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The <span style="font-weight: bold;">API 500-6B Lunchbox</span> is a 
6-slot rack designed to accept all API standard 5.25" X 1.5" modules. 
This quality allows an engineer the flexibility to bring along 
specialized EQ effects to any situation: 550A, 550b or 560. The lunchbox
 is self-powered with a rear panel selected AC voltage switch and a 
removable power cord. The input/output jacks are XLR. The lunchbox comes
 standard with a +48 volt internal phantom power supply, bussed to pin 
15 for interface with the API 512c Mic Preamplifier.<br>
<br>
<span style="font-weight: bold;">Features</span><br>
<ul><li>Holds 6 API standard modules</li><li>215mA per slot</li><li>DB-25 connectors for easy input and output connection</li><li>XLRs to access channels 7 and 8 of the multipins</li><li>Power rail LED indication</li><li>Self-Powered, 100 to 250 Volts switchable, 47 to 63 Hz</li><li>Rubber feet & carrying handle for portability</li><li>Rugged steel chassis</li><li>Perfect for remote recording of Vocalist and Instruments</li><li><span style="font-weight: bold;">FREE</span> if you purchase any (4) NEW 500 Series modules.**</li></ul>
API makes several modules for the 500-6B, including the 512c Mic 
Preamplifier, the 525 Compressor, the 527 Compressor, the 550A 3-band 
EQ, the 550b 4-band EQ and the 560 Graphic EQ. Combinations of these 
modules make perfect stereo recording packages (two 512cs and two 550bs)
 or vocalist's box (one 512c, two EQs and one 527).<br>
<br>
<span style="font-weight: bold;">Other uses for the versatile lunchbox include:</span><br>
<ul><li>Multi-track recording of acoustic and electronic audio sources</li><li>Sound reinforcement systems and recording to multi-track formats</li><li>Multiple facility projects where portability is a plus</li><li>Broadcast and audio for video production</li><li>Custom channel input strips </li></ul>
NOTE: The older 560A equalizer may use pin 15 for a "direct output" and 
must be disabled on the 560A circuit board edge connector by cutting a 
trace. This will eliminate 48 volts from damaging the 560A series 
equalizers.

API 500-6B Lunchbox Free when you buy any (4) NEW 500 series modules!*
6 slot Lunchbox with DB25 connectors and built-in power supply
*Modules must be NEW and purchased at online price of $549 or more.

The <b>API Model 500VPR</b> is powered externally by a tri-polar power supply (included) and is designed to accept API standard format 5.25" X 1.5" modules. The 500VPR is internally wired for PIN 2 hot, and comes with the API L200PS. The input/output jacks are both XLRs. The 500VPR can hold up to ten API modules. API makes several modules to fit this rack, including the 550A, 550B, 560, 525, and 512C. Like all API products, the 500VPR rack enjoys API's standard 5 year warranty. <br><br><b>Features</b> <br>
<ul>
<li>Holds 10 API Standard Format 5.25" X 1.5" Modules 
</li><li>XLR Jacks for Inputs and Outputs 
</li><li>Pre Wired Rack 
</li><li>Externally Powered 
</li><li>19" Rack Mount, 3U Tall 
</li><li>Rugged Chassis 
</li><li>Perfect for Outboard EQ / Mic Pre Modules 
</li><li><b>FREE</b> if you purchase any (8) NEW 500 Series modules.*</li></ul>

<p>The 500V can be ordered with an optional 48 volt phantom power supply, bussed to pin 15 for the API 512C to access. It must be noted that the older API 560A series equalizers used pin 15 for a "direct output" and must be disabled on the 560A circuit board edge connector by cutting a trace. This will eliminate 48 volts from damaging the 560A series equalizers.</p>
<p>API makes several modules to fit this rack, including the 550B, 560, 525, and 512C. These modules are designed to help expand existing limited input console configurations, allowing a facility an option to a larger console.</p>
<ul>
<li>Multitrack Recording of Acoustic and Electronic Audio Sources. 
</li><li>Sound Reinforcement Systems and Recording Live to Multitrack formats. 
</li><li>Multiple facility projects where portability is a concern. 
</li><li>Broadcast and Audio for Video Production. 
</li><li>Custom Channel Input Strips. 
</li><li>ADAT Type Portable Recording Setups. </li></ul>

API 500VPR 10 Slot Rack w/PSU Free when you buy any (8) NEW 500 Series Modules!
3U Vertical rack with external power supply that holds up to ten 500 Series modules
*Modules must be NEW and purchased at online price of $549 or more.

