise Gate : MusiciansFriend : USD1449.99The BSS DPR-504 is a 4-channel professional noise gate which has been designed for simple and intuitive use. It incorporates modern integrated circuit technology for high packing density and long term reliability. Ingenious proprietary techniques are employed to make the engineers life easier without compromise to performance or versatility. •Four independent channels that are linkable to give either one or two stereo linked master/slave modes •Flexible parametric Key filter for frequency conscious gating with absolute precision. The parametric EQ approach provides a higher degree of control for accurately rejecting spurious unwanted gate triggers than similar shelving filters. •Key listen provides operator with the facility to hear the effect of Key side- chain EQ or other processing effect as an aid to setting up. •Dual metering system which indicates both average and peak responses simultaneously and gives the operator precise information regarding the signal levels around the threshold point. Separate 'gate open' marker LED, linked to gate dynamics, continually monitors interrelation between gate activity and the actual signal. •IN switch which allows the operator to force open the gate, in the absence of signal, to check the integrity of the signal lines, and observe set dynamics. This also functions as channel bypass. •Selectable 'Fast and auto' attack modes which have been optimized for accurate and transparent performance over the widest variety of program material. Self adjusting Auto mode deals cleanly with varying dynamics whilst a super fast mode is available for demanding percussion and synthesizer transients. •Simple to operate, combined Hold and Release control which has special audio-tapered characteristics to give subtle 'musical' envelope shaping. •Rear mounted electronically balanced XLR input and output connectors. •Rear mounted 1/4" jack socket allows access to external side-chain key input for uses such as external EQ, delay or keying by and unrelated signal. |
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BSS Audio DPR-901ii Dynamic Equalizer : MusiciansFriend : USD1349.99The DPR-901ii is a 4-band parametric equalizer which varies the degree of equalization dynamically, as the program level changes. The process can be thought of as frequency selective compression and/or expansion, but it is fundamentally different to simple frequency-conscious' dynamics processing as used for noise gating, de-essing and the like. It is also very different to the growing family of sliding filter' techniques used in single-ended noise reduction processors. A split facility allows the unit to be used as 2 separate 2-band units, and a side chain listen button allows monitoring of the filter setup.Frequency selective compression is equivalent to applying CUT on a normal equalizer while frequency selective expansion is like applying BOOST. However, the DPR-901ii can be more subtle as the process is dynamic: it will only occur above (or below) the threshold you have set. Some possible uses for the DPR-901ii technology can be: •To selectively compress and/or expand, broad or narrow-band segments of program. •To de-ess and de-pop. •To add dynamic loudness control (eg. bass boost at low SPLs). •To control SPL in a dynamic and frequency conscious manner. •To enhance or sweeten' mixed programme. •To improve voice intelligibility (without risking howlround or feed-back). •To enhance low level vocals. •To correct for and/or guard against, bad microphone technique (by unskilled performers). And in common with other units in BSS Audio's processor range, the DPR-901ii features: •Friendly rotary control knobs for all parameter adjustments. •Excellent low level resolution to maintain subtle musical detail. •Minimum phase and low group delay for any EQ setting. •High headroom >+ 20dBu. •Conservative drive capability into low impedances (down to 600 ohms) and long, highly capacitive cables. •Automatic relay controlled signal bypass if mains power is disconnected or fails. Altogether, the DPR-901ii will not degrade a conventional high quality analogue signal processing chain, even when two units are inserted in line with the composite stereo mix. |
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BSS Audio AR-133 Active DI Box : MusiciansFriend : USD179.99The AR-133 Active DI Box from BSS Audio uses an enhanced version of the same audio path as the AR-116, now regarded by many people as a reference standard. The sound quality is legendary, particularly on acoustic and bass guitars. Numerous applications can be satisfied by the AR-133. For example, as well as the traditional guitar use, the AR-133 can be used with keyboards, DJ consoles, amplifier outputs, and other electronic sources. An additional bonus is the ability to use the AR-133 as an active balancing device.Input connectors are both 1/4" jack sockets and an XLR socket, the latter meaning that the AR-133 can be used to convert unbalanced signals to a balanced output on XLRs throughout. The arched case allows cables to run back underneath the unit from the end for neat cable management. Input attenuation is 0, -20 or -40dB, making the box suitable for instrument, line or amplifier levels on inputs. On the output side, a ground-lift switch is provided for quick solutions to ground-loop problems.The BSS AR-133 includes phantom power and battery supplies as standard. Should the phantom power from the console fail or be accidentally switched off, the AR-133 automatically switches over to the internal 9V battery providing uninterrupted use. This unit is housed in a rugged aluminum extrusion case, with robust polyurethane end-cheeks which give the AR-133 a very distinctive look. |
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Joemeek MC2 Stereo Compressor : MusiciansFriend : USD229.0The MC2 is a professional studio-quality stereo compressor in a compact half-rack format. Simple to use yet extremely powerful, the MC2 by Joemeek will bring out the best in any line-level stereo material and give the gloss of a professional studio to all your performances. It can be used for both recording/mastering, and live work.Think of the MC2 as three separate pieces of equipment: •A line level stereo preamplifier •A stereo Joemeek compressor •A stereo width processor |
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Joemeek twinQ Dual Channel EQ/Compressor/Mic Preamp : MusiciansFriend : USD949.99The Joemeek twinQ Dual Channel EQ/Compressor/Mic Preamp takes microphones or instruments, amplifies them, compresses them, and equalizes them so they're ready to be recorded. Simple to use yet extremely powerful, the TwinQ will bring out the best in any microphone or instrument and give the gloss of a professional studio production to all your performances. You'll find it useful for recording as well as for live work. |
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Joemeek OneQ Mono EQ Compressor Mic Pre : MusiciansFriend : USD729.99The OneQ is the most full-featured, technologically advanced studio channel Joemeek has ever made! The Joemeek OneQ is a single channel combining Mic Pre (with Burr-Brown IC), four band EQ, the most flexible yet, Joemeek's "signature" optical compressor, a De-Esser, and an Enhancer. It's a master channel like no other. Housed in a 2u chassis, the elegantly sculpted faceplate is intelligently laid out, with clear, easy to read legends and a large analog VU meter. The OneQ also features 24-bit/96kHz A/D converters with word clock input and output. |
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Joemeek ThreeQ Studio Channel : MusiciansFriend : USD249.99The Joemeek ThreeQ Studio Channel takes a microphone or instrument and amplifies, compresses, and equalizes it, making it ready to be recorded. Simple to use yet extremely powerful, the ThreeQ will bring out the best in any mic or instrument and give the gloss of a professional studio production to all your performances. It will be useful for live work as well as for recording. |
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Toft Audio Designs ATC-2 Dual Channel Microphone Preamp, EQ, FET Compressor : MusiciansFriend : USD1149.99The Toft Audio Designs ATC-2 is a high-quality microphone preamp with selectable 48-volt phantom power, direct instrument input and selectable line input. It features classic V.U. metering, extremely musical 4-band EQ, 50Hz low pass filter, compression, and more. |
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Toft Audio Designs AFC-2 Dual Channel Microphone Preamp EQ : MusiciansFriend : USD699.99The AFC dual-channel equalizer and mic preamp from Toft Audio Designs is a very high-quality, compact unit ideal for recording studios, mastering, and sound reinforcement. The AFC-2 mic pre gives you 2 independent channels each with switchable mic/line input, selectable +48 volt phantom power, and instrument input. |
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Toft Audio Designs EC-1 Mono Channel Microphone Preamp EQ FET Compressor : MusiciansFriend : USD599.99High-quality mic preamp with selectable 48V phantom power, phase reverse, front panel instrument input and selectable line input. Has musical 4-band sweep EQ, classic FET compressor, and VU metering for gain reduction and output level. 1/4" sculptured aluminum front panel. IU rackspace. |
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Toft Audio Designs DC-2 Dual Channel FET Compressor : MusiciansFriend : USD699.99The Toft Audio Designs DC-2 Dual Channel FET Compressor brings you high quality line input preamps, front panel instrument input, V.U. metering for gain reduction or output level, and F.E.T. compression with variable attack, release, and ratio. 1U rack mount unit.Channel Strips of the Stars Ted PerlmanTed Perlman, renowned Grammy-winning producer, musician, arranger, engineer, and programmer, has a resume that reads like a who s who of popular music. His credits include Bob Dylan, Chicago, Burt Bacharach, Elton John, Dave Mason, Brian Wilson, Carole King, Albert Hammond, Jr. (The Strokes), Desmond Child, Young M.C., Dolly Parton, and, well, the list goes on. Ted was kind enough to provide us with his go-to recording vocal chain as well as his choice for guitar. Here it is, straight from Ted Perlman himself: I m producing and writing with Sara Lumholdt of the mega-selling Swedish pop group "A-Teens". This will be her first solo CD.ALL guitars go through the A Designs REDDI DI box (#189904) > Hammer EQ (#180185) > Pacifica preamp (189903) > Toft DC-2 Compressor. Her vocal recording chain is: Pearlman TM-LE condenser mic* > A Designs Audio Pacifica preamp (#189903) > Daking FET 2 Compressor (#482850).*Check out Dave Pearlman Mics at pearlmanmicrophones.com (Dave also has quite an impressive resume as a recording engineer and owner of Rotund Rascal Recording Studio. Check out Ted Perlman s website at tedperlman.com |
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Behringer Microphono PP400 Phono Preamp : MusiciansFriend : USD19.99The Microphono PP400 is a small preamp from Behringer that boosts the signal from your turntable to a line level suitable for sending to a mixer, computer, speakers, or other equipment. Features dedicated RCA and 1/4" outputs and RCA inputs. |
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Behringer Micromon MA400 Headphone Amplifier : MusiciansFriend : USD29.99The Micromon MA400 from Behringer is an ultracompact headphone amplifier for both studio and stage applications. Features Mic In and Mic Through XLR connectors with an integrated Ground Lift switch, high-power headphone outputs with 1/4" and 1/8" jacks, Mic and Monitor Level adjustments, and Mono/Stereo switch. |
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SMPro Audio PR8E Multichannel Microphone Preamplifier : MusiciansFriend : USD169.0The PR8-E multi-channel microphone/line preamp is the vanguard of the 'next-generation' in the SMPRO range. Using the latest components available and redesigned from the ground up, the PR8-E's carefully structured single circuit board design results is an exceptionally low noise pre-amp boasting a very high gain structure.Tailored to suit a wide variety of applications, the PR8E is perfectly suited for use as a front-end device for many hard disk recording systems, as well as adding additional mic pre's to digital mixers and sound cards.Each pre-amp features it's own XLR/TRS jack 'Combo' input connector, 48v phantom power switch for the mic-pre and a built-in -20dB pad in the 1/4" (6.5mm) TRS line-in jack sockets. Individual phase reversal switches are provided next to the eight balanced 1/4" (6.5mm) TRS output sockets on the rear panel. All this is housed inside a hardened steel chassis, complete with rack mounting panels.Each mic-pre provides some 60dB of gain with a massive 23db of maximum output! Ultimately however, the quest is about sound quality. To this end, the PR8-E is certainly designed to deliver and will outperform just about any other device in it's class.Typical applications include: •Expansion for multi-channel DAW's. •Improved mic performance for many existing mixing consoles •Direct Injection for line-level devices, such as keyboards, drum machines and effects processors |
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Violet Audio ADP61 Studio AV Preamp Decoder : MusiciansFriend : USD1195.0Violet Audio's ADP61 24bit 192kHz Studio AV Preamp Decoder features a multitude of analog, digital, and S-Video inputs. Remote control selection of both visual and audio signals is available for a wide range of source material.With active monitors becoming extremely popular in home theaters and professional studios alike, the need for a compact preamp decoder without a power amplifier stage has become apparent. The ADP61 is perfect when used as the main control hub bridging all audio and video connections together while offering a simple yet powerful monitoring control solution. It is also useful for the mixer-less DAW studio.The ADP61 allows monitoring and decoding for all signals from stereo to 6.1 surround audio. With balanced XLR outputs and an infra-red remote control, it's simple to monitor various connected devices such as CD units, Video units, DVD player/recorders, or TV systems. Decoding is provided for digitally connected devices compatible with Dolby Digital, Dolby Digital Surround EX, DTS, DTS ES, DTS ES Matrix, DTS 96/24, DTS Neo, and more. |
