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Demo Deals

WHAT IS A DEMO ITEM?
A demo item simply means we've had it out of the box to demonstrate to another customer on site or sent to their premises to hear in their own studio for a few days, therefore it is no longer factory sealed. All demo items we sell come with a full manufacturer's warranty and have been evaluated by our factory authorized technical staff to ensure your "demo" purchase is in perfect working order before we ship it to you. No need to worry as you will have peace of mind knowing that our return policy applies to all demo items.

HOW DO I ORDER A DEMO ITEM?
To place an order or inquire about a product, simply click on the item and then click "add to cart". If the item says "Call or email for best price" please contact our Sales Team at 1-877-653-1184 and press 3 or email us.
If outside the United States please call 001-248-591-9276

AVAILABILITY
All "Demo Deals" items are offered on a first-come, first-served basis. Offer is limited by availability and once a demo item has sold out, the listed price is no longer available. Our demo deal list is updated weekly. For up to date and immediate stock status please call and speak with a sales rep.

The A Designs 500HR is a dual slot, single space, rack mounted frame with power supply for A Designs and other 500 Series compatible audio modules. You are able to use the 500HR and A Designs module combinations in four basic ways: 1. Loaded with two preamps it becomes a dual channel Mic Pre 2. Loaded with two EQ’s it is a dual channel EQ 3. Loaded with one preamp and one EQ it is a complete pre/post EQ recording channel 4. Use one preamp and the EQ in the 500HR and bypass your pre on your guitar/bass/keyboard amplifier and have a totally different amp for any live situation! Features: <UL> <LI>Compatible with all the A-Designs 500 series modules <LI>Internal regulated power supply w/ 48v phantom power <LI>Steel chassis construction <LI>LED 48v indicator <LI>Included power cord <LI>Connections Two XLR Inputs, electronically balanced, Two XLR, electronically balanced <LI>Power Requirements are100/120/230 VAC - 14W <LI>DC Power Output / Channel is 140mA @ "16VDC <LI>Dimensions are 19" x 1.75" x 8.25" [1RU] <LI>Weight (empty) 6 lbs</LI></UL> Check out these Quicktime Movies to SEE and HEAR A Designs in action! Right click to save <a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_Sax.mov" target="blank">Recording Saxophone with A Designs Pacifica and EM-PEQ</a> <a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_Piano.mov" target="blank">Recording Piano with A Designs Pacifica and EM-PEQ</a> <a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/Dylan_AcousticGuitar.mov" target="blank">Recording Acoustic Guitar with A Designs Blue and Hammer</a> <a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_MaleVox.mov" target="blank">Recording Male Vocals with A Designs Pacifica</a> <a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_FemaleVox.mov" target="blank">Recording Female Vocals with A Designs Hammer</a> <a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/Dylan_JCM800.mov" target="blank">Recording Electric Guitar with A Designs Hammer</a>

A Designs Audio 500HR - 2 Slot Rack Frame w/PSU (Demo Deal)

The AL.SO Dynax2 (Dynax Square) is more than an ordinary compressor, it is designed as a Dynamic Sound Shaper, a creative tool meant for the creative sound engineers. Conceived around very low distorsion circuits, the Dynax2 allows for a wide range of effects, starting with the smoothest and most transparent compression, and going to the harshest and most spectacular sound designs. Both "attack" and "release" knobs permit a graduated change of values to reshape the sound and create a new envelope. The Dynax Square offers three different compression curves :<UL> <LI> Limiter (10:1) ; <LI> Brickwall ; <LI> AntiDyna (an innovative new mode designed by Olivier Bolling which literally "over-limits" the sound in a "funky-to-trashy" way).

AL.SO Dynax2 (Demo Deal)

The API 512C is a mic/line/instrument preamp designed to provide a low noise, unusually good sounding front end for all types of audio systems. Sonically, it is at the top of the "Mic Preamp List", regardless of price. Offering low noise (-129 EIN) and 65 dB of gain, the 512C includes phantom power, switchable polarity, -20 dB pad and Mic/Line or Instrument selector. Front panel XLR and 1/4 inch connectors combined with rear panel mic access allows for additional flexibility when installed in an API LunchBox, Six Pack, 10 position vertical rack, a 2 position horizontal rack, or an API console. What makes the API 512C unique is its long evolution from the original 1967 era 512, the first modular mic pre, to the current full featured 512C, while preserving the original sound character that made it so much a part of the early days of recording. Offering high headroom and a wide variety of inputs and input access ponts, it is ideal for unusual and demanding applications. Imagine a situation where only a few preamps are needed, yet the smallest available console has a proportonally "small" mic preamp, making it useless for the demanding application, or conversely, imagine where you need a large number of preamps, and a console of sufficient inputs and quality would be too large to transport or rack mount. The 512C hits the spot with its quality and famous tone. Expand, combine or downsize at any time without trade-ins or product obsolescence. In addition, the 512C's sound and performance exceeds most "console mic pres" in every respect. The beauty of the entire API 500 Series is its long term flexibility and lasting value when needs change over time. With a range of mounting frame options, the 512C will be a valuable asset to your performance critical applications. The 512C Mic/Line Preamp makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life, and uniformity which are characteristic of API products. Features <ul> <li> Mic Preamp with 65 dB of gain </li><li>Front and Back Panel Mic Input Access </li><li>Line/Instrument Preamp with 50 dB of gain </li><li>Front and Back Panel Line/Instrument Input </li><li>LED VU meter for monitoring output level </li><li>20 dB pad switch, applies to mic/line/instrument </li><li>48v Phantom switchable power </li><li>Traditional API fully discrete circuit design </li><li>Uses the famous API 2520 Op-Amp</li></ul> 10 Year Warranty We double the standard API 5 year warranty on this item. 10 year coverage! *Double Warranty Offer is for qualifying orders purchased on or after July 1st, 2009.

API 512C (Demo Deal)

The API 7600 Input Module offers studios of all sizes a whole new range of options without sacrificing quality. The 7600 strip forms the basis of a build-as-you-need-it, high quality recording console. It is the perfect choice for project studios who want high performance console sound, but have limited channel needs or budget constraints, and professional studios that want to add more channels to their existing desk through the addition of a side car. The API 7600 fits into one rack space unit and it includes a genuine API mic pre, a compressor and a real 550A EQ right out of the glory days of rock 'n roll. The 7600 mic pre is the same 212L mic pre used in the Legacy Consoles. The EQ is an exact re-issue of the famed 550A, offering 3 bands of EQ with 7 frequency choices per band. The compressor is the 225L, the same one found in the all-discrete Legacy Console currently in production. The 7600 comes complete with an internal power supply, and is the basis for building a 4, 8, or 16 channel professional sounding API console. Features: <ul> <li>Complete API input strip with bussing </li><li>API 2520 Op-Amp </li><li>API 212L Mic Preamp, 225L Compressor </li><li>Re-issue of the famed 550A EQ </li><li>Four Aux sends, Pre or Post fader assignable </li><li>Four busses </li><li>Stereo bus with internal rotary fader </li><li>Solo, SIP, Mute, Insert, Polarity, and Compressor Link </li><li>Complete patching facilities on rear panel </li><li>External fader jack </li><li>Three 7 segment LED VU displays </li><li>Output clips at +30 dBm </li></ul> 10 Year Warranty We double the standard API 5 year warranty on this item. 10 year coverage! *Double Warranty Offer is for qualifying orders purchased on or after July 1st, 2009.

API 7600 Channel Strip (Demo Deal)

API 7800 Rack Mounted Master Control Module is the final stage in the line of 7600 Input Modules linked together in a console configuration. The new API 7800 fits into one rack space unit. It includes summing amps for the echo sends, busses and stereo mix bus when linked up with the 7600 input module. The 7800 is available in either a vertical or horizontal configuration, depending on the custom needs of the user. Complete with external L100 power supply, the 7800 strip is the basis for building a 4 channel, 8 channel or even 16 channel professional sounding API console when used with the 7600. This allows a studio to design a custom "side-car" console that can be used as extra inputs or as a portable "floating" console that can be moved from control room to control room. It can also be the basis for an extremely high quality 4 or 8+ channel console for remote recording applications, such as classical recordings or broadcast live remotes. The 7800 includes the master controls for the solo system, including PFL, SIP and level control. There are six 2-track inputs, monitoring of the four sends, and monitoring of the stereo bus. There are XLR outputs for the stereo outputs as well as the speaker amp inputs. All other outputs are on a D-sub, with a DA-88 type pin-out. This is a professional master section that can be used in any application requiring a control room controller. For engineers/artists that are using a Pro Tools type of product, the 7800M is perfect for use as a control room master without the summing amps and output controls for the sends or busses. It also provides eight 2-track inputs, speaker controls, dim and a stereo output. Features <ul> <li>Uses API 2520 Op-Amp </li><li>Complete API Master Control Room Module </li><li>Includes Solo Master, Talk Back, Send Masters, Bus Masters, Stereo Master, and Control Room Master </li><li>Links several 7600 Input Modules </li><li>Full Featured Control Room Section with 2-Track Monitoring and Large/Small Speaker Control </li><li>All Inputs and Outputs on Rear Panel </li><li>VU Meter Amplifiers for External Metering </li><li>Perfect for Pro-Tools type Work Station Monitoring </li><li>Output Clips at +30 dBm</li></ul> 10 Year Warranty We double the standard API 5 year warranty on this item. 10 year coverage! *Double Warranty Offer is for qualifying orders purchased on or after July 1st, 2009.