The <B>A Designs 500HR</B> is a dual slot, single space, rack mounted frame with power supply for A Designs and other 500 Series compatible audio modules. (Note: the 500HR will not work with the Neve 1073LB).<BR><BR>You are able to use the 500HR and A Designs module combinations in four basic ways: <BR><BR>1. Loaded with two preamps it becomes a dual channel Mic Pre <BR><BR>2. Loaded with two EQ’s it is a dual channel EQ <BR><BR>3. Loaded with one preamp and one EQ it is a complete pre/post EQ recording channel <BR><BR>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! <BR><BR><B>Features:</B> 
<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>
<br><br>
<b>Check out these Quicktime Movies to SEE and HEAR A Designs in action!</b><br>
<I>Right click to save</I><br><BR>

<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>
<br>

<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>
<br>
<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>
<br>
<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_MaleVox.mov" target="blank">Recording Male Vocals with A Designs Pacifica</a>
<br>
<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_FemaleVox.mov" target="blank">Recording Female Vocals with A Designs Hammer</a>
<br>
<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 1/2 off when you purchase any (2) NEW A Designs or Electrodyne modules
Dual Slot 500 Series Rack - 1 RU for two modules with 48 Volt Phantom and internal power supply
*Modules must be NEW and purchased at online price.

Audio Accessories Shorti Quick-Switch to DB25 w/TT Cables Special package pricing!
Buy the Audio Accessories Shorti Quick-Switch to DB25 Patch Bay and get 16x Redco/Mogami 24" TT Cables (Black only) - Free!

The <b>Chandler Limited TG2</b> is a recreation of the rare EMI TG12428 
pre amp used in EMI/Abbey Road recording and mastering consoles used in 
the late 60's and early 70's. The sound was used on many famous 
recordings done at Abbey Road including The Beatles' "Abbey Road" and 
Pink Floyd's "Dark Side of the Moon" and its amplifiers used in many EMI
 circuits of the time. 
<p>This pre 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, similar to a Neve. The sound, as 
explained by many users, has a familiar 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 contribute to its sound. <br>
</p>
<p>The <span style="font-weight: bold;">Placid Audio Copperphone</span>, 
unlike full range high fidelity microphones, operates within a limited 
bandwidth of frequencies which lends a nostalgic quality to the signal. 
Some might compare the sound to an AM radio or a telephone. The sound is achieved through a 
combination of vintage telecommunications components and a mechanical 
filtering effect. The microphone’s element is rear ported into a hollow 
resonant chamber. As sound passes through the diaphragm and into the 
hollow chamber, upper mid range frequencies are accentuated while low 
and high frequencies are reduced. An everyday example of this mechanical
 filtering effect can be demonstrated by pressing a paper towel tube up 
to your mouth and talking into it.<br>

<br>

<span style="font-weight: bold;">Features</span><br>

</p>
<ul><li>Vintage passive magnetic moving coil transducer</li><li>Tuned ported resonate chamber</li><li>High Quality Switchcraft 3 pin XLR connector</li><li>Adjustable aircraft aluminum mounting bracket to fit North 
American style stands (will fit European style stands with common 
threaded adapter)</li><li>Handcrafted in the U.S.A</li><li>Rugged copper housing and components</li><li>Lifetime operational warranty</li></ul>

<span style="font-weight: bold;">Specifications</span>
<ul><li>Type: Dynamic</li><li>Polar Pattern: Cardioid</li><li>Frequency Response: 200Hz – 3kHz</li><li>Impedance: 150 ohms</li><li>Output: 115 +/- 2dB SPL @ 1 kHz</li><li>Dimensions: 2.5 inch x 6 inch</li><li>Weight: 1.75 lbs.</li></ul>

Chandler TG2 with Free Placid Audio Copperphone Save $250!
Buy a Chandler TG2 preamp, get a FREE Placid Audio Copperphone!