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XP Sound XP202 USB Audio Interface : MusiciansFriend : USD199.0The XP Sound XP202 is a great all-around 24-bit/96kHz-capable USB audio interface for musicians, DJs, audiophiles, and multimedia content developers. It works perfectly as an audio interface with recording applications like Cubase, Logic, Wavelab, and Nuendo. It also makes an outstanding interface for audiophile users wishing to transfer their vinyl album collections to CD. The XP202 is housed in a compact, shielded chassis to protect against distortion and interference from your PC. It comes with Bias SoundSoap, a transparent desk stand, and is USB-bus powered. It boasts a simple setup, quality connection options, solid performance, and Mac OS X and Microsoft Windows compatibility at an excellent price.The XP202 has high-quality A/D/A converters, two adjustable microphone preamps, a pair of stereo line inputs, and an RIAA equalizer for turntable signals. Each high quality mic preamplifier provides selectable phantom power for use with condenser mic signals. Line level signals can be directly connected via the stereo line input on the front panel. The front-panel stereo headphone jack has individual volume control and a mix control. The mix control allows users to adjust the monitoring balance between USB audio playback signals and the input signals from the inputs.Give your vinyl discs new life!The XP202 provides a unique solution to achieve high-quality transfer of vinyl records and cassettes to PC. Record players, tape recorders, microphones, and many other devices operate at differing audio levels and the XP202 will help you match levels between all these sources. The RIAA equalizer guaranties perfect processing of the incoming signals from your turntable. A ground connector is provided on the front panel for connection to your turntable.Whether you're shooting videos, restoring vinyl LPs, building websites, creating presentations, or making music, you probably care about the quality of your audio. The XP202 includes easy to use BIAS SoundSoap SE 2 software that will make your work sound clean and clear. It scrubs audio squeaky clean—dramatically reducing tape hiss, clicks and crackles, buzzing and hum, rumble, and most other types of unwanted noise. Archiving your record collection to CD is simple when you let SoundSoap buff out those scratches. Burning CDs from your old cassette collection? Don't forget the SoundSoap SE 2. A perfect narration, except for that annoying air conditioner? SoundSoap SE 2 it! Best of all—while SoundSoap uses incredibly advanced technology to do its magic—you don't need to be an audio expert. Just click the one-step Learn Noise button, and watch SoundSoap automatically clean your audio! You can also fine-tune SoundSoap for custom results in just seconds. |
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Chandler Limited Germanium Preamp/DI : MusiciansFriend : USD1105.0The Germanium pre-amp design by Chandler Limited designer Wade Goeke uses classic germanium transistors in all class A, transformer-balanced circuits. The use of germanium devices opens a whole new sound palate not found in any pro audio equipment currently manufactured.These incredibly smooth-sounding transistors were the basis of the earliest transistor designs by Neve, EMI, Telefunken, and Fairchild. Those familiar with these units can attest to the special sound of the germanium transistor. The Germanium series runs on +40 volt power, high current, and has a huge +34 output before clipping. The sound is warm and smooth, as with many vintage style circuits, but you'll find a whole new world of smooth audio here as well as a sound that settles in perfectly to your tracks without fighting. Add these new circuits to Chandler's new transformer line that combines the best parts of Chandler's favorite trannies, St Ives and Gardners, into new great-sounding input and output transformers.Gain/Germainium Drive This is your standard input gain control. It is a 10-position Elma switch with 3dB step increments. The full range of the unit is -5dB, with the pad, to +65dB, without the pad and Germanium Drive and Feeback at full. The actual amount of overall gain, however, is affected by feedback control. When the gain is at 0 and the feedback is at 0, the overall gain is +10dB. Increasing the feedback to 10 changes the overall gain to +40dB, with all the tonal changes described under the feedback control. Using different combinations of feedback and input gain is essential if you want to take advantage of all the tones available from the Germanium pre-amp.Feedback The Feedback control is essential to the sound and function of this pre-amp. Audio amplifiers incorporate some amount of negative feedback, which is where the output signal of the amplifier is fed back to its input. This affects the sound and function of the amplifier in many ways. THD, frequency response, gain, and amplifier stabilization change considerably with varying feedback. In use, you will find these results: When feedback is at 0 the unit will produce more high frequency information, less THD, less gain, and generally a more pristine, clear tone. Pushing the feedback higher will add THD, gain, a small bass rise, and a small high-end roll-off.Pad switch A 15dB Pad switch. Do not be afraid to use the pad on the unit as you will not find the adverse effects associated with many pads. The Pad is also very helpful with discovering all the tonal variations that the Germanium is capable of producing. Use the Pad when you are driving the Germanium very hard to keep the output levels in a usable range. Another important use for the Pad is to drop the gain to a line level while sending tape/disk tracks or line sources into the transformer-balanced rear input.Thick switch The Thick switch adds a gentle low end rise to the signal. It sounds simple but all of Chandler's beta testers co |
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Chandler Limited TG-2 Abbey Road Special Edition Mic Preamp : MusiciansFriend : USD2080.0The sound of the EMI TG12428 mic preamp was used on many famous recordings done at Abbey Road including The Beatles' Abbey Road and Pink Floyd's Dark Side of the Moon. The amplifiers were also used in many EMI circuits of the time. Chandler's version was remade from original design notes and circuit board drawings provided by Abbey Road and EMI to ensure extreme authenticity.This pre-amp features the same discrete transformer-balanced amplifiers as the TG series limiter and offers a creamy, smooth tone with a surprisingly open, clear top end (dare we say nicer than Neve?). The sound, as explained by many users, has the Neve "warmth" and punch, but with a "nicer" expanded top end. In fact, the unit does have a small rise in its top end frequency response and some warmth-inducing distortion, which contributes to its sound.Users Jerry Finn (Blink 182,Green Day) Andy Smith (Paul Simon) Joe Barresi (Hole, Weezer) John Merchant (Bee Gees) Butch Vig (Nirvana, Garbage) Michael Wagener (Ozzy, Metallica) User Reviews "Thanks for the support and for such a great pre/DI (TG2). My other pres have been feeling distinctly 'un-loved' since this baby arrived! After spending a week with the TG2, I now understand what all the talk has been about. The TG2 delivers the sound I have been searching for - a 'creamy' sounding mid- to high-frequency emphasis with punch."- Anthony Lim"I found the preamp's sound quality somewhere between an API 512 mic preamp and Neve's 1272 amplifier as used in the 1073 and 1084 modules. You'll find a whole new sonic world here: higher dynamic range than the Neve combined with API's 'harder, punchier' sound character. Doesn't disappoint with a wide open sound." - Barry Rudolph, "Mix Magazine" Feb '03"Just a quick (belated) note to say thank you for the TG2 - wow! Spectacular sounding pre. I ran our bass player direct using the TG2 and the sound was amazing - crystal clear with full, deep low freq response. I'll be cutting vocal tracks with Barry tomorrow; I'm looking forward to hearing your pre with his U47." - John Merchant, Engineer- Bee Gees"I wasn't really in the market for a new pre amp, but based on the quality of Chandler Limited's other products I asked for a demo unit. I have an assortment of what I considered to be the best mic pres ever made, but the sound I heard coming through the TG2 absolutely floored me. I bought the demo unit and ordered another two channels as well (this within one hour of first plugging it in). It has become my first choice for almost every application and I can't imagine making a record without it." - Jerry Finn, Producer- Green Day, Blink 182 |
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Chandler Limited PSU-1 Power Supply : MusiciansFriend : USD205.0The PSU-1 is a half-rack external power supply required to powers Chandler Limited audio processors. It powers two Chandler units at once. |
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Universal Audio 710 Twin-Finity Single Channel Tube and Solid State Mic Preamp and DI : MusiciansFriend : USD799.0The Universal Audio 710 Twin-Finity is a radically different UA preamp design which combines the classic retro warmth of UA tube design and the transient bite of solid-state in a 2U, half-rack, all-metal chassis. The UA 710 microphone preamp and DI was created specifically to add the tonal versatility and sonic inspiration missing from generic audio interface preamps.The key to the UA Twin-Finity 710 preamp's sonic flexibility lies in its innovative circuit design. The unit's solid-state transimpedance input amp simultaneously drives separate, phase-aligned tube and solid-state gain stages, which are then summed to a single output. The mix between the 310-volt single-ended class-A triode tube stage and solid-state transimpedance stage is controlled via the Blend Knob. Blending is continually variable between 100% tube and 100% solid-state offering a practically infinite range of unique pre-amp tones and the ability to easily dial-in your own signature sound.Like all Universal Audio preamp designs, the 710 Twin-Finity features dual gain-stage controls (Gain/Level), which can radically vary the amount of coloration and distortion by allowing you to crank up the input, gain like a guitar amp. The VU meter features a unique Drive mode allowing you to see how hard you are driving the input stage.Versatility makes the 710 the perfect preamp partner for any mic collection. Plus, the discrete JFET DI input circuit can also easily handle any electric instrument. Guitar and bass players will especially appreciate the 710s ability to bring out the best of both active and passive pickups. The 710 Twin-Finity is designed and built at UA headquarters in California, and includes a 19" rack-kit for mounting one or two units. |
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Universal Audio 1176AE Anniversary Edition Studio Limiter : MusiciansFriend : USD2499.0The Universal Audio 1176AE Anniversary Edition is a custom, limited-run, hot-rodded version of the world's most recognized studio limiter. Celebrating a decade of Universal Audio's refounding and just over 40 years since the birth of the original 1176-only 500 1176AE units will be sold worldwide.The 1176 set the standard for FET compression and helped to define the sound of rock guitar, drums, and bass. (Many use it on vocals as well.) In steady use making records since its inception 40 years ago, the 1176 compressor/limiter remains at the top of every engineer's must-have list.The AE descriptor not only stands for Anniversary Edition, but also signifies earlier unit revisions this UA limiter draws upon. The 1176AE studio limiter borrows the sonically unique program-dependent characteristics from the original, Revision A "Bluestripe," while retaining the class-A low-noise ("LN") circuit and custom transformers of the most popular 1176: Revision E.Giving the Universal Audio 1176AE another sonic distinction, the ratio selections hearken back to the 1176 limiter's predecessor the UA 176 Limiting Amplifier. The 1176AE offers a gentler ratio array of 2:1, 4:1, and 8:1, perfect for compression duties-but also preserves 20:1 at the top, for full limiting applications. This ratio modification also allows for a unique range of multi-button ratio combinations, pushing the unit beyond the famous all-button mode of the standard unit.Lastly, the UA 1176AE is a studio limiter that offers something fresh for bass-heavy tracks or over-the-top effects, with a unique super-slow attack setting of 10ms cleverly repurposed from the redundant Off/Bypass position from the 1176's Attack control. This gives you an option not achievable with the original unit, allowing transients to pass more freely—again furthering the versatility of the Universal Audio 1176AE Studio Limiter beyond its predecessors. |
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Summit Audio TD-100 Instrument Preamp and Tube Direct Box : MusiciansFriend : USD449.99The Summit Audio TD-100 is an instrument preamp and tube DI that brings true high-end audio quality to home studios. An excellent-sounding input stage for digital recording, adding personality and quality to the signal before it hits the converters. 12AX7A/ECC83 tube provides milky warmth. Transistor output section uses ±24V rails to boost the tube sound with no added coloration. Tube loading and output gain controls let you tailor the tone to your taste. Polarity reverse, ground lift, plus signal and peak LEDs. Also works great as a tube headphone amp. |
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Summit Audio TLA-50 Tube Leveling Amplifier : MusiciansFriend : USD629.99Add classic Summit Audio compression to your music with the TLA-50 Tube Leveling Amplifier. The single-channel tube leveling amp has XLR -10dB and 1/4" +4dB inputs and outputs to make it easy to connect with other professional studio gear. The TLA-50 also has side chain access, stereo linking with another TLA-50, switchable attack and release times, fully adjustable gain and gain reduction control, and accurate VU metering with OL indication. All the warmth of that classic Summit Audio tube sound at a completely attainable price. |