API 7800 Master Module (Demo Deal)

The API 8200 8 Channel Line Mixer allows you to mix with genuine API circuitry. It works with the 7600 and 7800 to form a custom sized, easily expandable console configuration. The 8200 provides 8 inputs in one rack space and features a level control, a Panner and 2 Aux sends per channel. Each channel has a balanced input and conveniently switchable insert, Mute and Solo switches, making this the perfect mixer for any line level application. Requires a 7800 Master Controller. Features: <ul> <li>8 Inputs </li><li>2 Aux Sends </li><li>Level Control </li><li>Pan </li><li>Solo </li><li>Mute </li><li>Insert </li><li>D-sub Interface </li></ul> 10 Year Warranty We double the standard API 5 year warranty on this item. 10 year coverage! *Double Warranty Offer is for qualifying orders purchased on or after July 1st, 2009.

API 8200 (Demo Deal)

The Platinum-Hit Producer The Akai MPC2500 has set the industry benchmark for beat production. It features a 32-voice drum/phrase sampler with up to 128MB RAM and extensive editing capabilities. Designed for professional music-production environments as well as DJs and other live performers, MPC2500 features a time-tested drum-pad surface, twin on-board effects processors, four Q-Link controllers for real-time control, 10 analog outputs, and a S/PDIF digital output. MPC2500 sports a 100,000-note, 64-track sequencer that can be assigned to four different MIDI outputs for a total of 64 independently addressable MIDI channels. Internal sounds reside in flash memory and can easily be swapped out via Compact Flash cards, an optional hard drive, or an optional CD-ROM drive. A CF card with preloaded sounds is included to get you started.Includes upgrade with Akai EXM128 memory expansion and Akai CD-M25 CD drive.

Akai MPC2500 (Demo Deal)

The Alta Moda Unicomp audio compressor combines the best features of both modern and classic audio compressors into a single, dual-mono unit. At its heart is a unique gain cell/sidechain combination which gives the Unicomp its own distinctive sonic character. The Unicomp’s comprehensive set of sidechain features gives it true versatility and accuracy which make the unit superbly suited for tracking, mixing and mastering applications. The Unicomp boasts a fully discrete, class ‘A’, high voltage minimalist audio path. The amplifiers are DC servo-coupled, eliminating all coupling capacitors in the signal path. The sidechain features a high accuracy logarithmic-scaled detector, with a choice of operating in RMS or peak rectifier modes. The Unicomp also allows the user, with a single switch, to change the compressor topology from a modern and accurate feedfoward detection scheme, to the classic and more colorful feedback approach; completely changing the sonic personality of the unit. The Unicomp’s personality is further changed with the addition of the Warmth control. Turning this control adds rich, second harmonic distortion to the signal that increases as compression increases, adding even more character to the sound. A switchable filter changes the contour of the affected signal, useful when processing more complex signals, such as mixes. Another unusual feature of the unit is the Blend control. The Blend control allows the operator to mix unprocessed signal back into the compressor’s output path. This gives one the ability to create a more subtle compression effect on tracks such as vocals, or for blending back dry signal when heavy buss compression effects such as drum submixes are being processed. A high pass filter is included which blends only the higher audio frequencies back into the output path. Unicomp Features <UL> <LI> Class A high voltage, discrete capacitor-free signal path. <LI> Electronically balanced input, impedance balanced, single-ended output. <LI>FET-based wide dynamic range gain cell eliminates the need for an input control. <LI>Log-scaled detector responds more like the human ear than linear detection systems. <LI>Choice of RMS (excellent for overall level reduction) or Peak mode (great for catching fast transients). <LI>Threshold knee control – can switch between hard knee for instantaneous gain reduction, or soft knee mode, for a subtle engaging of compression over several dB. <LI>Continuously variable Threshold, Ratio, Attack and Release controls. <LI>Switchable Sidechain insert for keying and detector signal equalization. <LI> Feedforward/Feedback – switches between the basic topologies. Feedforward is precise and can yield high compression ratios. Feedback mode is more subtle, and can yield interesting compression artifacts, including the shifting of attack and release time constants. <LI>Warmth control – adds 2nd harmonic distortion, increasing as compression increases. <LI>Warmth filter – high pass filter bringing out more mid-range frequency distortion. <LI> Blend – mixes dry, input signal back into output path. <LI>Blend filter- high pass filter returns only dry, upper frequencies back into output. <LI>Dual Mono/Stereo – completely independent channels can be linked for stereo operation. <LI>Sidechain L and R are summed after the rectifiers. <LI>Gain Makeup – increases output amplifier level from unity to compensate for lost level when compressing. <LI>High quality construction – premium components for long life.

Alta Moda Unicomp (Demo Deal)

For those refusing to accept compromises with the audio quality there is the Antelope Audio Isochrone 10M - a Rubidium Atomic Reference Generator based on real atomic technology. The 10M is designed specifically to appeal to the most discerning audiophiles and audio professionals. If your goal is to set up your studio for maximum performance, you will certainly appreciate a clocking reference that is a staggering 100,000 times more accurate than the quartz oscillators used in most equipment. Features: <ul><li>Swiss-made Rubidium core with accuracy of 0.03 parts per BILLION</li><li>Ultra-precise Atomic oscillator with stability of 1 second in 1,000 years</li><li>Rubidium core is FEI 5660 Compatible Stanford PRS10 Equivalent</li><li>Dual Redundant power supply with automatic switchover</li><li>8 BNC outputs of 10 MHz</li><li>Compatible with any device that accepts 10 MHz reference</li><li>Utmost ease of operation, just connect it and power it on</li><li>Extremely sturdy mechanical construction</li><li>Perfect match for OCX, OCX-V and Trinity</li></ul>The Rubidium Core Isochrone 10M brings to your studio the most accurate clock on Earth - the Atomic clock. With the deviation of 1 second in 1,000 years, it is a real quantum leap in clocking technology, making all other reference generators pale by comparison. The heart of the Isochrone 10M is its Swiss-made, high precision sub-miniature Rubidium oscillator, capable of producing extremely stable sinusoidal frequencies. Atomically Mastered Isochrone 10M not only renders superb sound quality, but leaves a strong impression on your clients. An atomic clock in your gear rack speaks louder about your studio, your professionalism, and your commitment to quality than anything else. And, of course, with an early adoption of the atomic technology you will have a dramatic competitive advantage over conventional studios. The Ultimate Jitter Solution When used in audio because of its staggering precision, Isochrone 10M virtually eliminates any traces of jitter. If you have invested in top quality equipment and state-of-the-art audio and video devices, you need the 10M to realize the full potential of your gear. The atomic clock eliminates the last weak link in your studio. Dual Redundant Power Supply Isochrone 10M has a dual redundant power supply (100-240 VAC and 12 VDC), which increases the reliability and eliminates the expensive downtime in case of power failure. Upgrade Your Studio The Rubidium Atomic Clock is the perfect companion to the Isochrone audio master clocks such as the OCX or OCX-V. When connected to the Isochrone 10M, these devices switch over automatically from oven based crystal to the superior Rubidium Core. Isochrone 10M is the ultimate tool in achieving analog sound. Experts agree that 10M is probably “the best sounding clock” ever produced. Reliability and Ease of Use The Atomic Clock is distinguished by an extremely sturdy mechanical construction, making it highly resistant to mechanical shocks. In the Antelope's tradition of making things easy to use, just connect and power it on; the status lights are visible at a glance and all information is prominently shown on the easy-to-read frequency display.

Antelope Audio Isochrone 10M (Demo Deal)

The Rosetta 800 takes two of Apogee’s most celebrated products and the latest in high-definition digital audio and combines them into one impressive package. The ROSETTA 800 gives you eight channels of superior AD/DA conversion at sample rates of up to 192k, Apogee´s “SoftLimit”, “UV22HR”, and our advanced “Intelliclock”. The result is a premium digital recording solution that is built for the professional recording facility yet economical enough for the project studio. Legendary Apogee Conversion in High-Definition The most crucial process in the digital recording environment is high-quality analog to digital conversion and the most trusted and desirable converters are made by Apogee. With up to 96k standard and optional 192k sample rates, the ROSETTA 800 combines Apogee’s legendary conversion quality with flexibility that complements any digital audio workstation. Connect Directly to Pro Tools HD and Mix systems with the X-HD and X-Digi-Mix expansion cards Users of Pro Tools Mix can bring their system up to date by adding a ROSETTA 800 outfitted with an X-Digi-Mix card. The X-Digi-Mix card will connect directly to the Pro Tools Mix core card, no other hardware required, effectively extending the life of your Mix system and optimizing your recording chain with premium Apogee conversion. Pro Tools HD users can also enjoy the direct connectivity and superior Apogee sound when they add an X-HD card to their ROSETTA 800 with no other hardware required . Go Native with the X-FireWire expansion card For users of Logic, Nuendo or any of the many native DAW’s the X-FireWire expansion card provides an extremely low latency connection that supports FireWire S400 and S800 standards. And, if you are buying multiple units, you can daisy chain up to a whopping 120 channels with incredibly low latency. Intelliclock: Dual Stage Jitter Reduction Another essential for outstanding digital recording is maintaining an ultra-low-jitter, clock signal. To accomplish this, ROSETTA 800 utilizes Apogee’s Intelliclock. Intelliclock is really two clocks in one. A fast-responding ´read´ clock, with a wide locking range, fills a dedicated FIFO buffer, while an ultra-low-jitter ´write´ clock writes the data out of the buffer, and is used to clock the converters. SoftLimit: Maximize Levels, Minimize Overs One of the greatest difficulties in digital recording is getting an adequate level without clipping and unwanted distortion. With Apogee’s SoftLimit, you can maximize digital output levels without overs. UV22HR: Dither Down with 24-bit Detail UV22HR is Apogee´s industry standard technology for reducing the word-length of a high-resolution digital signal to 16 bits for the Internet and CD mastering. UV22HR is also being employed to produce dramatically improved Internet and computer audio content without increased file sizes or data rates.