Originally designed in 1974, the <b>Neve 2264A </b>mono Limiter/Compressor unit quickly became a legend. Delivering similar facilities and performance as the earlier 2254 Limiter/Compressor type, it did so despite being packaged in a more compact form factor. Discrete, Class A/B design and transformer-coupled circuits used in the input, innovative bridge-driver design, side-chain and output stages ensured a totally unique sound. The original 2264A units are still sought after, decades after production stopped, and they remain one of the milestone pieces of studio equipment.<br><br>Now crafted in England by Neve engineers, the classic 2264A is available again.<br><br>Not only does it retain the original 2264A’s unique sonic characteristics by using the same architecture, matching components and original hand-wound transformers as its historic counterpart, but it is also available in both vertical and horizontal orientations. Being electrically and mechanically the same D.L.1 format as the Neve 1073 and 1084 Mic/Pre modules, the 2264A can be inserted into any compliant console or rack that houses the 1073 or 1084 module types.<br><br><b>Features</b><ul><li>Classic mono limiter/compressor, available in Vertical or Horizontal orientations</li><li>Transformer-coupled circuits used in Input,</li><li>Bridge-driver, Side-chain and Output stages</li><li>Independent Limiter and Compressor IN/OUT selectors</li><li>BYPASS switch connects input terminals directly to output terminals</li><li>Multiple units can be linked together to provide multi-unit side-chain control from a single unit</li><li>Analogue meter with approximate PPM ballistics indicates 0dB to 20dB of gain reduction</li></ul><span style="font-weight: bold;"></span><br><b>3u Vintage King Audio rack that holds 2 AMS-Neve 2264a Modules</b><br>These racks are beautifully constructed and utilize a proper low noise grounding scheme. Lots of bang for the buck here! <br><br><b>Vintage King 3U Neve Dual Channel Rack Information</b> <ul><li>Switchcraft™ E-Series gold XLR's.</li><li>¼” front panel line input (this is NOT an instrument input unless requested/optional).</li><li>Low noise VK Custom power supply utilizing toroidal transformer capable of 600mA+ at 24V DC and 100mA at 48V DC. The current rating is over spec for the module.</li><li>48V ramp circuit to eliminate “pop” when engaging 48V. Ramp time is approximately 30 seconds.</li><li>High quality NKK™ lighted switch for 48V.</li><li>Output “fader” wired to insert on module.</li><li>Proper grounding techniques, per Neve™ documentation, are utilized for low noise.</li><li>Chassis: 0.050” steel with aluminum front/rear panels and 6-32 steel press nuts. Chassis is an excellent blend of strength and weight. </li><li>IEC power cable included.</li><li>1 Year Warranty</li></ul><span class="MainText"><b>Options (Contact a sales associate):</b><br><ul><li>Cinemag™ CM-DBX D.I. transformers available upon request.</li></ul></span><br><span class="MainText"></span>

Vintage King 3U AMS-Neve 2264a Dual Channel Rack - Loaded Free rack - a $950 value!
Dual Channel AMS-Neve 2264a compressor/limiter in a beautiful 3U Vintage King Rack
Free rack offer valid for a limited time.