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Summit Audio 2BA-221 Tube Mic and Line Module : MusiciansFriend : USD629.99The variable-impedence Summit Audio 2BA-221 Tube Mic and Line Module is a microphone preamp that has individual controls to mix mic with Hi-Z or line inputs for variable vacuum tube output. You can mix them together through 12AX7A/ECC83 tube output or separately through individual solid state outputs. A stackable input design allows multiple 2BA-221s to be linked for a modular mixing device with individual outs, inserts per channel, and a final vacuum tube gain stage. Its swept high-pass filter, multiple simultaneous tube and solid state outputs, insert jack, and internal power supply makes the 2BA-221 a powerful tracking and mixing tool. |
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Summit Audio SRK-100 Rack Kit for 1/2 Rack Modules : MusiciansFriend : USD49.99The SRK-100 rack kit from Summit Audio allows you to mount one or 2 Summit 1/2 rack modules TD-100, 2BA-221, TLA-50 in a single rackspace. |
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Focusrite Platinum OctoPre 8-Channel Mic Preamp : MusiciansFriend : USD899.99Providing 8 pristine discrete channels of Focusrite Class A mic preamplification and compression, The Focusrite Platinum OctoPre 8-Channel Mic Preamp routes directly to any digital audio workstation via 8 standard analog outputs or via a choice of 2 optional 24-bit, 96kHz A/D converters. The new OctoPre offers the unique qualities associated with the Focusrite name at an affordable price.Each channel features a revolutionary compressor/limiter circuit, providing a warm-sounding compressor which morphs into a brick wall limiter to avoid those critical overs, ensuring total control over all 8 channels.The mic pres are the same as those featured elsewhere in the award-winning Focusrite Platinum range. They are a transistor-based Class A design using the same full-bandwidth philosophy as the legendary Red and ISA mic pres, ensuring detail and clarity without coloration. The first 2 "super channels" also feature phase reverse as well as TRS jack inputs on the front for quick and easy, DI-free instrument plug-in.8 line-level balanced (+4dBu) analog inputs and outputs are provided via 25-pin D-type connectors. These D-type connectors may be routed to 8 XLRs by means of an 8-way 25-pin D-type to 8 XLR breakout cable, available separately. In addition to the analog outputs, the OctoPre can be fitted with an ADAT interface card or AES/SPDIF/ADAT interface card (both available in the related product box below).With Class A Focusrite processing and almost all the interface options known to man, the Platinum OctoPre is the perfect partner for any Pro Tools system or any other digital audio workstation, making high-quality, multichannel recording easy. Also makes a great instant location recording solution or additional set of mic pres for any analog or digital console or hard disk recorder. |
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Focusrite ISA 220 Session Pack Mic Preamp : MusiciansFriend : USD1999.99The ISA 220 Session Pack provides all the audio precision tools required to infuse your session with Focusrite's renowned sonic performance. It features many of the original circuits of the flagship ISA 430 MKII Producer Pack, and also includes some new facilities of its own. It also features the same digital output option as the original ISA 430, providing you with a high-quality digital route direct from the ISA 220 into your digital recording system.The ISA 220 starts with the classic Focusrite transformer-coupled microphone pre amp, with phantom power and phase reverse. A four-band Focusrite EQ section follows, based on the EQ circuits featured in the ISA 430 and ISA 110. (The original ISA 110 was designed by Mr. Rupert Neve for George Martin's Air Studios in London.) The compressor features a proprietary Class A VCA with side-chain circuitry, and can be placed in the signal flow before the EQ at the press of a button, if desired. Also included is a unique feature labeled "Blend," which provides a means of achieving smoother compression at extreme settings by mixing uncompressed source signal along with the compressed portion.The ISA220 also features an opto-based de-esser which uses a combination of EQ and phase cancellation to create a smoother and less obtrusive result. Last but not least, a frequency adaptive, 3-band limiter is provided to ensure distortion-free limiting. For visual reference, ISA 220 provides a classic analog VU-style meter which can be switched to display input or compressor gain-reduction levels. A pair of 16-segment LED meters are included to display output levels, both analogue and digital in conjunction with the optional 24-bit/96 kHz stereo digital output (AES/EBU, S/PDIF & TOSLINK) card. This card offers 44.1 - 96 kHz operation and can be used as a high-quality mono/stereo tracking converter, or at mix down as a stereo converter for final mastering. |
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Focusrite Red 1 Quad Microphone Preamp : MusiciansFriend : USD3199.99With 4 preamps in a single microphone preamp unit, the Focusrite Red 1 provides stellar performance in a compact, stylish package. The Red 1 Quad preamp is ideal for use with digital systems, and for on-location multi-mic recording. Ultrahigh quality Focusrite preamps feature custom-wound input transformers. Custom-made potentiometers and sealed relays enhance performance and reliability. General features include switchable phantom power, phase reverse, an easily read illuminated VU meter, and a handy scribble disc for denoting channels. Mic gain is switched in 6dB steps over a 66dB range, for accurate precise channel matching and recall. |
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Focusrite Red 3 Dual Compressor Limiter : MusiciansFriend : USD4699.99The Focusrite Red 3 Dual Compressor/Limiter employs an unusual and original single-VCA design to achieve high quality and truly independent compression and limiting. Proprietary Focusrite design is fully discrete and balanced, offering superb low noise and distortion, and excellent common-mode rejection. Sidechain electronics are Class A, ensuring superb transient response. Features include a stereo switch for true stereo operation from a single set of controls, key inputs with illuminated push-button selection, illuminated push-button switches for compressor/limiter in/out on each channel, and precision VU metering of signal level or gain change (switched). Can operate as a discrete channel unit. |
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Focusrite Red 7 Microphone Preamp with Dynamics : MusiciansFriend : USD3999.99The Red 7 Microphone Preamp from Focusrite employs a superb mic preamp with a dual-range mic gain pot for precise control. Phantom power and phase reverse are also provided. Line input is electronically balanced with continuously variable gain. An output fader offers +6dB to infinite attenuation. A full dynamics section, optimized for vocals includes a versatile compressor characterized by low noise and distortion, and transparent natural sound even when heavy compression is applied. A swept high-pass filter allows treatment for rumble, bass lift, and proximity effect. A de-esser/exciter stage can be switched to provide frequency selective de-essing or excitation. |
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Focusrite Red 8 Dual Microphone Preamp : MusiciansFriend : USD2399.99With 2 preamps in a single unit, the Focusrite Red 8 Dual Microphone Preamp offers stellar performance in a compact, stylish package. Ultrahigh-quality Focusrite preamps feature custom-wound input transformers. Custom made potentiometers and sealed relays enhance performance and reliability. General features include switchable phantom power, phase reverse, an easily read illuminated VU meter, and a handy scribble disc for denoting channels. Produces an incredibly transparent yet warm signal. Microphone gain is switched in 6dB steps over a 66dB range, for accurate precise channel matching and recall. |
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Focusrite Platinum VoiceMaster Pro Processor : MusiciansFriend : USD749.99You won't find a signal processor with better features than the Focusrite Platinum VoiceMaster Pro Processor. Stereo latency-free monitoring section; Vintage Harmonics revolutionary vocal enhancer; custom Focusrite VU meter; more versatile, voice-optimized EQ; improved Tube Sound emulation with tone control; smoother optical compressor; and new voice-optimized optical expander take it light years beyond the classic VoiceMaster. Compressor, EQ, and harmonics can be reordered. |
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Focusrite MH441 ISA428 Pre Pack 4-Channel Mic Preamp : MusiciansFriend : USD1999.99The Focusrite MH441 ISA428 Pre Pack 4-Channel Mic Preamp is the perfect multichannel front end for any professional DAW or home studio. It features 4 classic Rupert Neve-designed transformer-based preamps with switchable impedance and direct instrument inputs. An optional 8-channel 192kHz ADC, preceded by the new proprietary Soft Limiter circuit, provides the perfect path into your Pro Tools HD system.This Preamp's topology benefits include superb common-mode rejection, an excellent overload margin, and with its shared gain structure (20dB from the hand-wound transformer and up to 40dB from the amplifier), an extremely low noise floor and super-wide bandwidth (10Hz to 200kHz). The MH441 design is the cornerstone of Focusrite's signature "warm-yet-transparent" sound and is a point of reference for any discerning audio professional.In addition, the ISA428's input stage provides enhanced control and creativity, allowing you to switch among 4 carefully selected input impedance settings. The original ISA 110 setting is supplemented by 3 further impedance settings so you can perfectly match the preamp with any microphone and maximize level or use different settings creatively to shape the sound of the microphone being used. Should you need extra processing between preamp and conversion, insert points are featured on every channel.The Soft Limiter opto circuit protects the ADC and is a new design from Focusrite. It prevents digital overs entirely while minimizing the undesirable distortion that standard limiter circuits often generate.Finally, the new ADC embodies cutting-edge conversion technology encompassed within pristine Focusrite circuitry, providing 8 conversion channels of the highest quality at sample rates of up to 192kHz. Running at 96kHz allows for up to 16 (2X8, parallel) simultaneous digital outputs in addition to the 4 main analog outputs. Digital output options include dual AES/EBU, S/PDIF, and dual ADAT lightpipe. Full digital metering is provided for every channel alongside new moving-coil peak meters designed to catch even the fastest of transients.A second analog unit can be connected using the 4 extra ADC input channels on the rear of the unit containing the optional ADC. This makes full use of the 8 channels provided on a single optional ADC and expands your front-end capacity from 4 preamps and 8 digital outputs to 8 preamps and 8 digital outputs.With classic preamp technology, custom Focusrite input and limiting circuits, and the very best in A/D conversion technology, the MH441 ISA 428 Pre Pack raises the bar for multichannel recording solutions. It can also be used as an additional set of high-quality preamps for any analog or digital console or hard disk recorder. |
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Focusrite Platinum TwinTrak Pro Channel Strip : MusiciansFriend : USD669.99The Focusrite Platinum TwinTrak Pro Channel Strip is a synthesis of the latest analog and digital technologies. This edition of the industry classic retains the format of the original, but is now housed in a robust 2U rackmount chassis. The renowned Focusrite Class A mic preamp from the original VoiceMaster is retained and an instrument input has been added to the front, along with phantom power, phase reverse, and variable high-pass filter. A vocal-friendly optical expander has also been added for smoother and more linear processing.Other features include a latency-free stereo monitoring section with comprehensive headphone monitoring of both the full mix and the vocal, Vintage Harmonics processor for tape-based vocal processing emulation, an upgraded compressor, a Tube Sound circuit, a voice-optimized EQ, de-esser, and a blue Focusrite VU meter. |
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Focusrite Platinum Pro ADC Analog-Digital Converter : MusiciansFriend : USD249.99The Platinum Pro ADC Analog-Digital Converter is 24-bit and 128x oversampled and handles sample rates of up to 96kHz, with S/PDIF output and BNC word clock connector. Tracking a vocal direct into your DAW or any other digital recording media has never been easier or more affordable. An ADC lock LED on the front panel shows when Word Clock sync has been established. |
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Focusrite ISA430 MKII Producer Pack : MusiciansFriend : USD3299.99The ISA 430 MkII represents the pinnacle of Focusrite's analogue channel strip technology, bringing together all the classic designs in one comprehensive production tool. Augmented with additional features and flavors alongside unmatched internal routing and connectivity, the ISA 430 MkII enables today's recording professional to enjoy the unique sonic contribution of these heritage designs within one extremely versatile processor.From mic impedance switching and "mic air" effect (a wire-wound inductor for increased spaciousness), to three compressor options (VCA, Vintage Opto, and Opto Limit) combined with the compressed/uncompressed Blend feature, the ISA430 MkII delivers a impressive variety of processing sounds.Routing and monitoring flexibility has also received a booster. The unique Listen feature (allowing you to hone in on the frequency you wish to affect) is now available on compressor, gate, and expander circuits as well as the ISA 430 MkII's unique phase cancellation-based de-esser circuit. In addition, monitoring and inserts are available at a variety of points along the signal chain.Finally, the ISA 430 MkII features an optional 24bit-192kHz high performance (123dB A-weighted with jitter below 20 pico seconds) stereo A-D converter, allowing you to retain every nuance of your analogue signal as you flow seamlessly into the digital domain. |