Apogee Rosetta 800-192k (Demo Deal)

The Apogee Symphony PCI Express card is a digital computer interface that is based on the PCI-Express architecture for Apple’s Macintosh computers. Controlled by Apogee’s Maestro software, Symphony features 32 channels of digital I/O on a single PCI-Express card format. With support for sample rates up to 192 kHz, Symphony can be used as a digital router or patch-bay when connected to external converters or other digital outboard equipment. Software drivers for Symphony feature extensive routing capabilities and very low latency performance making very high channel, high quality native recording with Apogee converters a reality. Symphony is the professional audio standard for native workstations Up to 192 simultaneous channels of audio With the ability to install three cards in Apple’s G5, Symphony is the only connectivity solution that offers high end, professional users the capability to utilize up to 192 channels of audio simultaneously in a single computer, providing more than enough I/O for even the biggest scoring sessions. Take control with maestro Maestro is an innovative software interface between OS X applications (OS 10.4 and above) and Apogee hardware. Maestro is capable of controlling Apogee hardware I/O connected to the computer via FireWire, Symphony, (Apogee’s PCI Express card), or both at the same time. Maestro features, multiple low latency mixers, hardware control panels, an input/output routing matrix that is compatible with Rosetta 800, Rosetta 200, AD-16X and DA-16X and a universal control platform for using Apogee hardware in combination with Ensemble. The total native solution The sound quality and versatility of Apogee converters in combination with Symphony and a high-end CoreAudio application, creates the most powerful 32-plus channel workstation available, at a lower cost per channel than any other system. The Apogee Symphony PCI-Express Features: <ul> <li> 32 channels of 24-bit 192K Digital I/O <li> Single 32 channel, PC-32, bi-directional connector <li> Direct connectivity to Apogee’s Rosetta 800, Rosetta 200 and AD-16X and DA-16X converters via the X-Symphony option card <li> Compatibility with any CoreAudio software applications <li> Apogee’s Maestro Software for advanced control and routing <li> Includes one PC32-IFC 3m cable. </ul>

Apogee Symphony PCI-Express (Demo Deal)

The Arsenal Audio V 14 is an extremely high quality, single channel 4-Band Equalizer designed for the popular API VPR500 Rack format. The EQ features continuously variable adjustment of frequency and gain on dual concentric pots, with an eq in/out switch. Features: <UL> <LI>4 bands of equalization modeled after the classic APSI model 562 EQ <LI>Each band offers continuously variable control of frequency and gain <LI>12 dB of boost/cut per band <LI>All 4 bands are peak/dipping parametric configuration <LI>Custom transformer balanced output <LI>High headroom +24 dB clip level <LI>Designed to fit API's 500 VPR Rack or Lunchbox® </LI></UL>Arsenal's V-14 offers a single channel of professional signal equalization in the popular 500 VPR format. Modeled after the circuitry of classic high end EQ's, the V14 delivers an affordable combination of rugged construction and solid performance. The V14 also features EQ in and out switch, plus dual concentric knobs which provide continuously variable control of boost/cut and frequency selection. Specifications <UL> <LI>I/O: Balanced Input and Output through VPR Rack (All measurements with 600 Ohm output load) <LI>Bandwidth: +/- 0.5db, 20hz - 50Khz <LI>THD+N @ 1Khz, +4dbu: 0.01% <LI>Maximum Level: +24dbu <LI>Signal-to-Noise Ratio: -102db <LI>EQ Bands: 4 bands, all +/-12db Peak/Dip type <LI>Lo: 20hz - 200hz <LI>Lo-Mid: 100hz - 1Khz <LI>Hi-Mid: 500hz - 5Khz <LI>Hi: 2.2Khz - 20Khz <LI>Current: 30mA, 3.4VoltAmps <LI>Dimensions: 1 VPR Alliance Slot <LI>Height: 5.25 Inches <LI>Width: 1.5 Inches <LI>Depth: 7 Inches <LI>Weight: 1.5 lbs <LI>Input Impedance: 12K Ohms <LI>Output Impedance: 300 Ohms Transformer Balanced </LI></UL> (Specifications subject to change without notice)

Arsenal Audio by API V14 - 500 Series Equalizer (Demo Deal)

BeyerDynamic WS 58 (Demo Deal)

What is it? The higher end BOCK AUDIO 251 (formerly Soundelux E251C) is treasured by users for its extraordinary up close cardioid performance on premier voices and its distance performance on piano, ensembles and orchestras. Many of our customers have asked for a vocal mic only version at reduced cost and this drove development of the BOCK 151. The 151 is a microphone designed to sound as close as possible to the flagship BOCK 251 up close but cost 30% less. What makes it different? The BOCK 151 Microphone uses a proprietary BOCK hand made German capsule, a proprietary BOCK hand wound vintage style audio transformer, a NOS tube in the mic amplifier and a BOCK hand built custom outboard power supply. The BOCK 151 adds a unique "brite/normal" switch which delivers two sounds in one mic. “Bright” allows unfiltered extended high frequency response that defines a modern high end condenser; “normal” offers a less bright, more vintage style high frequency response more forgiving to sibilant singers and or voices that need a darker treatment. The BOCK 151 offers enduring qualities impossible to fully describe in writing. While Chinese condensers try to impress with lots of top and bottom end on first listen, they lack midrange so critical in defining a great vocal. The BOCK 151 built-in midrange presence curve, so important in “cutting through” a dense mix, is impossible to obtain through EQ. Time has proven this vocal sound must come from the mic itself. The unique BOCK AUDIO "brite/normal" switch adds long term versatility. The high frequency response is extended but never gets harsh or gritty. The BOCK 151 Proximity Effect (bass gets stronger with closeness) is naturally powerful without being too boomy or bottom heavy. Midrange is smooth and does not require post EQ. Best of all, the BOCK 151 has a way of lifting the singer’s vocal to a higher level when they hear themselves for the first time on this great microphone. The BOCK 151 is perhaps the biggest bargain in lead vocal microphones available on the market. How do I use it? The BOCK 151 primary use will undoubtedly be female and male vocals. Use a pop filter and get up close for that intimate “big vocal” sound. A few inches away, the proximity effect recedes and the mic gets flatter in response. At distance, the BOCK 151 is amazing on instruments and ensembles. In front of a drum set it sounds like you are standing there; on stringed instruments it captures the transients and complex harmonic structure that spell the difference between good and great. Features: <UL> <LI>Cardioid-only version of the renowned Elux 251 <LI>Time-proven tube and transformer circuitry - all electronic components are point-to-point wired <LI>Each individual component in every microphone has been pre-screened for its sonic quality <LI>Power supply is true to the original, unregulated supply <LI>Excellent bass simultaneously occurring with an open, airy top end <LI>Fulfills the quest for high frequency response that is not only present, but is also natural <LI>Allows vocals to sound naturally dominant without being overbearing <LI>No midrange overemphasis and buildup when stacking vocal tracks <LI>No honkyness or grunge <LI>Provides liquid tone, even when recorded digitally <LI>Sounds great in every mixing studio and on every stereo system, before and after mastering <LI>System Includes 6 pin Tuchel cable, AC cable, wood box, shock mount, and shipping system. </UL> System Includes 6 pin Tuchel cable, AC cable, wood box, shock mount, and shipping system.

Bock Audio 151 (Demo Deal)

Serious Amplifiers for Serious Listeners: The Bryston 4B SST is something of a legend among audio amplifiers. As our most popular it has attained international status as an amplifier suitable for the finest and most sophisticated sound systems. Whatever the venue, be it a recording studio stage, a broadcast facility, a home theater installation, or a state-of-the-art stereo system, Bryston has continued to be the number one choice. The 4B SST is a pure dual mono design and offers 300 watts per channel into 8 ohms and 500 watts into 4 with over 1000 watts available in bridged mode. BRYSTON SST FEATURES: Design Philosophy Ensures Sonic Superiority: All analog signal circuitry is fully discrete to avoid the compromises, phase shift and non-linearity inherent in IC's. The Bryston SST Series amplifiers incorporate the use of an innovative gain stage topology, which yields a substantially lower noise floor through the use of low-impedance pathways within the amplifier. This same approach also has strong advantages in reducing the overall distortion performance. Bryston's computer controlled distortion analyzers confirm Intermodulation Distortion levels less than 10 parts per million (below 0.0009%) are typical for this new circuitry. All SST amplifiers use Bryston's proprietary Quad-Complementary output section, which improves linearity to a new standard of accuracy, while virtually eliminating aggressive higher harmonic distortion products. From input to output, all the circuitry in the SST series of amps has been optimized for the most accurate performance possible. Custom totally independent and separate torodial power supplies for each channel of amplification provides precise and focused soundstaging. The power supplies employ multiple filter capacitors per channel, rather than single pairs of larger filter cans. This allows improved high frequency response and reduces overall losses in the supply. Gold-plated balanced or single-ended (RCA) input connectors are standard as well as gold-plated 5-way loudspeaker binding posts, to eliminate possible causes of distortion from corrosion. A rear panel switch allows for the use of Balanced inputs (XLR or 1/4" phone jack) or unbalanced inputs (RCA). The inputs can be switched to allow different gain settings. From input to output, all the circuitry in the SST has been optimized for the most accurate performance and flexibility possible. Independent Power Supplies: Exclusive to Bryston among amplifiers is the use of independent (one per channel) toroidal transformer power supplies providing precise and focused sound-staging. Bryston's research has shown that all amplifiers require separate power supplies per channel for the best imaging, clarity and dynamic range, especially crucial given todays and tomorrows most demanding digital sound sources. Improvements include: <ul><li>Distortion has been reduced to typically .0025% from 20 to 20kHz.</li><li>The noise floor has been significantly improved, reducing background hash to far below audibility.</li><li>Separate power supplies for each channel ensure cross-talk is essentially nonexistent </li><li>Components plug directly into glass-epoxy circuit boards, eliminating variations in signal travel and wire interaction.</li><li>Modular design</li></ul>20 Year Warranty - A Generation of Music

Bryston 4B-SST-Pro (Demo Deal)