<span style="font-weight: bold;">Gefell M300 Stereo Set - Vintage King Edition Includes:</span><br>
<ul><li>2x M300</li><li>2x 10m XLR cable</li><li>2x elastic suspension or 2x standard mounting EH93.1 </li><li>1x stereo bar for ORTF and XY</li><li>Aluminum Case</li></ul>
The <span style="font-weight: bold;">Gefell M 300</span> is a studio quality compact 
condenser microphone. The frequency response is practically linear for a wide range of sound 
incidence and has a smooth treble boost rising to about 3 dB between 6 
and 10 kHz. The miniature microphone is well suited for vocal and 
instrumental soloists, permitting a lifelike recording in a multitude of settings.<br>
<br>
The M 300 is designed for studio applications in radio, television 
broadcasting and films; for live performance and recording of 
instruments, vocals and speech; and sound reinforcement in the 
professional and semiprofessional market - including adverse acoustic 
conditions such as churches.<br>
<br>
A new low-noise integrated hybrid circuit and the transformer-less 
circuit design guarantee an extremely wide dynamic range, with a low 
equivalent loudness level and a high reliability in operation. RFI susceptibility is very low.<br>
<br>
The microphone is powered by a 3-pin XLR connector with the C 70 
microphone cable. The power supply is provided by 48 V phantom powering,
 which is internationally standardized as P 48 in DIN 45596 and IEC 
268-15. A two-channel powering is possible with the N 200 power supply.<br>
<br>
The finish of the miniature microphone is dark bronze.

Gefell M300 Stereo Set Vintage King Edition Save $500!
M300 stereo set with accessories in an aluminum case
U.S.A's Only Authorized Dealer

The <span style="font-weight: bold;">Gefell AP 1</span> is an 
one-channel microphone amplifier with an extreme low-noise circuit 
design, a wide dynamic range and very linear transmission properties. 
With the amplifier the precise transmission of low signal levels is 
possible as well as the distortion-free transmission of high signal 
levels. It is ideally suited for the use with condenser microphones in 
large diaphragm transistor construction which have an extreme low noise 
level and a very high headroom. Recommended applications are recordings 
of speech, vocals or acoustical instruments. The intuitive and 
uncomplicated handling of the amplifier guarantees the user an 
absolutely concentration on the recording.<br><br><span style="font-weight: bold;">Features</span><br><ul><li>Discrete transistor amplifier</li><li>One microphone input  – two parallel line outputs</li><li>Defined and reproducible amplifier adjustment in 3 dB steps, switched by relays for avoiding of switching noise</li><li>Stepless gain adjustment in a ±6 dB range with arrest at  0 dB</li><li>Switchable high-pass filter for impact-sound insulation with adjustable frequency between 18 Hz and 220 Hz</li><li>Switchable 48 V phantom powering according to IEC 61938</li><li>Phase inverter</li></ul>The <span style="font-weight: bold;">Gefell M 1030</span> studio 
condenser microphone combines modern large diaphragm capsule technology 
with the latest in semiconductor circuit topology. The size of the 
microphone housing is optimized with regard to the expectations of a 
large diaphragm microphone for studio applications.<br>
<br style="font-weight: bold;">

<span style="font-weight: bold;">Features</span><br>

<ul><li>Extreme dynamic range</li><li>Noise floor 7 dB-A</li><li>Large diaphragm capsule</li><li>Polar pattern cardioid</li><li>Universal applications</li><li>Advanced circuit design</li><li>Transformerless output</li><li>Internal elastic suspension</li><li>Optical ready indicator</li></ul>

The microphone is specifically designed to meet the needs of 
professional and semi-professional users who demand the highest 
performance. The microphones are ideally suited for universal miking 
applications in broadcast and sound studios. Applications include 
vocalists, announcers, dialog pickup and as spot microphones for 
recording guitars, keyboard, percussion, wind and string instruments.<br>
<br>
The
 pick-up pattern is perpendicular to the direction of the microphone 
axis (side addressed). The model number and pick-up pattern symbol mark 
the front of the microphone. The green LED inside the protection grid 
operates as optical ready indicator.<br>
<br>
The condenser capsule 
exhibits a smooth frequency response with a slight presence boost in the
 8 to 14 kHz range. The polar response exhibits an exceptionally high 
degree of rejection for sounds impinging from the rear (cardioid) or 
sides (super-cardioid) of the microphone. The electronic impedance 
converter uses a newly perfected circuit topology. This design reduces 
the noise floor to an extremely low level while also raising the maximum
 output capability. As a result, this microphone have a clean, 
distortion free sound over an extremely wide dynamic range. RFI 
susceptibility is very low.<br>
<br>
The microphone capsule and 
electronics are elastically suspended inside the compact metal housing. 
This reduces the sensitivity to mechanical impact and structure born 
noise.<br>
<br>
The M 1030 connects to the microphone cable 
with a standard 3-pin XLR plug. Powering must be provided by an external
 48 V phantom supply according to DIN 45596 and IEC 268-15.<br>
<br>
The microphone is finished in satin matte.