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Focusrite MH445 Liquid Channel : MusiciansFriend : USD2499.99The Focusrite MH445 Liquid Channel is a revolutionary professional channel strip that can precisely replicate any classic microphone preamp and compressor. The Focusrite MH445 combines radical new analog preamp technology with Dynamic Convolution techniques. The Liquid Channel fuses cutting-edge analog design with lightening fast SHARC DSP. Augmented by fully digital controls and optional remote software, The Liquid Channel provides the ultimate fluid vintage collection.Rather than creating a similar sound to vintage units, as with modeling devices, The Liquid Channel precisely replicates their sonic behavior. This is achieved through Dynamic Convolution, the application of a unique, level-dependant set of responses to an audio signal. These measured responses, sampled at numerous levels and with every possible setting combination, are applied to the input stream on a sample-by-sample basis for accurate replication.Mic-pre replication can't be achieved with software alone. Hardware is required in addition to account for the physical interaction with the microphone. As a result, Focusrite invested vast amounts of time and energy into designing and building the ultimate "liquid" preamplifier, able to match the input impedance and signal path (transformer or electronic) of the device being replicated.Second order harmonic distortion is a beneficial artifact of analog circuits (especially tube and transformer-coupled designs) providing the much-loved warmth. However, often 2 units of the same type will vary in the amount of second order distortion produced, so an additional control for modifying this vintage property is provided. This allows for precise matching of the Liquid Channel to your own beloved mic pre.The Liquid Channel combines a highly complex, massively flexible analog front-end with Dynamic Convolution processing, which utilizes lightening-fast SHARC chips and runs at sample rates of up to 192kHz. The front panel controls are digital, with tactile rotary encoders; all parameters can be stored in one of 99 program memories. At the press of button, you can reload all mic-preamp, compressor and EQ settings for an individual session. If using The Liquid Channel in conjunction with a recording platform (e.g. Pro Tools), both the session files and the Liquid Channel's program memory can be sent via standard data transfer methods, providing a completely mobile recording session. Perfectly replicated vintage classics with the power and ease of use of the digital domain.The USB port on the rear panel allows remote control of The Liquid Channel, leaving the processor safely racked away. But that's not all. The software application also serves as an archiving system for additional replicas and program memories, and permits downloads of additional classic units from www.ffliquid.com. |
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Focusrite ISA430 MKII A-D Card : MusiciansFriend : USD199.99The ISA430 MKII A-D Card represents the pinnacle of Focusrite's analogue channel strip technology, bringing together all the classic designs in one comprehensive production tool. Augmented with additional features and flavours, alongside unmatched internal routing and connectivity, the ISA430 MKII enables today's recording professional to enjoy the unique sonic contribution of these heritage designs within one extremely versatile processor. Focusrite's iconic status as the leading manufacturer of channel strips remains unrivalled. |
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Focusrite OctoPre LE ADAT Digital I/O Option Card : MusiciansFriend : USD239.99The Focusrite OctoPre LE ADAT Digital I/O Option Card provides digital outputs for all 8 OctoPre channels, which operate over the full sample frequenc.y range (44.1, 48, 88.2, and 96kHz) and can be dithered to 16-, 20-, or 24-bit depths depending upon the destination. External word clock synchronization is possible using the rear-panel BNC connector. The card features 2 ADAT-type lightpipe output connectors with speeds up to 48kHz. Both connectors transmit all 8 channels simultaneously. However, ADAT-type connectors are bandwidth limited at sample rates above 48 kHz. Each audio channel uses 2 ADAT digital channels to accommodate the increased quantity of data, hence the need for 2 ADAT connectors to allow 8 channels of conversion at high speed. |
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Focusrite OctoPre LE ADAT Digital I/O Option Card Factory B-Stock : MusiciansFriend : USD109.99The Focusrite OctoPre LE ADAT Digital I/O Option Card provides digital outputs for all 8 OctoPre channels, which operate over the full sample frequenc.y range (44.1, 48, 88.2, and 96kHz) and can be dithered to 16-, 20-, or 24-bit depths depending upon the destination. External word clock synchronization is possible using the rear-panel BNC connector. The card features 2 ADAT-type lightpipe output connectors with speeds up to 48kHz. Both connectors transmit all 8 channels simultaneously. However, ADAT-type connectors are bandwidth limited at sample rates above 48 kHz. Each audio channel uses 2 ADAT digital channels to accommodate the increased quantity of data, hence the need for 2 ADAT connectors to allow 8 channels of conversion at high speed. |
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Focusrite OctoPre LE 8-Channel Preamp : MusiciansFriend : USD669.99OctoPre LE from Focusrite will find homes in studios that do not require some of the original OctoPre's features, yet desire an excellent sounding multichannel front end. You get 8 channels of classic Focusrite preamplification based on the popular Green Range 8 analog outputs. An optional digital I/O card (see product box below) both accepts and transmits digital audio in either 44.1 or 48kHz 24-bit ADAT optical lightpipe format.The OctoPre can also be used as a monitoring control between DAW and speaker system, for up to 7.1 surround monitoring. 8 balanced (although unbalanced can be used) 1/4" jack inputs on the front panel offer quick and easy access, and the first 2 channels can be used for DI-free plug-in of guitars and basses. Channels 1 and 2 feature rear panel XLR inputs. Of course, the OctoPre features Focusrite's advanced analog circuit design, with comprehensive A/D and D/A interface options for the ultimate in flexbility. It's perfect for digital audio workstations or for use as part of a compact multichannel location recording solution. It also provides an additional set of professional-quality mic pres for any analog or digital console or hard disk recorder. |
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Focusrite TrakMaster Pro Channel Strip : MusiciansFriend : USD339.99The TrakMaster Pro Channel Strip is equipped with Focusrite's world-famous FET-based microphone preamp with phantom power, line and instrumental inputs, fixed high pass filter, opto-compressor/limiter, mid-scoop EQ, and latency-free monitoring. High pass filter (12dB down at 75Hz). Selectable midnight blue porthole meter. Main output features both balanced and unbalanced output. Optional Digital Output (S/PDIF). External word clock input provided on BNC connector. |
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Lucid 88192 A/D D/A Converter : MusiciansFriend : USD2729.0The Lucid 88192 A/D D/A Converter is designed for today's hi-definition digital recording systems, and guarantees excellence in audio conversion and management for recording, post-production, and broadcast environments. It is multi-format, providing 8 channels of AES/EBU and 8 channels of SMUX2 ADAT digital audio to and from the host at sample rates up to 192kHz.Extremely low distortion and jitter, coupled with wide frequency response translates into clean, quiet, accurate, and stunning recordings. Adjustable gain and clip limiting on the analog input stage allows you to optimize levels in just about all applications. The simple user interface is designed for quick, efficient operation. |
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UltraSound Ultra PDI Preamp DI : MusiciansFriend : USD129.0The UltraSound Ultra PDI Preamp DI is a great direct box and a full-featured preamp. The Ultra PDI lets you dial in clear, natural sound. Routes to a stage PA from a balanced XLR output. A parallel 1/4" out sends signal to your stage amp. The effects loop features a 1/4" send and return rather than a TRS system requiring a Y cord. Tone controls include active bass and treble EQ, mid-dip shape control, and a notch filter. Operates on 48V phantom power or battery (not included). |
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Nady TMP-1 Rackmount Mono Tube Microphone Preamp : MusiciansFriend : USD76.95The Nady TMP-1 is a mono tube microphone preamp with amazing warmth and clarity from 12AX7A vacuum tube circuitry. Selectable output limiter circuitry, analog VU meter, variable input and output gain controls, +48V phantom power switch, phase reversal switch, servo-balanced XLR and unbalanced 1/4" inputs and outputs, plus shielded internal dual regulated power supply add up to fantastic flexibility. |
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Nady TMP-2 Rackmount Stereo Tube Mic Preamp : MusiciansFriend : USD137.95The Nady TMP-2 for microphones has 2 independent tube preamps with amazing warmth and clarity from 12AX7A vacuum tube circuitry. Selectable output limiter circuitry, analog VU meters, variable input and output gain controls, +48V phantom power switch, phase reversal switch, servo-balanced XLR and unbalanced 1/4" inputs and outputs, plus shielded internal dual regulated power supply add up to fantastic flexibility. |
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Nady TMP-3 Tube Channel with Preamp / EQ / Compressor : MusiciansFriend : USD153.95The Nady TMP-3 Tube Channel is a tube mic preamp, EQ section, and audio compressor priced for the home studio. Switchable +30dB gain, 180° I/O phase reversal, +48V phantom power, gain pot with clip LED indicator, 3-band EQ section with low and high shelving filters and sweepable mids, output level control, optical compressor with threshold and ratio controls, VU gain reduction meter, 1/4" TRS side chain I/O, I/O bypass, servo-balanced XLR and unbalanced 1/4" I/O jacks. |
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Behringer Feedback Destroyer Pro FBQ2496 : MusiciansFriend : USD149.99The FBQ2496 is an incredibly fast feedback suppressor because it uses a speedy feedback detection algorithm that automatically and intelligently locates up to 20 feedback frequencies per channel. It then sets an extremely narrow notch filter to eliminate them, leaving the remainder of the signal virtually untouched. The auto mode continuously monitors the mix, resetting programmed filters automatically, while the manual mode allows individual settings of up to 40 fully parametric filters with frequency, bandwidth and gain adjustment. With its various modes you can master just about any live sound situation, or use the Feedback Destroyer Pro as a creative sound-shaping tool. |
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Sabine RT-Ped2 Footswitch for Rackmount Tuners : MusiciansFriend : USD34.95The RT-Ped2 is a 2-button footswitch for Sabine RT7000 Series rackmount tuners. |
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Sabine FBX2400 2-Channel Feedback Exterminator : MusiciansFriend : USD399.99The performance-saving power of the Sabine FBX2400 with SMARTFilters lies in it's ability to control feedback during the program, not just at setup time. If feedback occurs during that crucial moment of the show, in the middle of the big solo, or just when the worship leader begins the sermon, the FBX Feedback Exterminator places a filter that only kills the feedback, not the sound and power you work so hard to achieve. Think of the Sabine FBX as a very advanced set of automatic parametric filters. If you had the time, the filters, and the test equipment, you could find the feedback frequencies, dial in the precise filter location, and make a very narrow filter, just deep enough to remove the offending tone. The FBX2400 does it all for you automatically, and it does it faster than any other method. How does the Feedback Exterminator do it? First let's consider just how a superior feedback control filter should behave. Filters can be described by their Speed, Accuracy, Resolution, and Sonic Integrity.Speed: The industry's best digital signal processors that run the SMARTFilter algorithm give the FBX2400 a distinct speed advantage over all other automatic feedback controllers. And in Setup Mode the speed is increased, so you can complete your entire setup of the FBX in less than 30 seconds. During the show the 24-bit FBX is constantly on the watch for feedback, never allowing it to ruin your show. Filters are placed almost immediately (in 0.4 seconds at 1 KHz).Accuracy: Is it music or is it feedback? This is the most difficult question your feedback controller must answer. A wrong decision means you waste filters (less gain for you) and punch unnecessary holes in your sound. The FBX has always excelled in it's ability to make the right decision, and the new SMARTFilter technology makes it even better. Less sophisticated feedback controllers place filters on any loud tone, even if it is music, but the FBX2400 uses a patented analysis of the harmonic content of your program material. Because feedback is low in harmonics, and music and speech are rich in harmonics, the FBX Feedback Exterminator is able to make the correct and accurate answer to the music or feedback question.Resolution: This is a big one. Now that we know feedback is happening, we need to target it precisely. Many feedback controllers place their filters in the general vicinity of the feedback and then widen the filters until the feedback goes away. The FBX uses a more sophisticated solution. It centers the filter exactly on the frequency that is feeding back. This unique one-Hertz resolution enables the FBX2400 to control feedback with transparent filters that are ten times narrower than graphic equalizer filters, which can only muster 31 spots to place their very wide filters. Feedback frequencies are single tones, and that means there can be almost 20,000 places for them to occur in the audio spectrum. You can see that using a feedback control device with less resol |