Based on the API 500 series form factor, the Burl Audio B1 was designed to compliment the B2 Bomber ADC, and give you multi-channel pleasure. With the proprietary BX3 input transformer and BX2 output transformer, the B1 Mic Pre delivers warmth with depth and clarity. An all discrete transistor, class-A, direct coupled, capacitor free circuit path, gives the B1amazing punch on drums, beautiful tonality on guitars, and warmth with presence on vocals. The B1 comes complete with both Gain and Level controls. If you want that heavy, gainy tone, crank up the stepped gain control and offset that with the level control. If clean tone is your thing, turn the gain down and crank up the level. For ribbon mics and other low impedance sources, the B1 has a transformer coupled impedance select. The B1 was rigorously tested with the popular Royer R-121 in the low impedance setting, and we think it sounds pretty f***ing bitchin'’ on guitar amps. The B1 gets the best out of any microphone, whether it be dynamic, condenser or ribbon. Use the B1’s 1/4” instrument/line input on the front panel, plug in, crank up the gain and go. The PAD switch allows for hot signals and balanced line inputs through the mic XLR on the back panel. Run your tracks or mixes through the B1 for warmth and glue. The B1 was designed to rock. Run multiple B1 channels for your rhythm tracks and you are there. Replace EQ and compression with true analog PHAT. Run your primary tracks through the B1 mic pre, follow with a B2 Bomber ADC and that's about all you will need. <UL> <LI>BURL custom BX3 input transformer <LI>BURL custom BX2 output transformer <LI>Audiophile, discrete, class-A, direct-coupled, capacitor free circuit path <LI>Stepped gain control <LI>Independent output level control <LI>70 dB gain <LI>Impedance select <LI>1/4” front panel DI input <LI>30 dB pad for hot signals and balanced line level input <LI>Phantom power <LI>Phase reverse <LI>Tri-colored gain level indication <LI>Love and thunder

Burl Audio B1 Mic Pre (Demo Deal)

The Buzz Audio Elixir preamplifier module is an excellent compliment to the "fatter" sound of many modules now available in the <a class="bluelinks" href="/s.nl/it.A/id.419/.f">API* 500VPR </a> Series format and has been designed to provide exceptionally low noise wide bandwidth amplification of microphone and instrument signals. The elixir will suit those who desire a recording preamplifier where just a slight amount of bass colour is added to the original signal whilst retaining full treble extension and a smooth midrange - warm, sweet, liquid - the perfect blend. The elixir circuit design is roughly based on the now famous Buzz Audio <a class="bluelinks" href="/New-Brands/Buzz-Audio/Buzz-Audio-MA-2-2">MA-2.2 </a> mic preamp and utilises two BE40 True Class A amplifiers in a transformeless input arrangement. Following this is the output stage comprising of two newly designed BE50 True Class A high current audio buffers that drive a <a class="bluelinks" href="http://www.lundahl.se" target="_blank">Lundahl </a> LL1517 output transformer. As can be seen from the distortion specifications, the presence of the Lundahl output transformer adds a subtle amount of harmonic at low frequencies thereby enhancing the bottom end but without sacrificing the wide bandwith needed for good clarity and transient response in the top end. The output configuration of the elixir results in a maximum output level of +34dBu before clipping, which means it can comfortably deliver clean audio into all analogue or digital recorders without overload. Gain range of the microphone input is 22dB to 70dB or -2dB to 50dB with the -20dB pad selected. More than enough for ribbon microphones. The input impedance (selected with the IN Z switch) is 4000 ohms in the H position or 1200 ohms in the L position. The instrument input on the elixir features a "bootstrapped FET" high to low impedance converter that then feeds the elixir amplifier stages. Selection of the instrument input is automatic when a jack is inserted on the front panel input. Gain range of the instrument input is 10db less than the mic input at 12dB to 60dB. The input impedance is switchable 1,000,000 ohms or 20,000 ohms with the IN Z switch. PLEASE NOTE - RACK COMPATIBILTY Each elixir module takes up 1 rack space and draws 150mA +/- 15-18 volts DC, as supplied by frame power supply in which it is fitted. This is generally higher than most modules available from API* and other manufacturers. At this time, it is recommended that only two modules are fitted into the API* Lunchbox frame along with other modules. The API* V500 rack with LP200 external supply will easily power 10 modules. The older API* 10 space rack with internal power supply is not suitable for the elixir modules. The OSA Trackpack and Powerack with the large external supply will easily power a full fit out of elixir modules. Power supply compatibility with other frame manufacturers is not fully known at this time. We will update this information once further testing has been conducted.

Buzz Audio Elixir (Demo Deal)

The Buzz Audio Potion is a True Class A FET based Compressor designed to fit the API* 500 VPR Series rack frames. The potion will suit those looking for a audio compressor with "attitude" and is particularly useful in rock, hip hop and modern music styles where a somewhat aggressive character adds to the energy of the track. Drums, electric guitars, vocals and the mix bus will all benefit from the potion's rich harmonic sound - potion - the harmonic energizer! Although the potion uses a FET (Field Effect Transistor) as the gain reduction element (like a well known classic limiter), the control circuitry (or side chain) is a completely new Buzz Audio design with some real innovative techniques to achieve an original compression characteristic. Included in this new circuit is an element we have nick named "Ready To Rock" (RTR). This circuit automatically alters the Release time setting of the compressor depending on the attack depth and prevents the compressor from over shooting and undesirable "pumping" when using faster Attack settings. A front panel LED indicates when this is function is active. (Actually, RTR stands for Release Time Reduction, but call it what you will!). As you can see from the specifications, the FET itself produces a relatively large amount of harmonic distortion compared to Optical and VCA compressors, but this distortion is the sound that will add energy and richness to your tracks. The potion is capable of of very fast attack (less than 50uS at F attack setting) and when set to 20:1 Ratio, we believe it approaches the performance of "look ahead" digital limiters within the constraints of the analogue domain. <a class="bluelinks" href="http://www.buzzaudio.com/products/potion.htm#" target="blank">Click here</a> to hear the potion in action on a snare drum track. The audio section of the potion consists of our unique True Class A BE40 and BE50 amplifiers coupled with Lundahl input and output transformers for a fast yet full sonic signature. The input signal is passively coupled directly to the FET element via the input transformer, amplified and balanced via the output transformer - a simple signal chain. In addition to the Gain, Drive, Attack and Release controls, we have included a % Mix control which allows the user to mix the uncompressed (input) signal with the compressed (output) signal providing yet another means of obtaining an original sound on your tracks. The potion consumes 2 slots within the 500 Series frame. The audio in/out connectors of the first slot carry the main signal path whilst the in/out connectors of the second slot are utilized as a side chain insert point where external equalization can be applied to alter the compressor sensitivity at different frequencies. This insert can also be used for compressor "keying". A switch on the front panel allows the user to monitor the side chain insert and switch it in and out of circuit. Two potions' can be linked for stereo (mix bus) operation. Rack Compatibility The essence power consumption of 120mA +/- 15-18 volts DC (as supplied by rack power supply) is higher than other 500 series modules, but because this demand is spread over two slots (60mA each) it should work fine in all available racks. Features: <UL> <LI> API* 500VPR Series rack module format - plug in and play! <LI> Advanced analogue technology - not a clone or copy of products from the past. <LI> Powerful fully discrete hi-bias, wide bandwidth, differential Class A amplifiers. <LI> Passive transformer coupled input, transformer coupled output <LI> Side chain insert point with monitor. <LI> FET gain reduction element for harmonic character. <LI>VERY fast attack. <LI> Unique RTR Release Time Reduction circuit. <LI>May be linked to another potion for stereo operation. <LI> Switchable 10 segment VU meter</UL> NOTE: Due to some misinformation during the design of the potion and essence 500 series compressors, the card edge connection for the linking of our 500 Series compressors is incorrect. The potion and essence have PIN 11 designated as the link connection, when in actual fact the API* standard is PIN 6. This error can be easily remedied with a simple wire link soldered between PIN 6 and PIN 11 of the potion and/or essence edge connector. Click <a class="bluelinks" href=" http://www.buzzaudio.com/usersarea/500serieslinkmod.htm" target="blank">here</a> for details.

Buzz Audio Potion (Demo Deal)

The Chandler Limited LTD-2 is based on the 2254 compressor which is the class A predecessor to the 2264 and 33609. Construction is similar to the LTD-1. The same audio circuit with a modified set of controls (i.e. attack times not on original and more and faster release times). The front panel controls are as follows- 20db gain make up, threshold, attack (6 positions), release (6 positions including auto), stereo link, and bypass. The control functions and applications seem to be more similar to those of the venerable Neve 32264a and 33609, with the thick and rich audio qualities of the Neve 2254a and Neve 2254e. On the whole, this unit is more than just another "Neve-a-like"... it takes the original Neve 2254 concept to the next level of tone and flexibility. Connections All connections are transformer balanced with pin 2 hot. Chandler PSU-1 is needed to power unit.

Chandler LTD2 (Demo Deal)

Use up to 2x Chandler units per PSU-1.

Chandler Limited PSU-1 (TG, LTD, Germanium) (Demo Deal)

The Crane Song STC-8 is a high quality compressor combined with a remarkably dependable peak limiter, that provides overload protection critical to digital recording and broadcast transmitters. The STC-8's compressor is engineered to provide musically transparent gain control, but is also capable of emulating vintage equipment and creating distinctive new sounds. In addition, a switchable enhancement circuit creates "analog" and "tube-like" warmth to enrich lifeless audio and digital recordings. This vast flexibility is simplified by the inclusion of several optimized presets, allowing fast, easy set-up on a wide variety of sounds. It can operate in true stereo or discrete independent mono, accessible by a front panel switch. The STC-8's sophisticated side-chain allows both compression and peak limiting to take place simultaneously, using the same proprietary gain control circuit. High signal quality is maintained by utilizing a discrete class A audio path, and by eliminating any VCA or optical gain control elements. The STC-8 requires 2 rack spaces. All inputs and outputs are transformer-less and balanced. The toroidal power transformer is UL approved and allows four line voltages for international use. The STC-8 delivers consistent gain control without sacrificing musical definition or harmonic richness.