Gefell AP 1 & M1030 Premium Bundle
Includes AP 1 mic amp, M1030 large diaphragm condenser in wood box, EA 92.1 suspension mount and C 70 10m cable

<span style="font-weight: bold;">Special Discount Bundle Includes</span><br>
<ul><li>Bock 507 Studio Tube Cardioid Microphone</li><li>Power Supply</li><li>Custom Cable between PSU and Mic</li><li>LB PRO Spider suspension</li><li>Wood Box</li><li>SE Electronics Reflexion Filter</li><li>Atlas SB36W 62" Mic Boom w/Wheels</li><li>15' Mogami Gold Studio Microphone Cable</li></ul>
The <span style="font-weight: bold;">Bock 507</span> is a new approach 
in high end microphone design for it combines new and old: a brand new 
unique and patent pending elliptical capsule married to a vintage 
inspired mic amplifier and power supply. Designed to be the ultimate in 
studio vocal microphones, the 507 compares favorably to the best vocal 
microphones, past and present.<br><br><span style="font-weight: bold;">What makes it different?</span><br>The
 new Bock/Cardas elliptical capsule design strives to resolve the 
chronic in-band resonance issues of both large and small diaphragm 
microphones. Round capsules have a relatively low frequency in band 
resonance, typically around 1K. Small diaphragm mics usually have a much
 higher in band resonance, typically about 15K or higher. The elliptical
 capsule offers the best of both, avoiding the constant distance "edge 
to center" of round capsules, reducing in band resonances dramatically 
and expanding the application possibilities. The ZERO capsule also has 
many conventional attributes such as the time tested 6 micron gold 
sputtered diaphragm used in the BOCK 251 and edge termination design. 
The capsule is hand built in very small quantities in Germany.<br><br>The
 5-ZERO-7 also offers many other unique features. A large body 
microphone, it uses a 3 layer headgrille to prevent moisture (and 
therefore dirt) from becoming a continuing issue in the sound and long 
term life of the capsule and microphone. A unique tube mic amplifier was
 designed of very high gain, vintage 47 inspired, with David Bock hand 
selected parts. No negative feedback or filtering is used in this 
microphone to affect sound in any way. An extraordinary US handmade BOCK
 design four section transformer is employed to complete the audio path.<br>The
 custom BOCK power supply is designed just for this microphone and 
combines the best of the old with new and modern parts. It is a special 
inductor based design, something not seen in modern production 
microphones today. It offers the best combination of long term power, 
low noise floor and high end mic sonic performance.<br><br><span style="font-weight: bold;">How do I use it?</span><br>The
 507 microphone itself is a large body type, to give singers and artists
 a familiar feel in the studio to vintage mics they know and love. The 
fixed cardioid nature of the microphone guarantees it will always be in 
its most popular setting without switches and other devices to decrease 
long term reliability. The microphone sounds very big, utilizing a 
carefully crafted proximity effect for that extra deep intimacy 
preferred by artists and engineers alike. This sound is expected to be 
especially popular on male vocalists but will be expected to outperform 
most other mics on females as well. There will be a wide variety of 
color available with distance, so this will increase it’s flexibility. 
You will find that the 5-ZERO-7 brings something new to voices, 
something unavailable in any other microphone, past or present, at any 
price.<br><br>The Bock/Cardas Elliptical capsule can be fine tuned to more specific applications such as orchestra, etc. 
<br><br>
<b>SE Electronics Reflexion Filter</b><br>
The <span style="font-weight: bold;">SE Electronics Reflexion Filter</span>
 is basically a portable device for recording live sound sources with 
reduced room ambience. It is an advanced composite wall which is 
positioned behind any microphone by means of a variable position stand 
clamp assembly which ships with the product. The main function is to 
help obtain a ‘dry’ vocal or instrument recording. This is especially 
useful in studios without proper acoustic treatment, but can also be 
used to help record takes in control rooms, where the performer also has
 to operate the recording device, or in rehearsal studios to reduce 
ambient noise.<br><br>The Reflexion Filter has 6 main layers. Firstly, a
 strong layer of punched Aluminum which allows sound waves to pass 
through it, diffused, to a layer of absorptive wool. The sound waves 
then hit a layer of Aluminum foil which helps dissipate energy and break
 up the lower frequency wave-forms, and from here they hit an air space 
kept open by rods passing through the various layers. The air gap acts 
as an acoustic barrier. The sound waves then pass to a further layer of 
wool and then through an outer, punched, Aluminum wall which further 
serve to absorb then diffuse the remaining acoustic energy.<br><br>The 
main absorber has 4 formed pieces of state-of-the-art specialist 
acoustic absorptive material attached to its face via the extended 
separation rods, which further serve to absorb and then diffuse the 
sound waves as they pass to the main filter.<br><br>The stand assembly 