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Sabine FBX1200 FBX Feedback Exterminator : MusiciansFriend : USD329.99The performance-saving power of the Sabine FBX1200 with SMARTFilters lies in its ability to control feedback during the program, not just at setup time. If feedback occurs during that crucial moment of the show, in the middle of the big solo, or just when the worship leader begins the sermon, the FBX Feedback Exterminator places a filter that only kills the feedback, not the sound and power you work so hard to achieve. Think of the Sabine FBX as a very advanced set of automatic parametric filters. If you had the time, the filters, and the test equipment, you could find the feedback frequencies, dial in the precise filter location, and make a very narrow filter, just deep enough to remove the offending tone. The FBX1200 does it all for you automatically, and it does it faster than any other method. How does the Feedback Exterminator do it? First, let's consider just how a superior feedback control filter should behave. Filters can be described by their Speed, Accuracy, Resolution, and Sonic Integrity.Speed: The industry's best digital signal processors that run the SMARTFilter algorithm give the FBX1200 a distinct speed advantage over all other automatic feedback controllers. And in Setup Mode the speed is increased, so you can complete your entire setup of the FBX Feedback Exterminator in fewer than 30 seconds. During the show the 24-bit FBX1200 is constantly on the watch for feedback, never allowing it to ruin your show. Filters are placed almost immediately (in 0.4 seconds at 1 KHz).Accuracy: Is it music or is it feedback? This is the most difficult question your feedback controller must answer. A wrong decision means you waste filters (less gain for you) and punch unnecessary holes in your sound. The FBX1200 has always excelled in it's ability to make the right decision, and the new SMARTFilter technology makes it even better. Less sophisticated feedback controllers place filters on any loud tone, even if it is music, but the Sabine FBX1200 uses a patented analysis of the harmonic content of your program material. Because feedback is low in harmonics, and music and speech are rich in harmonics, the FBX1200 Feedback Exterminator is able to make the correct and accurate answer to the music or feedback question. Resolution: This is a big one. Now that we know feedback is happening, we need to target it precisely. Many feedback controllers place their filters in the general vicinity of the feedback and then widen the filters until the feedback goes away. The FBX1200 uses a more sophisticated solution. It centers the filter exactly on the frequency that is feeding back. This unique one-Hertz resolution enables the FBX1200 to control feedback with transparent filters that are ten times narrower than graphic equalizer filters, which can only muster 31 spots to place their very wide filters. Feedback frequencies are single tones, and that means there can be almost 20,000 places for them to occur in the audio spectrum. You can see that usin |
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Sabine NAV4800 Navigator System Processor 4-in, 8-out With Ethernet Option : MusiciansFriend : USD1799.99The NAV4800 multi-function DSP unit from Sabine offers full control and fast setup of your production audio rig, easy configuration and secure installation of your commercial PA sound system, and complete signal routing for multi-room venues-all with Sabine's superior DSP algorithms and robust hardware platform. The NAV4800 is a complete 4 in/8 out digital system processor. 32-bit (40-bit extended) floating point processors and high-performance 24-bit digital converters represent the latest in signal processing technology.Navigator Remote Control software provides a heads-up status display of all systems and fast access to all parameters. Equally powerful is the front panel control when you need full access at the rack position.The FBX Feedback Exterminator is one of many innovations Sabine incorporated into the NAV4800. All DSP functions, including equalization, level control, delay, polarity, routing, multiple crossover selections, and gain management. Industry-standard Analog Devices SHARC processors handle the DSP processing.Free firmware and software upgrades are easily done by connecting to Sabine's website. Keep your NAV4800 current with newly developed algorithms and functions. Flexible save and recall functions and complete system security round out this rugged unit. |
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Sabine NAV4800 Navigator System Processor 4-in, 8-out Frequency 169.505 : MusiciansFriend : USD1699.99The NAV4800 multi-function DSP unit from Sabine offers full control and fast setup of your production audio rig, easy configuration and secure installation of your commercial PA sound system, and complete signal routing for multi-room venues-all with Sabine's superior DSP algorithms and robust hardware platform. The NAV4800 is a complete 4 in/8 out digital system processor. 32-bit (40-bit extended) floating point processors and high-performance 24-bit digital converters represent the latest in signal processing technology.Navigator Remote Control software provides a heads-up status display of all systems and fast access to all parameters. Equally powerful is the front panel control when you need full access at the rack position.The FBX Feedback Exterminator is one of many innovations Sabine incorporated into the NAV4800. All DSP functions, including equalization, level control, delay, polarity, routing, multiple crossover selections, and gain management. Industry-standard Analog Devices SHARC processors handle the DSP processing.Free firmware and software upgrades are easily done by connecting to Sabine's website. Keep your NAV4800 current with newly developed algorithms and functions. Flexible save and recall functions and complete system security round out this rugged unit. |
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Sabine NAV8800 Navigator System Processor 8-in, 8-out With Ethernet Option : MusiciansFriend : USD2399.99The NAV8800 multi-function DSP unit from Sabine offers full control and fast setup of your audio production rig, easy configuration and secure installation of your commercial or worship sound system, and complete signal routing for multi-room venues-all with Sabine's superior DSP algorithms and robust hardware platform.The NAV8800 is a complete 8 in/8 out digital system processor. 32-bit (40-bit extended) floating point processors and high-performance 24-bit digital converters represent the latest in signal processing technology.Navigator Remote Control software provides a heads-up status display of all systems and fast access to all parameters. Equally powerful is the front panel control when you need full access at the rack position.The FBX Feedback Exterminator is one of many innovations Sabine incorporated into the NAV8800. All DSP functions, including equalization, level control, delay, polarity, routing, multiple crossover selections, and gain management. Industry-standard Analog Devices SHARC processors handle the DSP processing.Free firmware and software upgrades are easily done by connecting to Sabine's website. Keep your NAV8800 current with newly developed algorithms and functions. Flexible save and recall functions and complete system security round out this rugged unit. |
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Sabine NAV8800 Navigator System Processor 8-in, 8-out Without Ethernet Option : MusiciansFriend : USD2299.99The NAV8800 multi-function DSP unit from Sabine offers full control and fast setup of your audio production rig, easy configuration and secure installation of your commercial or worship sound system, and complete signal routing for multi-room venues-all with Sabine's superior DSP algorithms and robust hardware platform.The NAV8800 is a complete 8 in/8 out digital system processor. 32-bit (40-bit extended) floating point processors and high-performance 24-bit digital converters represent the latest in signal processing technology.Navigator Remote Control software provides a heads-up status display of all systems and fast access to all parameters. Equally powerful is the front panel control when you need full access at the rack position.The FBX Feedback Exterminator is one of many innovations Sabine incorporated into the NAV8800. All DSP functions, including equalization, level control, delay, polarity, routing, multiple crossover selections, and gain management. Industry-standard Analog Devices SHARC processors handle the DSP processing.Free firmware and software upgrades are easily done by connecting to Sabine's website. Keep your NAV8800 current with newly developed algorithms and functions. Flexible save and recall functions and complete system security round out this rugged unit. |
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Ebtech 2-Channel Line Level Shifter : MusiciansFriend : USD74.99The Line Level Shifter from Ebtech uses the physics of inductance and impedance matching to increase or decrease signal voltages without adding noise or employing active electronics. Allows a step up in volume approximately 11 decibels without adding system noise. It also converts back and forth between balanced and unbalanced signals automatically. And as a bonus, it contains Ebtech's Hum Eliminator technology to break ground loops. |
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Ebtech 8-Channel Hum Eliminator : MusiciansFriend : USD224.99This 8-Channel Hum Eliminator from Ebtech breaks ground-loops safely while leaving all signal grounds intact. Automatically translates signal voltages to match differences in ground potentials, avoiding clipping. Converts between balanced & unbalanced lines. 1/4" TRS inputs and outputs. |
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Chandler Tone-X Guitar Preamp : MusiciansFriend : USD49.99The Chandler Tone-X Guitar Preamp requires no routing for most guitars. The Tone-X uses a push/pull pot to boost output by 16dB and lets you sweep the midrange peak from a low growl to piercing highs. The Tone-X preamp is like having a wah wah at your fingertips. Powered by a 9V battery, the circuit is completely bypassed until you blast off with searing, controlled feedback. |
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Rapco SC100i Signal Combiner : MusiciansFriend : USD31.99The SC100i is an isolated signal combiner that will let you combine two signals into one XLR feed. For example it will let you combine drum or choir mics into one XLR output. This saves channels on you mixing board and lets you give both sources identical signal processing treatment while giving you one slider control of their volume. |
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Apogee Ensemble FireWire Digital Interface MAC : MusiciansFriend : USD1949.0The Ensemble Multichannel Audio Interface from Apogee delivers high performance converters, pristine preamps, and tight integration with Core Audio. You can use the Ensemble easily with Logic, MOTU Digital Performer, Steinberg Cubase, Bias Peak, Propellerhead Reason, Ableton Live, or any professional Macintosh recording application that supports Core Audio to make flawless recordings. The Ensemble is the first professional audio interface that is all digitally controlled and designed specifically for Apple computers and Logic.The Ensemble features 36 simultaneously available audio channels with 8 channels of Apogee's legendary A/D/A conversion and 4 transparent, digitally controlled 75dB mic preamps. It also has 8 channels of ADAT I/O, 2 channels of S/PDIF coax and optical I/O, and FireWire connectivity to and from the computer. When you get an Ensemble, you also get premium Apogee technologies such as Soft Limit, UV22HR, and Intelliclock. Soft Limit ensures your signal gets the maximum digital input level without overs, UV22HR gives you a superior dither from 24-bit resolution down to 16-bit, and Intelliclock is an advanced, dual-stage clocking tool. These technologies—combined with converters that set the standard for the audio industry—make Ensemble an ideal choice for professionals seeking a high-definition, integrated solution that's easy to use.Apogee Ensemble is the first and only multichannel audio interface that is fully integrated into Logic Pro. With Ensemble, everything from mic pre and output gain to sample and bit rate selection are controllable from within the Apogee Control Panel in Logic.IMPORTANT NOTE for OS X Leopard compatibility To ensure your Apogee product works well with Mac OS X Leopard v10.5, it is critical that you follow the instructions provided at the Apogee website address below.If you have an existing Apogee software CD or a previously downloaded installer, please do not use it with Leopard. Only use the software and driver versions provided at the link below that are specifically indicated as "Compatible with Leopard."http://www.apogeedigital.com/leopard/If you have any questions, please call Apogee support at 310-584-9394. |
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A-Designs ATTY Volume Attenuator : MusiciansFriend : USD100.0The A Designs Audio ATTY (rhymes with "Patty") is a economical, no-noise, compact unit for controlling your audio level. ATTY can be connected to any audio system requiring output gain control, giving you additional power ove r your sound environment. The ATTY is easy to use and seamless to connect. It is a convenient solution for controlling audio from a variety of sources. It features dual audio ins and outs, a level control knob, and a mute button.Applications •Line Level Control for output to prevent clipping. Use it between mic preamp and the inputs of your A/D converter. •Place it in back of one of our tube preamps and explore different in/out level combinations without overloading your other gear. •Use it as a Level Control to control a pair of powered monitors. The quick mute switch can come in handy as a cough drop! •Use it as a passive line level control for guitar, bass, or keyboard amp extension speakers.•Explore the many possibilities that ATTY has to offer in a recording envirnoment... OR check out our rackmount version, the ATTY2'D |