Crane Song STC-8 (Demo Deal)

For years the top mastering engineers at the hottest facilities have been using custom-designed gear that was not available to the rest of us…until now. The Dangerous Master represents the latest generation of the legendary Sterling Sound/Chris Muth mastering transfer consoles. Working side-by side over several decades with many of the best mastering engineers in the business, Chris and the equipment designed in this unique collaborative environment have set the standard for the form, function and sonic performance of the modern mastering setup. Highlights <ul><li>Unparalleled fidelity, detail and imaging</li><li>Pristine, uncolored signal path</li> <li>100% Analog sum-and-difference processing</li><li>Stepped controls throughout</li><li>Integrates seamlessly with the Dangerous Monitor</li></ul>The Dangerous Master is the no-compromise heart of the mastering studio. Its transparent circuitry seamlessly integrates the power of analog signal processing by allowing easy insertion of equalizers, compressor/limiters and de-essers. 100% stepped switching provides accurate and repeatable level control as well as easy pre-post monitoring with level matching through the Input Monitor Offset feature. The S&M mid-side processing loop allows unprecedented control of the stereo image. The integrated Input Monitor Offset allows you to focus on the sound of your master without being fooled by the pre- and post-process level differences. The S&M matrix is an analog sum and difference processor affording unprecedented control of stereo signals. Mastering engineers will enjoy the fact that S&M allows them to save seemingly unsalvageable tracks by altering vocal levels without touching the mix, by fixing overly wide or narrow stereo fields, or by de-essing aggressive cymbal hits while leaving the center lead untouched. Dangerous Master, combined with the Dangerous Monitor and your favorite processing gear, will provide you with what you need to turn any mix into a professional master. As with all Dangerous Music equipment, the Dangerous Master is designed by engineers, for engineers, and built by hand using the highest quality components. Specifications <ul> <li>All connections are Balanced XLR, +4dBu nominal operating level </li><li>2 stereo inputs </li><li>3 stereo outputs (one for monitoring) </li><li>3 insert loops </li><li>2nd insert capable of MS matrix operation </li><li>Input and Output controls: + - 5dB in 0.5dB steps </li><li>Input Monitor Offset: -2 to +8dB in 0.5dB steps </li><li>Width control: -4 to +6dB in 0.5dB steps </li><li>Attenuator accuracy: 0.02dB (0.01dB typical) </li><li>THD+Noise in audio band: 0.003% </li><li>IMD 60Hz + 4kHz 4:1: 0.004% </li><li>Crosstalk rejection: Better than 95dB @ 1kHz </li><li>Headroom: > +27dBu, +23dBu in the matrix under worst case conditions </li><li>Frequency response: Better than 0.2dB down @ 1Hz and 100kHz </li><li>Noise floor: < -89dBu total energy in the audio band </li><li>Warranty: 2 years parts and labor, subject to inspection. Does not include damage incurred through abusive operation or modifications/attempted repair by unauthorized technicians. </li></ul>

Dangerous Music Master (Demo Deal)

The Dangerous Monitor ST is a remote-control accessed input source switcher/speaker switcher/cue system/talkback system /headphone amplifier all in a one rack space package. The <a class="bluelinks" href="http://vintageking.com/New-Brands/Dangerous-Music-Inc/Dangerous-Monitor-SR">Monitor SR</a> is a companion expansion module, providing full 5.1 capability. You can start in stereo with the ST and expand to surround later simply by adding the SR. No redundancy or obsolescence! Configure and control your entire system from the comfort of your sweet spot. Featuring: <ul> <li>Analog stepped-attenuator volume control - No level control IC’s used – pristine, accurate and repeatable. </li><li>4 input sources - Switch between your DAW outputs, DVD player, CD player, tape machines, etc. </li><li>3 speaker outputs - Switch between up to 3 sets of monitors </li><li>Programmable input gain offsets - Adjust for and store level offsets for different source devices </li><li>Input level compensation for –10dBV and +4dBu sources - Instantly adjust and store gain compensation for consumer devices </li><li>Input 4 has continuously variable level offset - Compensate for commercial CD levels and perform true A/B comparisons without compromising sound quality. </li><li>Programmable output level offsets - Fine-tune and store offsets to achieve equal apparent loudness on all your control room speakers- SR unit has continually variable level trims for L-R rear, center and LFE. </li><li>Assignable subwoofer output - Choose and store which sets of speakers you want to use with your sub </li><li>Programmable subwoofer level offset - Adjust and store subwoofer levels, easily alternate between sub function and LFE function </li><li>Selectable subwoofer filtering - Select and store subwoofer filter options for each set of speakers. Switch between full bandwidth for surround mixing and bottom octave only for stereo work. </li><li>Comprehensive speaker Mute and Solo - Easily mute and solo speakers in any combination </li><li>Flexible stereo cue system with main and auxiliary inputs - Make your performers happy with a great headphone mix or use the aux input as a Beep channel to monitor computer alert tones or click tracks on the main speakers. </li><li>Onboard cue power amp - 40 watts of clean power for your headphones </li><li>Talkback system with dual control and dedicated slate output - Give the producer his own talkback button! Easily slate tracks, or send the slate output to a powered speaker for open-air talkback </li><li>SR Unit has selected source output - Send source signals to meters or any other external device</li></ul>Specifications <ul> <li>Gain Tracking Accuracy: better than 0.05dB for 6 channels </li><li>THD+N: 0.002% </li><li>IMD: 0.003% </li><li>Frequency Response: 1Hz-100kHz -0.1dB </li><li>Crosstalk Rejection: >96dB </li><li>Nominal Input Level: +4dBu or -10dBV </li><li>Crossover: -3dB @ 57Hz 18dB/octave modified Butterworth/Chebyshev </li><li>Headphone amp: 0.002% THD+N </li><li>Headroom: +25dBu to main outputs </li><li>Warranty: 2 years parts and labor, subject to inspection. Does not include damage incurred through abusive operation or modifications/attempted repair by unauthorized technicians. </li></ul>

Dangerous Music Monitor ST (Demo Deal)

Incorporating the latest advances in audio technology, Digidesign's Pro Tools|HD professional interfaces work in seamless tandem with your Core system to offer you a complete, unprecedented creative environment. Embodying unsurpassed quality, they ensure that both audio signals and data are handled with the utmost care as they pass into and out of your system. The Digidesign 192 I/O, the flagship of the Pro Tools|HD interface family, is the best-sounding audio interface ever offered from Digidesign, rivaling similar products costing more than twice its price. In addition to support for up to 16 channels of analog and digital input and output, 192 I/O features a wide range of analog and digital I/O options to choose from, including 8 channels of high-definition, pristine-quality analog I/O, 8 channels of AES/EBU, 8 channels of TDIF, 16 channels of ADAT, and 2 additional channels of AES/EBU or S/PDIF digital I/O. The Digidesign 192 I/O Interface Features: <ul> <li> 50 possible inputs and outputs </li><li> Supports up to 16 simultaneous channels of high-definition I/O </li><li> Extremely flexible analog and digital I/O </li><li> Card option bay for analog or digital I/O expansion with 192 AD, 192 DA, or 192 Digital cards </li><li> World-class 24-bit/192 kHz A/D and D/A conversion </li><li> Comes with a wide range of digital I/O, including 8 channels of AES/EBU I/O, 8 channels of TDIF I/O, 16 channels of ADAT I/O, and 2 additional channels of AES/EBU or S/PDIF I/O </li><li> Word (1x) and Slave Clock (256x) input/output </li><li> Switchable, real-time sample rate conversion on digital inputs on the 192 Digital card, which allows easy streaming of digital signals at any sample rate </li><li> Soft-Clip Limiter that allows higher levels to disk for punchier, hotter recordings </li><li> Expansion Port that allows for direct connection of another 192 I/O or 96 I/O </li><li> Legacy Peripheral port that allows for connection of 888|24, 882|20, 1622, or 24-Bit ADAT Bridge I/Os </li></ul> Dimensions: <ul> <li> Width: 19 in / 48.26 cm </li><li> Height 3.5 in / 8.89 cm </li><li> Depth: 15.19 in / 38.58 cm </li><li> Weight: 20.17 lbs / 9.15 kg </li></ul> A/D <ul> <li> Sample Rate: 44.1, 48, 88.2, 96, 176.4, 192 kHz ±10% </li><li> Dynamic Range: 120 dB (A-weighted), 118 dB (unweighted); see Notes 1 and 2 </li><li> THD+N: 0.00035% (-109 dB); +21 dBu @ 997 Hz; see Note 1 </li><li> THD+N: 0.00035% (-109 dB); +21 dBu, 20 Hz – 20 kHz; see Note 1 </li><li> Frequency Response: ±0.05 dB @ +2 dBu, 20 Hz – 20 kHz; see Notes 1 and 3 </li></ul> D/A <ul> <li> Sample Rate: 44.1, 48, 88.2, 96, 176.4, 192 kHz ±10% </li><li> Dynamic Range: 118 dB (A-weighted), 115 dB (unweighted); see Notes 1 and 4 </li><li> THD+N: 0.00056% (-105 dB); -1 ' @ 997 Hz; see Note 1 </li><li> Frequency Response: ±0.05 dB, -20 ', 20 Hz – 20 kHz; see Notes 1 and 3 </li><li> Sample Rate = 48 kHz, Noise BW = 22 Hz – 20 kHz unless otherwise noted, Tambient = +25 C </li></ul>

Digidesign 192 I/O Interface (Demo Deal)

Customized Audio Cabling for HD Systems Digidesign offers an array of quality cabling options to ensure the fidelity of audio signals as they travel between the I/O components of your Pro Tools® system. Uniquely designed for Digidesign gear, DigiSnakes are custom-colored and custom-labeled, feature a lifetime warranty, and are comprised of 110 ohm "digital grade" cable to accommodate either digital or analog signals. DigiSnakes make connecting your gear a quick, easy process, freeing you to spend your valuable time on your audio projects rather than the wires they travel across. -DB25 to DB25, standard wiring. Length: 12 feet with white jackets on both ends. -Typically used for communication between any two standard DB25-equipped devices, for example, PRE out to 192 I/O analog in. Cannot be used for AES/EBU or TDIF digital dubbing. For TDIF dubbing, use the TDIF DigiSnake. For AES/EBU digital dubbing, use two AES/EBU DigiSnakes, connected end to end (XLR to XLR).