comprises a mic stand clamp fitting, which attaches by means of a 
vertical joint to the horizontal bar assembly onto which both the 
Reflexion Filter, and any standard fitting shock mount can be fixed. The
 microphone (in its shock mount) can then be moved both vertically and 
horizontally along the bar, and the Reflexion Filter itself can be moved
 vertically to obtain the optimum working position.<br><br><span style="font-weight: bold;">How does it work?</span><br>The
 various layers both absorb and diffuse the sound waves hitting them, so
 progressively less of the original source acoustic energy passes 
through each layer. This reduces the amount of energy hitting un-treated
 walls and other surfaces so there is less of the original source 
reflected back as unwanted room ambience to the mic. The Reflexion 
Filter also helps prevent any reflected sound reaching the back and 
sides of the mic. Its shape and size have been carefully tested to 
maximize absorption while keeping ‘coloration’ down to only around 1dB, 
and leaving the microphone’s polar pattern unaffected.<br><br><span style="font-weight: bold;">The Results</span><br>'Independent
 test results from the Tongji University Audio Lab in Shanghai show 
audio image coloration with and without the sE Reflexion Filter. The 
tests (carried out by China's leading Acoustic Engineering University 
completely independently) clearly show extremely low levels of 
coloration when using a microphone with the Reflexion Filter while 
recording (20Hz to 20KHz).<br><br>This was one of the greatest 
challenges in designing the RF. Other companies have now started to try 
and copy our designs (without breaking the patents which are what make 
the Reflexion Filter actually work!), but fail to achieve such good 
results because the designs are too simplistic.<br><br>The RF comprises 
several layers of Aluminum and patented acoustic fiberboard separated by
 acoustically isolating air gaps... and therefore manages to remove 
large amounts of room ambience with a very compact design. The whole 
idea was to make the unit as effective as possible, but in the smallest 
space... otherwise what would be the point... you may as well treat a 
wall behind the mic.<br><br>The shape of the RF is also critical to the 
design as it randomizes any Reflections back from the surface of the 
filter. Products which are semicircular (without the flat diffuser 
panels the RF has) will concentrate any inconsistently reflected 
frequencies onto the mic... the worst possible scenario.<br><br>Another 
very poor design though is a simple 'V' shape behind the mic. This 
creates one of the worst coloration problems you can manage to achieve 
when recording audio. Think about problems of Bass Accumulation in room 
corners... the bass is accentuated worst in 90 degree corners, so any 
baffle placed behind a mic which is this shape creates huge coloration 
problems in bass frequencies. This also adversely affects higher 
harmonic frequencies because of the massive energy in bass frequencies 
exciting these higher harmonics. A simple flat panel on a wall 
positioned behind the mic is a much better solution, as it does not 
create coloration, but still limits at least some of the early 
reflections in the room.<br><br>All in all, it’s a very clever and 
desirable piece of kit. It allows you to record vocals, guitars etc with
 a ‘drier’ sound without having to have an acoustically treated room. 
It’s portable. It uses state of the art materials. It works… and it’s a 
fraction of the price of acoustically treating your studio environment!
<br><br>
<b>The Atlas SB-36W 62" Mic Boom w/Wheels Features</b><br><ul><li>Professional Boom Stand for Stage and Studio Use</li><li>Caster-Equipped Model Offers Silent and Effortless Mobility</li><li>Adjustable 6 or 2-lb. Counterweight Provides Precision, Balance, and Stability</li><li>Wear-proof, Three-Piece Clutch Offers Secure, Fast, and Noise-Free Adjustment</li><li>Variable, Piston-Type Air Suspension System on SB-36W Model Ensures Microphone Protection</li><li>Rugged Construction and Heavy-Duty Components Assure Long Service Life</li><li>Made in U.S.A. to High Quality Standards</li></ul><span style="font-weight: bold;">Mogami Premium-Grade Studio Microphone Cable</span><br>
The Gold Series uses selected Mogami Neglex "Studio Quad" Oxygen Free 
Copper cable. This 4-conductor cable actually cancels noise caused by 
poor ground planes and high RF or electromagnetic fields. The 
ultra-low-noise spiral shield is the most densely wound available. All 
this engineering helps cure many of the problems encountered in a 
project or home studio, creating a much quieter recording environment 
with vastly improved Dynamic Range.<br>
<br>
Virtually every major recording facility in the world is wired with 
Mogami cable. This means that just about any music you choose has been 
recorded using Mogami in the audio chain. This cable is famous for 
unmatched accuracy, extremely low noise and remarkable flexibility. Top 
engineers rave about its amazing clarity and silent background. If 
accuracy in reproduction is your goal, this is the cable for you.<br>
<br>
<span style="font-weight: bold;">Features</span><br>
<ul><li>Microphone cable for studio use</li><li>Gold-pin/black body Neutrik XLR connectors</li><li>Neglex quad microphone cable </li></ul>