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A-Designs Pacifica Solid State Stereo Microphone Preamplifier : MusiciansFriend : USD1995.0Consider the A-Designs Pacifica solid state stereo microphone preamplifier if you're ready for your first really good preamp-or the last one you may ever need. How often in life do you encounter someone or something that no one has anything bad to say about? We haven't met that "someone" yet, but the "something" is the A Designs Audio Pacifica solid state, dual-channel preamp. This Tec Award nominated beauty has won more hearts than Jennifer Garner, and has, if you'll excuse the pun, garnered more praise from engineers and producers than just about any other preamp to hit the streets in a long, long time. A Designs Audio Pacifica, First Take: 2-channel, solid state preamp with 2 x front-panel hi-Z inputs Custom-wound input and output transformers Captures the sound quality of the legendary Quad Eight console but with more presence and high end Balanced XLR I/O, phase reversal, -20dB pad, +48V phantom powerThe Sound of the '70s RebornThe 1970s was a time of great music and great change in pro audio-a golden age if you will. The introduction of "solid state" electronics led to an explosion in development and a very different sound than the tube gear of previous decades. The recording console in a high-end 1970s studio was likely a Neve, API, or Quad Eight. These companies set the standards for audio quality - with a unique sound firmly imprinted on the popular recordings of the era. Even though the Quad Eight mysteriously faded from view, many engineers firmly believe that the Quad eight Ventura, Coronado, and Pacifica consoles were the very best sounding of the big three. Boston's "More Than a Feeling" and Pink Floyd's The Wall were mixed on a Quad Eight!But rather than just crank out another clone, A Designs Audio's Peter Montessi and audio designer Jon Erickson (who spent years bringing vintage gear back to life for LA studios), added their own touch to bring the preamps of the glory days to serve the present-day needs of the recording world. The result is the Pacifica, a fabulous-sounding preamp the captures the heart and soul of the California and takes the LA sound a step further.Custom Transformers, the Key to a Big Punchy SoundIn solid-state preamp design, the key to a big punchy sound rests in the input and output transformers. (That's where you get what is known as the "big iron" sound of the '70s). To ensure top-quality sound, A Designs has their transformers custom-built by Tom Reichenbach of Cine-Mag, whose lineage extends back the days when his father Ed built transformers for Altec-Lansing in the '40s. (Ed Reichenbach was also one of the designers of the Quad Eight console on which the Pacifica is based.) Not only are the transformer hand-made, they're also ear-made" by Jon and Peter, who won't okay a transformer design until they get exactly the sound they're looking for. After extensive listening tests and redesign after redes |
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A-Designs REDDI Tube Direct Box : MusiciansFriend : USD715.0What do world-class bassists Reggie Hamilton and Justin Meldal-Johnsen have in common with producer/engineers Tony Shepperd, Ted Perlman, and Dylan Dresdow? The answer is using the A-Designs REDDI Tube Direct Box as their go-to DI. The REDDI has been field tested and referred to by recording engineers as the "best tube DI ever made." With wider bandwidth and just the right amount of gain, the REDDI stands clear and clean above the competition. Great for basses, guitars, synths, and electronic instruments that require a direct box for recording, the REDDI is ready to give you sound for recording or live performance that you won't ever want to be without. A Designs Audio REDDI, First Take: All-tube direct box with custom output transformer Based on the Ampeg B-15 with an ultra-wide frequency range New version adds a 1/4" thru jack Field-tested by notable engineers/producers before releaseAll-tube and custom transformers - the key to big, punchy sound Inside its unmistakable fire-engine red case, the REDDI houses a toroid power transformer, which offers the quietest operation, and a 6N1P tube-driven amplifier that feeds signal direct into a massive custom output transformer. Therein lies the secret to its sound. It's a well-known fact that transformers are responsible for a truly big, punchy sound (also called the "big iron" sound of the '70s). By sending the tube-amplified, harmonically rich signal direct to a transformer that is hand and "ear" built you get a sound like no other. (You don't have to take our word for it, see what the pros are saying below.) Ultra-wide Frequency Range Based on the sound of the legendary Ampeg B15 all-tube bass amp, The REDDI's tone is tight, focused, and deep - in essence, right in the pocket. It's ultra wide frequency range is another reason for the depth and clarity of the bass, as well as its unique ability to add a sense of dimensionality to whatever instrument is played through it. Another thing that professional bassists have discovered, is that rather than combining the DI sound with an amp, as is customary in bass recording, that sound of the REDDI alone is just perfect. On guitar, keyboards, and other electronic instruments, the REDDI works its particular brand of magic just as effectively as it does on bass. In fact, once you own a REDDI, you'll be tempted to put just about anything you can through it. (In fact, Grammy-winning producer Ted Perlman, has even used the REDDI with a Shure Green Bullet mic to record harmonica!) New version adds a 1/4" thru jack In order to keep the focus of the REDDI on sound quality, A Designs included only the most necessary features. On the original version of the REDDI, A Designs Audio had eliminated the 1/4" thru-put. The reason was because the REDDI sounded so good on its own, A Designs wanted users to realize that they didn't need to combine a miked amp with the direct sound of the REDDI. But A |
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A-Designs ATTY2'D Passive Audio Line Level Control 5.1 : MusiciansFriend : USD525.0The A-Designs ATTY2'D (pronounced "Attitude"), is the big brother of the successful ATTY passive audio line level controller. Think of the ATTY2'D as an ATTY on steroids. It offers fully independent control over 2 stereo pairs and 2 mono signals.The applications have now expanded from a passive line level controller to a host of other uses such as controlling output between multiple products like microphone preamps, CD players, talk backs, and audio surge protectors. It can also be used in a surround sound environment. |
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A-Designs P1 Single Channel Microphone Preamp Module : MusiciansFriend : USD799.99In recording, there are certain things that you can only know through years of experience, such as which preamp works best on vocals, which one rules on guitar, or what preamp to use if you have a dark-sounding instrument or mic that needs some brightening. With A Designs Audio's EM series preamps you can let the 60 years of combined experience and super tone-sensitive ears of Jon Erickson and Pete Montessi save you years trying eek secrets out of pro engineers and lurking on forums. Each preamp in the series is designed to handle specific recording chores with the remarkable sound quality that A Designs Audio is now famous for. (Read the buzz on the forums, you'll find nothing but raves.) Best of all, you get high-quality audio in a space-saving and affordable package. Custom transformers, the key to a big punchy soundIn solid-state preamp design, the key to a big punchy sound rests in the input and output transformers. (That's where you get what is known as the "big iron" sound of the '70s). To ensure top-quality sound, A Designs has their transformers custom-built by Tom Reichenbach of Cine-Mag, whose lineage extends back the days when his father Ed built transformers for Altec-Lansing in the '40s. Not only are the transformer hand-made, they're also "ear-made" by Jon (who spent years rebuilding vintage gear for LA studios), and Peter (longtime LA musician and preamp guru), who won't okay a transformer design until they get exactly the sound they're looking for. With the A Designs P1, you can put those ears and 60 years of combined experience to work for you and bring your recordings to new sonic heights. A single, affordable channel of the incredible Pacifica for your A Designs lunchboxAccording to A Designs owner Peter Montessi, the P-1 was created in order to make the sound of the Pacifica, which has garnered nothing but rave reviews, accessible to more people. For those not familiar, the Pacifica has the sound of the already legendary Quad Eight console as its inspiration - and that's a very important distinction. The P-1 and Pacifica are NOT clones of the Quad Eight. They have a sound all their own that's reminiscent of the Quad Eight (used to mix Pink Floyd's The Wall and Boston's "More Than a Feeling"), and according to Quad Eight owners, the Pacifica sounds better. Like the Pacifica, the P-1 rules on guitars, is excellent for vocals and makes acoustic guitars shimmer. It's one of the most versatile preamps there is. This affordable high-end solid-state pre features 48V switchable phantom power, -20dB pad switch, and phase reversal. Custom wound output and input transformers, and direct inject hi-Z input for instruments. As with all A Designs Audio Modular preamps, the P-1 is VPR Alliance compliant.Requires the A Designs R52 (product # 180038) dual slot external power supply (See accessory box below). |
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A-Designs 500-Red Microphone Preamplifier : MusiciansFriend : USD795.0In recording, there are certain things that you can only know through years of experience, such as which preamp works best on vocals, which one rules on guitar, or what preamp to use if you have a dark-sounding instrument or mic that needs some brightening. With A Designs Audio's EM series preamps you can let the 60 years of combined experience and super tone-sensitive ears of Jon Erickson and Pete Montessi save you years trying eek secrets out of pro engineers and lurking on forums. Each preamp in the series is designed to handle specific recording chores with the remarkable sound quality that A Designs Audio is now famous for. (Read the buzz on the forums, you'll find nothing but raves.) Best of all, you get high-quality audio in a space-saving and affordable package. Custom transformers, the key to a big punchy soundIn solid-state preamp design, the key to a big punchy sound rests in the input and output transformers. (That's where you get what is known as the "big iron" sound of the '70s). To ensure top-quality sound, A Designs has their transformers custom-built by Tom Reichenbach of Cine-Mag, whose lineage extends back the days when his father Ed built transformers for Altec-Lansing in the '40s. Not only are the transformer hand-made, they're also "ear-made" by Jon (who spent years rebuilding vintage gear for LA studios), and Peter (longtime LA musician and preamp guru), who won't okay a transformer design until they get exactly the sound they're looking for. With the A Designs P1, you can put those ears and 60 years of combined experience to work for you and bring your recordings to new sonic heights.The sound of the EM-Red The A Designs EM Series is a twist on the P-1 (based on the best-selling Pacifica). Each color has its own sound. This was accomplished by using different custom wound output and input transformers. The EM-Red comes with a 50/50 output transformer. A Designs Audio added a little kick to this one by changing the input transformer as well. The result is more "up front mids"! You'll find this very useful when recording acoustic guitar with a condenser microphone. You can also use the EM-Red for recording toms, both rack and floor. As with all the A Designs Audio modules, the EM-Red is VPR Alliance compliant, and features a 48V phantom power switch, DI input, and phase reversal switch. Solid build quality and functionality The A-Designs EM-Red features a 1/4-inch Hi-Z direct inject input for instruments, switches for 48-volt phantom power (with LED indicator), -20dB pad and phase reversal, 62dB of gain, a large aluminum cast knob for gain, custom-wound input and output transformers, two thumb screws for easy installation, and an extremely solid build quality. Most of all, the EM-Red is another stellar example of the A Designs Audio mission: pro audio made affordable, and quality without compromise.Requires the A Designs R52 (product # 180038) dual slot extern |
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A-Designs 500-Blue Microphone Preamplifier : MusiciansFriend : USD795.0In recording, there are certain things that you can only know through years of experience, such as which preamp works best on vocals, which one rules on guitar, or what preamp to use if you have a dark-sounding instrument or mic that needs some brightening. With A Designs Audio's EM series preamps you can let the 60 years of combined experience and super tone-sensitive ears of Jon Erickson and Pete Montessi save you years trying eek secrets out of pro engineers and lurking on forums. Each preamp in the series is designed to handle specific recording chores with the remarkable sound quality that A Designs Audio is now famous for. (Read the buzz on the forums, you'll find nothing but raves.) Best of all, you get high-quality audio in a space-saving and affordable package. Custom transformers, the key to a big punchy soundIn solid-state preamp design, the key to a big punchy sound rests in the input and output transformers. (That's where you get what is known as the "big iron" sound of the '70s). To ensure top-quality sound, A Designs has their transformers custom-built by Tom Reichenbach of Cine-Mag, whose lineage extends back the days when his father Ed built transformers for Altec-Lansing in the '40s. Not only are the transformer hand-made, they're also "ear-made" by Jon (who spent years rebuilding vintage gear for LA studios), and Peter (longtime LA musician and preamp guru), who won't okay a transformer design until they get exactly the sound they're looking for. With the A Designs P1, you can put those ears and 60 years of combined experience to work for you and bring your recordings to new sonic heights.The sound of the EM-BlueThe A Designs EM Series is a twist on the P-1 (based on the best-selling Pacifica). Each color has its own sound. This was accomplished by using different custom wound output and input transformers. The EM-Blue is equipped with a nickel custom-wound output transformer. This emphasizes the highs and produces a much more "airy" top end tone. When used with a "dark"-sounding microphone or an alto vocalist, it can produce an absolutely heavenly sound. You will also find this pre useful for recording a snare drum for that crisp "crack" sound. Plus, you just might want to hear what an electric guitar sounds like going thru nickel transformers (trust us, you do!). So, to get down and dirty with an electric guitar you'll want to use the EM-Blue's DI and —20dB pad, and crank the gain for a slight growl.Solid build quality and functionality The A-Designs EM-Blue features a 1/4-inch Hi-Z direct inject input for instruments, switches for 48-volt phantom power (with LED indicator), -20dB pad and phase reversal, 62dB of gain, a large aluminum cast knob for gain, custom-wound input and output transformers, two thumb screws for easy installation, and an extremely solid build quality. Most of all, the EM-Blue is another stellar example of the |