Digidesign DB25-DB25 DigiSnake 4' (Demo Deal)

Classic Knee Sound Helpful in the pristine but unforgiving digital world. Three audio modes provide user programmable, warm harmonic distortion. Emphasized tube-like 2nd harmonic in clean and Distort 2 mode. In Distort 3 mode the distortion becomes dominated by 3rd harmonic (similar to tape). The Empirical Labs Distressor is an automatic gain (or volume) control device (AGC in engineering terms) designed for pro audio (music) applications. Basically, it electronically controls the volume of just about any source in a very pleasing, and "musical" manner - adding fullness, intelligibility, and especially in the Distressor's case - excitement. This type of device is often called a "limiter" or "compressor" by audio industry people. Its most probable uses will be in recording studios, live sound situations, movie sound production, and radio broadcast production. Unlike most analog compressor/limiters the Distressor is a digitally controlled audio device and actually incorporates several products into one by utilizing digital controls to switch totally different circuits in and out. Years of beta testing and redesign went into the Distressor as will be the case with all Empirical Labs products. Besides offering a wide range of control and unique features, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit. This "warmth" or vintage sound has become an important issue in the last 15 years, as the super clear and linear digital technology does very little (or nothing) to soften "harsh" sounds nor emphasize the bass frequencies in music sources. Older analog tape, vinyl records and tube equipment on the other hand, could not be prevented from coloring the sound, often to the frustration of recording engineers. However, many people have now realized that this coloring can be extremely pleasant and "musical".The current digital technology is often referred to as "cold" and "brittle" among other terms, although we prefer the term "unforgiving" to describe the negative side of the "linearity". The Distressor offers several modes that color the signal, even without compression (or gain control). These extended modes were designed to allow emulation of some very old and some very expensive vintage gain control units (compressors & limiters) and deliver a classic "knee" sound all its own. Specifications:<UL> <LI>Freq. response is 2 Hz to 160 kHz in clean audio mode (+0, -3 dB). Response is shaped in distortion modes (Dist 2, Dist 3). <LI>Dynamic range 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal to noise in distort 3 mode. <LI>Distortion ranges between .02% and 20% depending on distortion mode and release times set on front panel. <LI>DC coupled output - High quality input caps. <LI>Input impedance is 20K Ohms, Output impedance is < 75 ohms <LI>Time constants - Attack range 50uS - 50mS. Release range .05 sec to 3.5 seconds, normal modes and up to 20 seconds in 10:1 opto mode. <LI>Time constants are dependant on ratio. <LI>Metal Chassis - single height 1.75" high, 10" deep, 19" wide.

Empirical Labs Distressor EL8X (Demo Deal)

Euphonix MC Control brings the unparalleled speed, resolution and DAW integration of Euphonix's high-end pro consoles to the personal studio in a revolutionary ergonomic, slim-line design. MC Control fits perfectly between keyboard and screen, and can be connected to additional MC Mix units to create a larger mixing control surface. MC Control is loaded with power features to speed up and enhance your creativity with any media application. Effortlessly switch between multiple applications and workstations at the touch of a button. The MC Control's high-resolution touch-screen interface, motorized faders and arsenal of rotary encoders, soft keys and transport controls instantly snap to the selected application to put multi-format metering, plug-in parameters, track information and much more at your fingertips. Most importantly, software developers like Apple, Steinberg, MOTU and others have worked closely to integrate native support for Euphonix' EuCon control protocol into their DAWs to deliver an unmatched editing and mixing experience. Power Features <UL> <LI>Customizable touch-screen interface <LI>12 assignable soft keys <LI>4 touch-sensitive motorized faders <LI>8 touch-sensitive rotary encoders <LI>Jog/shuttle/zoom wheel and transport controls <LI>Control multiple applications & workstations via Ethernet <LI>250X faster and 8X the resolution of MIDI <LI>Supports EuCon, HUI and Mackie Control protocols <LI>Studio Monitor Express software <LI>Slim-line design for easy studio integration and portability</LI></UL>

Euphonix MC Control (Demo Deal)

Euphonix MC Mix brings the unparalleled audio mixing speed, resolution and DAW integration of Euphonix's high-end professional consoles to the personal studio. The faders and rotary encoders enable fast access to pan, EQ and plug-ins with clear metering and info displays. Add MC Control and/or extra MC Mix units for larger systems. Power Features <UL> <LI>8 touch-sensitive motorized faders <LI>8 touch-sensitive rotary encoders <LI>8 displays for surround metering, parameter and track names <LI>Link up to four MC Mix units and/or an MC Control for up to 36 faders <LI>Control multiple applications & workstations via Ethernet <LI>250X faster and 8X the resolution of MIDI <LI>Supports HUI and Mackie Control protocols <LI>Slim-line design for easy studio integration and portability</LI>

Euphonix MC Mix (Demo Deal)

Dual Effects Block Architecture The Eventide Eclipse is the only effects processor in its class to feature 24-bit digital conversion and 96kHz sampling. We’ve packed almost 100 algorithms into Eclipse along with a two effects block design. The dual routing configurations let you use Eclipse as two independent effects processors; ideal for the smaller, budget-conscious studio. The two effects blocks’ inputs and outputs can be configured for stereo or mono. Or, select a preset that combines two algorithms or recursive combinations for big multi-effects without sacrificing quality. Classic Eventide Effects We’ve packed Eclipse with effects Eventide is famous for. There’s quick, seamless pitch shifting including our innovative Micro pitch shift, which FOH engineers and vocalists have come to rely on for turning good vocal performances into great ones. Eclipse boasts no fewer than 11 reverberation algorithms plus four plex algorithms. Originally developed for Eventide’s industry-standard Orville™ and DSP 7000 series, these reverbs have been carefully and faithfully transplanted into Eclipse. And all reverbs are true stereo in and out, not mono in, stereo out. The vast array of delays lets you design lush, dense soundscapes. You’ll find band delays, chorus delays, comb delays, ducked delays, ring delays and pan delays. And with 20 seconds of memory per effects block, Eclipse is a looper’s delight. It’s easy to get lost in the 20-second mono loop, 10-second dual loops, 20-second reverse loop, and 10-second dual reverse loop. Remember, these looping presets running on one FX block leaves the other FX block available for adding texture or dimension. I/O Ports for Maximum Versatility The rear panel has a port to support all your needs, including AES/EBU, S/PDIF and ADAT™ Lightpipe™ for digital applications. Analog balanced XLR-type and unbalanced ¼” inputs and outputs. The ¼” jacks even accept a high impedance instrument signal. There’s Word Clock In and Out on BNC connectors and two pedal ports for performers. And of course, full MIDI (IN/OUT/THRU) including an external power jack for your cabling convenience. There’s even a serial port which makes it easy to update Eclipse’s software from the internet; no chip changing needed. Easy Set-Up and Operation The Eventide knob and keypad make setup and operation easy. If you’re familiar with our H3000 series Harmonizer units, you’ve already got the basics. Hot Keys Hot Keys provide quick access to the eight most important parameters on every preset. In addition, you can customize the Hot Keys on any preset to create your own unique program. Dedicated Tap Button The tap button isn’t just for delays. It’s also the frequency rate of the LFO modulating your sample and hold filter, or the speed of your autopanner or tremolo. The Tap function can be set to average out from 2 to 12 taps. Design Your Own Presets You get a complete selection of presets, but eclipse makes it easy to design your own. Load one or two algorithms, pick a routing, assign the Hot Keys, and tweak. Flash Card Slot Your presets can be stored easily in the Eclipse or on an affordable compact flash card. Transferring presets from on Eclipse to another is simple with compact flash cards. Unleash the Sonic Beast Whether it’s live performance, front-of-house engineering, or quality studio processing, Eclipse gives you the tools you can depend on in one compact, professional package. After all, Eclipse is not just an effects box, it’s an Eventide.

Eventide Eclipse 3.0 (Demo Deal)

The Evol Fucifier is a distortion synthesizer & sound shaper, designed to give you many colors with which to create and shape your palette of sounds. Everything in the signal chain, from the discrete Mic Pre, the Vintage Germanium Preamp, the Analog Filter, and the inductors in the Equalizer to the output transformer, is designed to be overdriven, saturated, overloaded or distorted in a pleasing way. Mix & match the Vintage Germanium Preamp for a little warmth or overdrive, the Tape Saturation overdrive for a little compression and limiting or a bit of signal saturation, the Analog Filter/Crossover (which in itself sounds great overdriven, and can be driven into self oscillation), the Dual Band Distortion which allows you to mix many different types of distortion, and the vintage-style inductor based equalizer to shape the overall tone and color of the sound. Features <ul> <li>Branded real wood front panel, custom finished by hand</li> <li>Color coded, lighted acrylic, audio responsive gain meter knobs to see at a glance where your various gain stage levels are</li> <li>Discrete mic preamp</li> <li>Low noise, high quality balanced line input</li> <li>Gain control of mic, instrument & dry mix gain in addition to control of overall input gain</li> <li>True relay bypass of each effect section using lighted indicator ring metal push buttons</li> <li>The Vintage Germanium Preamp section uses specially matched NOS vintage germanium transistors for added warmth and a great overdrive sound</li> <li>The Analog Filter Section Features: <ul> <li>Variable freq & resonance</li> <li>LFO with variable amplitude and speed, an envelope detector and expression pedal control which can all be used separately or in conjunction to control filter frequency</li> <li>Selectable high pass, band pass, or band pass + high pass filter response modes for the high freq distortion section</li> <li>Separate low pass & high pass outputs on the back panel for processing each band separately with external gear</ul></li> <LI>Dual Band Distortion allows control over:<ul> <LI>Drive, distortion amount, distortion type (6 modes), clipping symmetry & low freq/high freq blend control to blend the two distortion sections in varying degrees</li></ul> <LI>Inductor Based EQ with 5 bands of boost/cut: low, mid, high bands plus a low shelf & high shelf</li> <LI>Speaker output to plug a speaker cabinet into your Fucifier for use as an amp sim or even an amp!</li> <LI>Wet/Dry signal blend control</li> <LI>Transformer coupled, discrete Class A output section</li> <LI>Internal regulated AC power supply (no wall warts!)</li> <LI>2 space, 19" rack mount enclosure</li>

Evol Fucifier (Demo Deal)

The Classic Series from Furman brings together superior protection and outstanding performance in a sturdy, rack-mountable design. The Classic Series features Furman’s revolutionary Series Multi-Stage Protection (SMP), Linear Filtering Technology (LiFT), and Extreme Voltage Shutdown (EVS). Together, these technologies comprise what is, without question, one of the world's most advanced and comprehensive transient voltage surge suppressors. Furman PL-PRO C Applications Instrument Rigs You've got a rack for your effects, preamps, tuner...You're going to plug that into the wall? One big spike and your rig is up in smoke. Furman's advanced Series Multi-Stage Protection defends your gear from the spikes and surges that are so common at gigs and practice spots. With Furman's advanced Linear Filtering Technology, you'll get a quieter tone without pops, crackles, and the local radio station coming out of your amp. Recording Can't track down where that noise is coming from? Your mix sounding flat? With Furman's advanced Linear Filtering Technology you'll lower the noise floor caused by the dirty AC power coming into your console or DAW. Furman's advanced advanced Series Multi-Stage Protection keeps your sensitive digital equipment from acting funny or burning up due to everyday spikes and surges. With a 15A capacity and eleven total outlets, it's enough to power your whole home studio. DJ Equipment Bars, clubs and other event venues have some of the worst power out there - from air compressors turning on and off to light shows pulling current loads up and down, the AC power can be a strain on the circuits in your rig. Furman's advanced Series Multi-Stage Protection and LiFT keeps the bad stuff out and the dual pull-out front panel lights let you discreetly see your board and gear without distracting from the show on the dance floor. Pro Audio When you're out there gigging, you never know what kind of power you're going to get. The wear and tear on mobile rigs eventually takes it toll - that's why it's smart to plug into Furman's advanced Linear Filtering Technology. It keeps your equipment safe and sounding clean. Whether you're setting up a show at the local club or powering up the church band for their next service, make sure you give them power they can trust. Furman PL-PRO C Features Surge Protection Furman's exclusive SMP technology provides the highest level of surge & spike protection available. Noise Filtration LiFT offers AC power filtering to ensure clean power for unequaled audio & video clarity. Voltage Protection Advanced EVS circuitry detects dangerous voltage irregularities and safely powers down itself and connected equipment in unsafe conditions. Pull-out Lights Dual smooth track retractable LED lights illuminate equipment in your rack. Diagnostic Lights LED status indicators warn you when voltage is outside of nominal range or when protection has been compromised. USB Charger Front panel convenience charger allows you to charge most media devices or power a USB lamp. LED Voltmeter Segmented LED voltmeter monitors and displays incoming line voltage. Isolated Banks Isolated outlet banks minimize inter-component interference and noise contamination. Wall Wart Spacing Three widely spaced outlets accommodate bulky AC power transformers. 20 Amp Rating 20 Amp rating featuring a high inrush magnetic circuit breaker for added protection.

Furman PL-PRO C (Demo Deal)

The most widely recognized and trusted name in AC power conditioning is proud to introduce the PL-PRO II, PL-PRO D II and PM-PRO II power conditioners, featuring Furman’s revolutionary SMP+ technology. Furman’s Series Multi-stage Protection (SMP+) circuit also features our exclusive Linear Filter Technology (LiFT) coupled with Extreme Voltage Shutdown (EVS) and a high current TVZ-MOV. Together, these technologies comprise what is, without question, the world’s most advanced and comprehensive transient voltage surge suppressor. SMP+ (Series Multi-stage Protection Plus) Furman’s SMP+ surge suppression virtually eliminates service calls. Traditional surge suppression circuits “sacrifice” themselves when exposed to multiple transient voltage spikes, requiring the dismantling of your system, and repair of your surge suppressor. With Furman’s SMP+, however, damaging transient voltages are safely absorbed, clamped and dissipated. No sacrificed parts, no service calls, no down time. Unique to Furman’s SMP+ is its unparalleled clamping voltage. While other designs offer clamping voltages that are well above 300Vpk, Furman’s SMP+ clamps at 188Vpk, 133 VAC RMS even when tested with multiple 6000Vpk - 3000 amp surges! This unprecedented level of protection is only available with Furman’s SMP+ technology. Additionally, Furman’s trusted over-voltage circuitry protects against all too frequent open neutral wiring, or accidental connections to 208 or 240 VAC. Furman’s SMP+ with over voltage protection immediately shuts off the incoming power until the over voltage condition is corrected. LiFT (Linear Filtering Technology) Unfortunately, traditional AC conditioners have been designed for unrealistic laboratory conditions. Prior technologies could actually harm audio and video performance more than they help, due to the resonant peaking of their antiquated, non-linear designs. Under certain conditions, these designs can actually add more than 10 dB of noise to the incoming AC line! Worse still, lost digital data, the need to reboot digital presets, or destroyed digital converters are frequently caused by excessive voltage spikes and AC noise contaminating the equipment ground. Furman’s SMP+ with LiFT takes another approach, ensuring optimal performance through linear fi ltering and no leakage to ground. Options: *Models PL-PRO II E, PL-PRO DE II, and PM-PRO E II: “E” suffi x versions are for use in countries with 220/240 volt AC lines. Each has ten rear panel outlets, using internationally- accepted IEC-320 connectors. The voltmeter on the PL-PRO E II reads from 180 to 256 VAC, in 4 volt steps. Features: The PL -PRO II and PL-PRO D II feature LED rack lights which produce virtually no heat and provide an extremely long life span. A dimmer control for the rack lights allows the user to adjust the level of illumination or simply switch the lights off. Additionally, all units include a rear mounted BNC jack which accepts any standard (12VAC, 0.5A) gooseneck lamp for rear rack illumination, as well as a front panel switch which controls the gooseneck’s operation. A front panel mounted master power switch is protected by a hinged cover, preventing accidental disconnection of AC power to the unit’s outlets. The front-panel circuit breaker - power switch can be quickly and easily reset should the unit be overloaded. Furman’s Series II Pro units also feature a 10 foot, 12 gauge heavy-duty power cable.

Furman PM-PRO II (Demo Deal)

GML 8355 Power Supply for models 8200, 8302, 8304 and 9500. When power supplies are built into the same chassis as the audio circuitry, power transformers can radiate nasty magnetic fields into nearby audio paths increasing noise while additional heat generation brought on by transformers, rectifiers, and regulators can contribute to unwanted drift of operational parameters and premature failure of componentry. To avoid these problems, all GML outboard processors use stringently regulated and pure filtered external power supplies. All GML power supplies come with their dedicated detachable connecting cables as well as a country-specific detachable IEC mains power cord. Both the 8355 and the 9015 are internally switchable between 110v and 220v mains voltages making them flexible for engineers traveling overseas. Notably, these GML Power Supplies have an exceptionally wide input voltage tolerance (??30%) for reliable operation under questionable power conditions. No export

GML 8355 (Demo Deal)

The Gefell UM92.1S is a ‘vintage’ large-diaphragm multi-pattern tube microphone. It is equipped with the original M7 capsule. This pressure gradient transducer features a dual-membrane, gold evaporated PVC capsule that is still hand-made in the Gefell factory following the 75-year tradition. The Gefell UM92.1S is the choice for those that want the true sound and character of the original Neumann-Gefell UM57 with the added benefit of improved reliability and lower noise. The UM92 exhibits high sensitivity, excellent signal-to-noise ratio and it has the full sound, tube warmth, and character that are favored by singers and soloists. Design Features The Gefell UM92.1S is a multi-pattern microphone with switchable back-diaphragm voltage on the power supply for choice of figure-8, cardioid and omni-directional patterns. It is also available in a cardioid-only version called the M92.1S. As with all Gefell microphones, mechanical and electrical attributes have been optimized for performance. Careful attention to reducing ‘vortex’ around the mic and capsule is achieved by mounting the M7 capsule on triangulated pedestal. This has the benefit of directing unwanted reflections away from the capsule, reducing comb-filtering and phase disturbance. The smaller housing advantages the user with greater freedom to place the mic in tighter spots while also reducing particle pressure refraction or what is also known as the vortex around the mic. Following tradition, a natural presence rise provides added clarity and detail ‘on-axis’, while the ‘off-axis’ transition is both smooth and musical. The habitual low-frequency proximity effect provides a warm bottom end that is enhanced as the source is brought closer to the diaphragm. The UM92’s internal low-noise vacuum-tube amplifier features a ‘time proven’ design that employs a high-mu triode valve that has been selected for its warm sonic characteristics and the natural even-order overtones that are only possible from a tube. For long cable runs, a filament voltage stabilizer is built into the microphone that allows distances of up to 100 meters (328feet) without fluctuation. Using the UM92 The Gefell UM92 comes equipped with the EA92 deluxe elastic suspension to reduce vibration-borne noise from affecting the microphone. The suspension is secured to the base of the microphone by way of the screw-on, machined housing. This allows the UM92 to be positioned at any angle without worry. The UM92 comes with its own power supply called the UN920. The UN 920 power supply provides the polarization voltage for the capsule as well as DC voltage for the microphone amplifier. The UN920 features a selectable fuse housing that allows both 110V and 220V operation. A front-panel pattern switch allows the user to remotely select the pattern for figure-8, cardioid, or omnidirectional polar response. All connections are made on the rear panel. A 6-pin Tuchel connector and cable, which powers the microphone, is supplied. Output is balanced 3-pin XLR with pin-2 hot as per the AES standard. The 92.1S microphone is available in choice of multi-pattern (UM92.1S) or cardioid only (M92). May be custom ordered in a dark bronze finish. The complete system includes the UM92.1S or M92.1S mic, UN920.1 power supply, EA92 elastic suspension, C92.1 cable and W92 windscreen. Comes in it's own hand-crafted wood box.