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A-Designs 500-Silver Microphone Preamplifier : MusiciansFriend : USD795.0In recording, there are certain things that you can only know through years of experience, such as which preamp works best on vocals, which one rules on guitar, or what preamp to use if you have a dark-sounding instrument or mic that needs some brightening. With A Designs Audio's EM series preamps you can let the 60 years of combined experience and super tone-sensitive ears of Jon Erickson and Pete Montessi save you years trying eek secrets out of pro engineers and lurking on forums. Each preamp in the series is designed to handle specific recording chores with the remarkable sound quality that A Designs Audio is now famous for. (Read the buzz on the forums, you'll find nothing but raves.) Best of all, you get high-quality audio in a space-saving and affordable package. Custom transformers, the key to a big punchy soundIn solid-state preamp design, the key to a big punchy sound rests in the input and output transformers. (That's where you get what is known as the "big iron" sound of the '70s). To ensure top-quality sound, A Designs has their transformers custom-built by Tom Reichenbach of Cine-Mag, whose lineage extends back the days when his father Ed built transformers for Altec-Lansing in the '40s. Not only are the transformer hand-made, they're also "ear-made" by Jon (who spent years rebuilding vintage gear for LA studios), and Peter (longtime LA musician and preamp guru), who won't okay a transformer design until they get exactly the sound they're looking for. With the A Designs P1, you can put those ears and 60 years of combined experience to work for you and bring your recordings to new sonic heights.The sound of the EM-SilverThe A Designs EM Series is a twist on the P-1 (based on the best-selling Pacifica). Each color has its own sound. This was accomplished by using different custom wound output and input transformers. The EM-Silver has a custom wound steel output transformer, which outputs a darker sound than the P-1, EM-Red, and EM-Blue, great for adding body to thin vocals. The EM-Silver is also very good match with ribbon microphones, which makes sense because steel transformers were widely used in the early days of recording and broadcast along with ribbon microphones. The sound/color/flavor you'll receive depends which ribbon mic you have. With today's influx of ribbon microphones there is a wide choice of character range available for you to determine which tone you are looking for or need. Another feature of the EM-Silver is a DI (direct inject) for use with electric instruments. Thanks to the DI and its darker sound, the EM-Silver is a great pre for bass guitar and keyboards. Also, you may like to try the EM-Silver (depending on microphone) for your kick when recording drums! All in all, the Silver is a very versatile tool.Solid build quality and functionality The A-Designs EM-Silver features a 1/4-inch Hi-Z direct inject input for instruments, switches for 48-volt phan |
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GML 2032 Single Channel Microphone Preamp with Parametric EQ : MusiciansFriend : USD2999.0The GML Model 2032 is a single channel mic preamp that incorporates the reference-standard 8200 Parametric Equalizer and renowned 8300 mic preamplifier. The GML 2032 is a transformerless design that embodies the legendary detail and accuracy for which GML is renowned. The power and functionality of these revolutionary processors is further coupled with the addition of a front panel musical instrument input, two position high-pass filter, front panel phantom and phase switching, and flexible routing options while maintaining the GML standard of performance and transparency. Preamplifier The preamplifier section of the Model 2032 Microphone Preamplifier / Parametric Equalizer is based on the gain stage of the Model 8300 Transformerless Microphone Preamplifier, though there are some design changes and a few additions to expand its capabilities further than is realized in the highly specialized Model 8300 mic preamp. Two input formats are accommodated on the Model 2032: an Input XLR connector is provided on the back panel for microphone input, while the front panel sports a 1/4" unbalanced musical instrument connector. Input signal selection is determined by the Source toggle switch. The microphone input of the Model 2032 is an exact copy of the Model 8300 input circuitry, complete with 48V phantom power and subsequent 2-pole phantom filter. Unlike the Model 8300, the phantom power switch is conveniently located on the front panel and is illuminated to warn the user that phantom power is ON. The MIC input is precision electronically balanced, 1k ohm nominal input impedance, with tremendous dynamic range, remarkably low noise, fast slew rate, and wide bandwidth.Parametric EQ The EQ section of the Model 2032 also boasts a 4-band parametric EQ that is second to none — but then what would you expect from the man who invented parametric EQ. It offers precision and adaptability when sculpting the response of any source. Its operational characteristics, duplicated from the Model 8200 Parametric Equalizer, have been honed through many years of use in the most critical recording and mixing situations and have proven both reliable and remarkably accommodating. The basis of the parametric design topology, in general, specifies control over not only gain or attenuation, but also over both frequency and Q factor in multiple user-defined bands. In the case of parametric equalization, Q is defined as the center frequency of the alteration (whether gain or attenuation) divided by the bandwidth of that alteration. It follows, then, that low values of Q affect a wide range of frequencies around the cut or boost, while high values of Q specify a narrow slope around the center frequency. Another important aspect of true parametric equalization, as embodied in the Model 2032 equalizer section, is the existence of overlapping frequency bands, which provide great precision and flexibility. All the above is why GML EQ is found in virtually all the top recording s |
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dbx dB10 Passive Direct Box Black : MusiciansFriend : USD99.95The dbx dB10 is a passive direct box that features custom dbx mu-metal-shielded audio transformers, high-quality Neutrik connectors, and low-noise circuitry. The dB10 direct box includes a pad switch that accommodates instrument, line, and even speaker level signals. Take even more control of your sound by utilizing the dB10 passive direct box's polarity invert switch to set the phase relationship between the direct and the mic'd sound.As a professional, you don't have time for interference, so dbx includes a ground lift switch in the db10 passive DI box to solve potential hum and buzz problems due to ground loops. And between the combined shielding of the db10's cast metal chassis and the custom-wound transformer, you can be doubly assured of a clean signal free from interference. All of this sits atop the dbx dB10 direct box's solid, stable footprint, that keeps the dB10 box from being dragged around the stage. The dbx DB10 Passive Direct Box also has a uniquely contoured underside that allows secure stacking of multiple units. |
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dbx dB12 Active Direct Box Black : MusiciansFriend : USD139.95The dbx dB12 is an active direct box that utilizes custom dbx mu-metal-shielded audio transformers, high-quality Neutrik connectors, and low-noise circuitry. The dB12 direct box includes a pad switch that accommodates instrument, line, and even speaker level signals. Take even more control of your sound by utilizing the dB12 direct box's polarity invert switch to set the phase relationship between the direct and mic'd sound.As a professional, you don't have time for interference, so dbx includes a ground lift switch in the dB12 active direct box to solve potential hum and buzz problems due to ground loops. And between the combined shielding of the cast metal chassis and the custom-wound transformer, you can be doubly assured of a clean signal free from interference. All of this sits atop a solid, stable footprint, that will keep the dB12 direct box from being dragged around the stage. Unique contoured underside allows secure stacking of multiple dbx dB12 Active Direct Box units. |
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Solid State Logic Alpha Link MADI SX Audio Converter : MusiciansFriend : USD3195.0The XLogic Alpha-Link Audio I/O range is one of the best-kept secrets of pro audio (well, not any more). Offering incredible bang for the buck, the Alpha Link range provides 24 channels of transparent SSL AD/DA conversion at less than half the price of 16 channels of competing professional-level converters. Another important thing to remember is that in order to do great conversion, you have to know how to do great analog and who knows analog better than SSL?Alpha Link MADI SX features up to 64 channels of digital MADI I/O at 48kHz (or 32 channels at 96kHz), 12 stereo AES/EBU digital I/O, 24 balanced analogue I/O, TDM Expansion Bus and much more, the MADI SX ADA Converter delivers a dependable, versatile, high quality MADI to AES/EBU conversion solution.What is MADI? MADI (Multichannel Audio Digital Interface) is a digital audio standard that allows transmission of up to 64 audio channels at 24-bit/48kHz resolution (32 channels at 96kHz) point to point over a single cable; either coaxial with BNC connectors or fiber optic. MADI also allows cable runs up to 100 m (328 ft.), but obviously it s greatest advantage is the number of audio channels it can transmit via a single cable. MADI is most useful when you have MADI-equipped mixers or lots of outboard gear. When combined with the SSL MADIXtreme 64 (see #500933) or MADIXtreme 128 (see #500934) PCIe card, you have a very powerful means of getting audio in and out of your DAW with plenty of room for future expansion. Alpha Link MADI AX or SX? If you have outboard gear or audio interfaces with ADAT lightpipe I/O and would like to take advantage of SSL conversion, the Alpha Link MADI AX is the way to go. However, if you have a lot of professional outboard gear with AES/EBU digital I/O (or plan to), the Alpha Link MADI SX is your solution.A recommended setup for those want to use a mixing console with their DAW, such as the Toft ATB-24A (#580040), which would provide a complete AD/DA-analog recording and mixing setup. Another unit that we recommend with this setup would be a D-Sub/TT patchbay such as the Switchcraft 9625 TT Patchbay (#501601) with Planet Waves Modular Snakes (#334007 & 334008) for quick and easy setup. |
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Solid State Logic Alpha Link MADI AX Audio Converter : MusiciansFriend : USD2395.0The Solid State Logic (SSL) XLogic Alpha-Link Audio I/O range is one of the best-kept secrets of pro audio (well, not any more). Offering incredible bang for the buck, the Alpha Link range provides 24 channels of transparent SSL AD/DA conversion at less than half the price of 16 channels of competing professional-level converters. Another important thing to remember is that in order to do great conversion, you have to know how to do great analog and who knows analog better than SSL?Alpha-Link MADI AX features up to 64 channels of digital MADI I/O at 48kHz (or 32 channels at 96kHz), 24 ADAT Lightpipe digital inputs and outputs at up to 48kHz (12 ADAT Lightpipe digital inputs and outputs at up to 96kHz), 24 balanced analogue I/O, Expansion Bus and much more, the Alpha Link MADI AX delivers a dependable, versatile, high quality MADI to ADAT Lightpipe conversion solution.What is MADI? MADI (Multichannel Audio Digital Interface) is a digital audio standard that allows transmission of up to 64 audio channels at 24-bit/48kHz resolution (32 channels at 96kHz) point to point over a single cable; either coaxial with BNC connectors or fiber optic. MADI also allows cable runs up to 100 m (328 ft.), but obviously it s greatest advantage is the number of audio channels it can transmit via a single cable. MADI is most useful when you have MADI-equipped mixers or lots of outboard gear. When combined with the SSL MADIXtreme 64 (see #500933) or MADIXtreme 128 (see #500934) PCIe card, you have a very powerful means of getting audio in and out of your DAW with plenty of room for future expansion.A recommended setup for those want to use a mixing console with their DAW, such as the Toft ATB-24A (#580040), which would provide a complete AD/DA-analog recording and mixing setup. Another unit that we recommend with this setup would be a D-Sub/TT patchbay such as the Switchcraft 9625 TT Patchbay (#501601) with Planet Waves Modular Snakes (#334007 & 334008) for quick and easy setup. |