Gefell UM92.1S (Demo Deal)

The Grace Design m904 and m906 high fidelity monitor controllers - two powerful new professional audio products designed to significantly improve the sonic performance and efficiency of virtually any audio production environment. Both units offer the same transparent, high resolution audio performance as our acclaimed microphone preamplifiers- These are versatile, sonically invisible monitor systems designed to enable you to hear and manipulate even the finest detail in your work. For the engineer working in 5.1 surround, the m906 is a powerful tool for managing and monitoring surround audio sources. With balanced and unbalanced analog 5.1 inputs, multiple balanced stereo analog inputs and digital 5.1 and stereo inputs, the m906 is designed to effortlessly control large studio monitoring systems. For the standard DAW user, the m904 is the essential nerve center, combining multiple balanced, unbalanced analog inputs and digital inputs with precision level controls for two pairs of studio monitors and dual headphone outputs. Also, the m904 is available in a remote controlled only version, the m904b, which is equipped with a blank mainframe frontpanel and is controlled via the m904RCU. The m904 and m906 are here to deliver a new level of accuracy, flexibility, reliability and sonic purity for the modern recording facility.

Grace Design m904 (Demo Deal)

The Great River MP-500NV preamp module for the '500' series rack is now available! The MP-500NV is a professional quality microphone preamplifier designed to re-create the vintage sound characteristics of the early 1970s large consoles. Modern components give the MP-500NV more clarity, punch and performance under normal use. In addition, features like metering before and after the major gain stages let the user drive it hard to greatly expand the range of sonic options. All microphones will benefit from the power of the MP-500NV preamplifier, including dynamic, condenser and especially ribbon types. The MP-500NV uses the same audio and metering circuit board found in the NV series preamplifiers. This unit is designed to fit into a "500 Series" rack using 2 available slots. It receives its power supply from the host rack. The unit is equipped with a HI-Z instrument jack that has its own input amplifier and was designed for DI applications. All specifications and performance details are identical to the NV series preamplifiers with the exception of size, weight, patch jack, -10dBv Out. 125ma current draw.

Great River MP-500NV (Demo Deal)

From the Professional division of Heil Sound, Ltd., we present the PR-20, a professional quality dynamic cardioid microphone designed for commercial broadcast, recording and live sound reinforcement applications which require a smooth flat response over a wide frequency response. The PR-20 has a comparable sound to the finest condenser microphone because of it's wide frequency response, excellent transient response and low IMD. Following a 20 year Heil tradition, the new PR-20 exhibits gorgeous natural speech articulation without having to apply heavy electronic equalization. Truly one of the most natural and pleasant sounding dynamic microphones, ever. The Heil engineers have created a very rugged microphone with superior low handling noise by mounting the very wide frequency response dynamic element into a special sorbothane shock mount system. This low handling noise and exceptional lack of bass-boosting proximity effect makes it ideal for professional uses. The PR-20 achieves it's exceptional performance by using a special magnet structure and a large aluminum 1 1/8" low mass voice coil assembly. Special attention has been paid to the phasing plug assembly with equally placed ports that sense audio from behind the source entering them out of phase thus producing a very linear cardioid pattern and reduces the proximity effect while achieving the extreme articulation across it's smooth 40 - 18,000 Hz. frequency response. The new Heil 'PROLINE' element is usable in extreme high sound pressure levels and is immune to overload conditions as a condenser usually will be. It produces a beautifully smooth audio response without the inconvenience of phantom or outside d.c. powering. The cardiod pattern offers the greatest rejection at 180 degrees off axis which is directly behind the microphone and creates virtually no off-axis coloration while providing the greatest possible rejection of unwanted audio. The Heil PR-20 professional microphone is delivered to you in a classy leatherette carrying bag including the mic clip and acoustical foam windscreen. ACCESSORIES: <UL <LI>SM-1 Spider Shock Mount Assembly <LI>PL-2T Heil PROLINE Articulated Boom <LI>SB-2 Desk Boom <LI>'Heilwire' Mic Cable <LI> XLR 3-Pin Connector </UL>

Heil Sound PR20 (Demo Deal)

Turn your U-87 from standard solid state, into a true tube microphone. The change over is accomplished quickly and easily by the user in one (1) minute or less. This retrofit is non-destructive, and can be reverted back easily if one should ever want to use the retrofit at another studio. There are identical retrofits for both the older standard type as well as the newer a-i, with equally impressive results. As one U-87 owner who utilizes the retrofit in a variety of applications said "I used to like how my solid state 87 sounded until I heard it tubed. Now because of the added sonic dimension and clarity, I won't use it unless it is tubed". The retrofit has been a consistent winner time and again, in critical blind listening tests between itself and top world class solid state and tube microphones. Those who have conducted these microphone "shootouts" are like yourself, professionals in the audio field. They have been surprised and are greatly impressed when they learn the microphone they chose as best sounding overall is the retrofit. The Retrofit Kit includes: <UL> <LI>The internal Tube Retrofit pre-amp assembly <LI>Power Supply with continuously variable pattern pot <LI>Cables for the mic (7-pin), and power supply (Grounded AC) <LI>Instructions for change over (click for instructions) <LI>All components are pre-assembled and ready for installation. </UL> At innerTUBE Audio, our development team have been designing analogue and tube circuits for over 25 years. Our engineers have been responsible for high quality maintenance and repair in state of the art studios throughout Southern California. They have had much experience in re-design and tweaking of existing well known circuits.We have worked closely with accomplished and well known recording and mixing engineers, with many great sounding albums to their credit. It is with this background that we have designed the U-87 tube retrofit. The retrofit is a superior cost affective choice compared to new, re-issues or original tube microphones. The retrofitted U-87 is equal or better. Yes this is a strong statement, and, we would like an opportunity to prove it to you. All the components used in manufacture are new stock, tested and matched to exacting tolerances. The circuit is elegantly designed and bulletproof. We manufacture tube driven products only, no solid state ... ever!

InnerTUBE Audio Tube 87 Retro-Fit Kit (Demo Deal)

Inward Connections DEQ-1. Very wide and high-bandwidth sound allows this EQ to shine in any application. Recallable settings allow for ease of use and precise stereo imaging for mastering applications. Six bands allows one to pinpoint every important frequency in the audible band. Built using proprietary op-amps that lend the unit a subtle and interesting color while remaining accurate and true to the source. Very musical and sweet sounding. Features per channel Lo-Band Shelving • frequency range: 15Hz to 500Hz • + 12dB level control • individual ON switch Lo-Band • frequency range: 20Hz to 500Hz • + 12dB level control • individual ON switch • band width control • peaking and shelving switch Mid Lo-Band • frequency range: 80Hz to 2KHz • + 12dB level control • individual ON switch • band width control Mid Hi-Band • frequency range: 300Hz to 7KHz • + 12dB level control • individual ON switch • band width control Hi-Band • frequency range: 1KHz to 20KHz • + 12dB level control • individual ON switch • band width control • peaking and shelving switch Hi-Band Shelving • frequency range: 1KHz to 20KHz • + 12dB level control • hi-shelf ON switch Master EQ OFF/ON for all 6 Bands

Inward Connections DEQ-1 6 Band EQ (Demo Deal)

Inward Connections EQP2 is a versatile fully parametric 2-band equalizer utilizing the legendary SPA690 discrete amp blocks. Capable of 20db of boost/cut per band, this all discrete design will offer smooth equalization from subtle to extreme. Features include: <ul> <li>Low band frequency range 35Hz to 1KHz </li><li>High band frequency range 560Hz to 16KHz </li><li>Maximum boost/cut +/- 20dB </li><li>Range of bandwidth adjustment 0.16 to 2.0 octave </li><li>Bypass switch </li><li>SPA690 all discrete legendary amp blocks </li><li>Differential balance input transformer less </li><li>Balance output transformer </li><li>Fits standard 500 series slot configuration mechanically and electrically </li></ul> Specifications: <ul> <li>Input Impedance >20K ohms balance </li><li>Output Impedance 600 ohms balance </li><li>Frequency Response +/- 0.5dB@20Hz to 50KHz </li><li>Output Signal to Noise -95dB or greater </li><li>THD + Noise .01%@1KHz/+4dBu</li></ul> Want to hear the EQP2? <a href="http://vintageking.com/site/files/hear_the_gear/mono_eq/inward_connections_eqp2.html">Click here!</a>

Inward Connections EQP2 (Demo Deal)

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Neve 1073 API Audio 527 Barefoot MicroMain 35 Radial Workhorse 5000 Telefunken AR-51 Rupert Neve Portico II Focal Monitors	What's New? Hear the Gear Recycle Your Gear Client Gallery Producers Corner Buyer's Guide	How about recycling your used gear for something different or just a change? When speaking to a sales representative, make sure to indicate that you are interested in trading your gear for a new purchase or please send an email to info@vintageking.com.	Barefoot Sound Shadow Hills Industries Neve Classic Series Evol Fucifier Slate Pro Audio	Inward Connections Tonelux ProAc Helios