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Chameleon Labs 7602 MKII Mic Pre/EQ : MusiciansFriend : USD719.0The Model 7602 MKII from Chameleon Labs is the sequel to the 7602 Microphone Preamplifier / Equalizer. New features in the MKII model include selectable mic impedance, LED input metering, upgraded knob styles, and two different power options — all of this for the same price as the original unit. The signal processor ships with an inline power transformer (all regulation is done inside the unit). The rackmountable CPS-1 can also still be used, but is no longer required. The 7602 MKII Microphone Preamplifier/Equalizer is based on a classic and revered design utilizing pure Class 'A' circuitry. This unit is made with 100% discrete components, hand wound transformers and was fabricated to precisely match vintage counterparts manufactured in the early to mid 70's. Equalizer Section (Selectable 3 band design with a flexible filter section): Filter This is a high pass filter with 3db loss at 300Hz, 160Hz, 80Hz, and 50Hz with an 18db cut per octave slope.Low Equalization This section has a shelving slope with four frequency selections: 220Hz, 110Hz, 60Hz, and 35Hz. This equalizer affects the selected frequency and all others below it. The gain control provides 20db of boost or cut.Mid Equalization This section has a peaking characteristic with six frequency selections: 360Hz, 700Hz, 1.6k, 3.2k, 4.8k, and 7.2k. The gain control provides 20db of boost or cut.High Equalization This section has a shelving characteristic with five frequency selections: 16k, 12k, 7k, 4.9k and 3.4k. This section adjusts the selected frequency and all others above it. The gain control provides 20db of boost or cut.Electronics By employing classic circuit design, polystyrene capacitors, a gold contact ELMA gain selector and custom wound transformers, Chameleon Labs ensures that the Model 7602 MKII will exhibit classic audio sound.The Model 7602 MKII has a transformer balanced input with a range between 20dB and 80 dB of gain. The separate line input is transformer balanced and accepts input levels from -20 to +10dB.Power OptionsThe Model 7602 MKII features two different power options: 24VAC Adapter: Each Model 7602 MKII ships with a mid-line power supply, type-dependent on country of operation. This is not a traditional "wall-wart" but simply an outboard AC transformer. DC filtering and regulation is accomplished inside the 7602 MKII itself.CPS-1 Dual Power Supply (sold separately): For users who prefer a rack-mounted power option, the 7602 MKII preamp / EQ may instead be powered by the CPS-1 Dual Power Supply. The CPS-1 is offered as an optional accessory and can provide power to two 7602 MKII units. Users will need to contact their preferred dealer to acquire the DC Cable needed to connect the CPS-1 and 7602 MKII. |
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Chameleon Labs 7802 Stereo Opto Tube Compressor : MusiciansFriend : USD769.0This level of sonic integrity has been reserved for the kilo-buck price range, until now. In the spirit of classic OPTO compressors, the 7802 Stereo Opto Tube Compressor is a unique hybrid design of vacuum tube and transformer circuitry combined with modern, high performance components. The 7802 compressor offers smooth, open, full bandwidth compression, while imparting a pleasant, subtle glow to your tracks. The silky attack is achieved via electro-optical circuitry, followed by a robust tube makeup gain stage. Final perfection is presented via the transformer balanced outputs. |
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Chameleon Labs 7602 MKII MIC Pre / EQ Mic and Transformer Upgrade : MusiciansFriend : USD968.0The 7602 MKII Microphone Preamp and EQ adds a factory installed Carnhill mic and output transformers to the 7602 unit. This upgrade adds increased performance and functionality to the 7602 MKII (sold separately). |
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Korg MR2000S Rackmounted Studio Recorder : MusiciansFriend : USD1999.0After consulting with top recording and mastering professionals, Korg created the MR2000S Recorder. Designed from the ground up, the MR2000S brings the same 1-bit sonic performance of Korg's M-1 series mobile recorders home for use in any recording studio environment. Born to Run In keeping with the MR Series' heritage of portability, the MR2000S adds a number of features to meet the requirements of the most demanding recording studio, yet retains a sleek, single rack-space profile. This compact rackmount recorder is ideal for any live recording rig, for grabbing that "off-the-board" live recording night after night, as well as shuttling your recordings from venue to studio and back again. So whether you want to capture that once-in-a-lifetime performance with impeccable detail, or need to transfer those priceless recordings from session to session, the Korg MR2000S is ready to roll. Master. Class. All of Korg's MR Series recorders feature the 1-Bit/2.8224MHz format used in creating the SACD (Super Audio Compact Disc). The MR2000S goes above and beyond this industry standard to provide 1-bit/5.6448MHz recording. At such accelerated sampling rates, the entire sound stage is faithfully captured, even during the softest passages. The clarity, ambience, and true dynamic range of the original sound source are preserved with incredible accuracy. By mastering in this superior format, the recorded material can always be re-created natively in whatever format you require, providing a true future-proof archive. In supporting these recording requirements, the MR-2000S uses the high-quality components—the CS4398 Digital to Analog Converter from Cirrus Logic and the Burr-Brown PCM4202 Analog to Digital Converter from Texas Instruments Corporation—minimizing any possible degradation of the audio signal. Format Fiesta In addition to the aforementioned 2.8MHz and 5.6MHz/1-bit formats (DSDIFF, WSD, and DSF formats are supported), the MR2000S is ready to record in any of the current 16-bit and 24-bit formats (from 44.1kHz up to 192kHz) directly, in BWF (Broadcast WAV) format. Easy on the Ears, Easy on the Eyes The fidelity of the Korg MR2000S is a feast for the ears, but the multi-stage LED metering is a treat for the eyes as well. Accurate and responsive, each channel employs 24 bright, color-coded LEDs to provide detailed level information that is highly visible from nearly any vantage point, whether in the studio or in a remote live capture environment.Got the Hookup? Versatility is the key when creating an audio recorder with a wide range of applications, and that's where the MR-2000S shines. The XLR analog inputs feature a selectable -12dB, -14dB, -16dB, -18dB, or -20dB reference level, ensuring the proper level match with nearly any sound source. XLR analog outputs are also provided. In addition, the MR-2000S is equipped with analog RCA style inputs and outputs for maximum flexibility. On the digital side, coaxial S/PDIF |
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Suzuki QChord : MusiciansFriend : USD259.0If you love music, now you can become a member of the band quickly and easily with the Suzuki QChord, an exciting digital audio instrument that strums like a guitar, plays melody like a keyboard, plays chords like a piano, and has over 100 MIDI voices and rhythms onboard. Anyone — musician or not — can sound like a pro at the touch of a button. You can't make a mistake! And like a video game, QChord has multiple skill levels. Learn to play in seconds, then add features as you get better. New QCards are always being added! |
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Center Pitch CP2 Clamp-on Chromatic Tuner : MusiciansFriend : USD24.95The Center Pitch CP2 Clamp-on Chromatic Tuner is a vibration-fed tuner great for noisy environments. The CP2 Tuner handles brass and woodwind instruments, as well as violin, viola, and cello. As an intonation learning tool, it gives the student an accurate pitch reference at all times. Clip it on, sound a note, read the display, and adjust your embouchure.It displays the note in Concert Pitch or transposed as written for Bb, F, and Eb instruments. Can also be set to display accidentals as sharps or flats. |
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Peterson 490 8-Octave AutoStrobe Tuner : MusiciansFriend : USD599.99The Peterson 490 8-Octave AutoStrobe Tuner responds at light speed to display relative tuning of any source to 0.1 cent accuracy with automatic handsfree note selection. Features automatic image clarity and contrast control for optimal viewing. The +2/-1 display shifts strobe patterns into more visible middle ranges — bass note patterns can be displayed 3 octaves higher and treble notes can be displayed one octave lower. Strobe patterns appear on tuner display at correct note for Bb, F, and Eb instruments. A new external input and through output with mute enable onstage silent tuning. |
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Peterson 590 AutoStrobe Tuner : MusiciansFriend : USD849.99The Peterson 590 AutoStrobe Tuner responds at light speed to display relative tuning of any source to 0.1 cent accuracy with automatic handsfree note selection. Peterson Tuner features automatic image clarity and contrast control for optimal viewing. The +2/-1 display shifts strobe patterns into more visible middle ranges — bass note patterns can be displayed 3 octaves higher and treble notes can be displayed one octave lower. Strobe patterns appear at correct note for Bb, F, and Eb instruments. A new external input and through output with mute enable onstage silent tuning with your 590 AutoStrobe Tuner. |
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Peterson Strobe Center 5000-II Tuner : MusiciansFriend : USD3499.99The Peterson Strobe Center 5000-II Tuner has 12 strobe displays, 2 or more notes appear simultaneously. Combination of digital microprocessors and solid state motor technology, incredibly accurate tuning, there's nothing like it! |
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Qwik Time QT-5 Metronome : MusiciansFriend : USD9.99Packed with professional features, the QT5 offers functions not seen on metronomes that cost twice the price. Credit card-sized, it features over 200 tempo settings, distinctive click sound, A440 tuning tone, low-battery indicator, and earphone jack.A very small metronome, it will fit in your pocket or any instrument case. Size: 2"W x 3"H x 1/4"D. The screen displays the tempo with a black dot that swings from side to side with the beat and shows accenting of the beats on 2/4, 3/4, and 4/4. Tempos can be chosen from 40 to 250BPM in one-beat increments. The sound is a beep that can be turned off. The metronome is held upright with a stand that swings out from the back. Tempo markings are on the face. Watch-type battery and an instruction sheet are included. One year warranty. |
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Qwik Tune QT-12 Auto Chromatic Tuner : MusiciansFriend : USD18.99A better chromatic tuner has just come our way! With an all new design, the QT-12 electronic pitch pipe has an internal speaker that plays 12 chromatic tones for your tuning reference. A high-sensitivity microphone inside the unit allows for accurate tuning. Fast meter and 3 LEDs. Batteries included. |
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Matrix MR-500 Quartz Metronome : MusiciansFriend : USD17.99Matrix has built its reputation on economical alternatives to higher-priced models. The MR500 Quartz Metronome features an easy-to-use dial, A440 reference pitch, 40-208 BPM tempo range, LED display, and a personal earphone. |
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Matrix MR-600 Metronome : MusiciansFriend : USD49.99Matrix has built its reputation on economical alternatives to higher-priced metronome models. The MR-600 features an easy-to-use dial, A440 reference pitch, 40-208 BPM tempo range, LED display, and a personal earphone. Also features volume control, LED pendulum simulation, audible click upbeat sound with chime downbeat, and variable tone generation. |
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Matrix MR-800 Quartz Metronome : MusiciansFriend : USD39.99Matrix has built its reputation on economical alternatives to higher-priced metronome models. The Quartz MR-800 features an easy-to-use dial, A440 reference pitch, 40-208BPM tempo range, LED display, and a personal earphone. It has a LED pendulum simulation, audible click upbeat sound with chime downbeat, and variable tone generation. |
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Matrix SR1000V Violin/Viola/Cello Tuner : MusiciansFriend : USD23.99The SR1000V is a professional quality tuner at a student price. Especially designed for orchestral stringed instruments, It will tune violin, viola, cello, and double bass through a pickup that clips on the bridge of the instrument. You've got to try it to believe how easy accurate tuning can be! |
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Wittner Violin String Adjuster Fixed on Tailpiece Nickel : MusiciansFriend : USD2.49Axe style, nickel plated, round post tuner for violin. |
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Glaesel Piccolo/Violin String Tuner : MusiciansFriend : USD3.35Mounts on tailpiece. |
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Glaesel Violin Tuner/Loop Strings : MusiciansFriend : USD4.67Gold. |
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Wittner Cello String Adjuster Double Prong on Tailpiece Nickel : MusiciansFriend : USD7.99The Wittner Cello String adjuster employs the axe style. Nickel-plated, square post. |
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Wittner Violin String Adjuster Fixed on String Nickel : MusiciansFriend : USD1.99Suzuki style, mounts on string between bridge and tailpiece. Nickel. |
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Peterson V-SAM Virtual Strobe Tuner/Metronome : MusiciansFriend : USD249.0The Peterson V-SAM Virtual Strobe Tuner/Metronome is a Virtual Strobe tuner, audio tone generator, and metronome in a compact format. Its tuner modes expand upon the V-SAM with an even wider variety of alternate temperaments including one that creates and stores custom temperaments. It automatically detects notes accurately to 1/1000th of a semitone. Its ultrawide 410 to 490Hz range for concert A reference makes it perfect for use with early instruments such as harpsichord, lute, recorder, and Baroque flute. The high-output tone generator within V-SAM offers an unprecedented 10 octaves of audible tones, adjustable in 0.1-cent increments. Its audio/visual metronome allows tap or dial-in tempo, adjustable beats per measure, beat subdivisions, and a stopwatch function. |
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