Bock Audio 507 Special Free SE Reflexion Filter, Atlas Boom Stand w/Wheels & Mogami Mic Cable!
Bock 507 with Free SE Electronics Reflexion Filter, Atlas SB36W Boom w/Wheels & 15' Mogami Gold Studio Mic Cable
Offer valid for a limited time.

Built in response to demand from a professional studio community
searching for unique sonic signatures, the <b>Dangerous Bax EQ</B> was designed with
inspiration from the classic Baxandall shelving curves of the 60’s and
70’s and created a unique equalizer with a 21st century mastering
aesthetic. The result is pure emotive expression with audiophile
accuracy.<br>
<ul><li>Stepped controls throughout for repeatability and identical stereo operation</li><li>Broad Q Shelving</li><li>7-position High Pass and Low</li><li>Pass Filters--2-pole Butterworth configuration (12 dB/oct)</li><li>8-position High and Low Frequency Select</li><li>+/- 5dB Cut and Boost controls in 1/2 dB steps</li></ul>
<br>
“Unlike anything you have heard, but exactly like what you’ve been looking for.”<br>
<span style="font-weight: bold;">-Phil Demetro, Lacquer Channel Mastering</span><br>
<br>
“I want this box for the 60 Hz band alone. While testdriving the
prototype I got addicted to it--the BAX gave me a foot like no other EQ
I have does. It’s no surprise that the first piece of signal processing
from Dangerous is something that currently does not exist and something
I need to have.”<br>
<span style="font-weight: bold;">-David Kutch, The Mastering Palace</span><br>
<br>
“The BAX EQ is my new favorite box to put across my whole mix. It lets
me achieve that modern pop brightness without any of the usual
sibilance or harshness. The super low-end is fat without being muddy
and it’s incredibly smooth and balanced. I have never heard any EQ like
this one before.”<br>
<span style="font-weight: bold;">-Fab, FLUX Studios, NYC</span><br>
<br>
<span style="font-weight: bold;">Granelli G5790</span><br>
The <span style="font-weight: bold;">Granelli Audio Labs G5790</span> is
 a real SM57 modified to turn 90 degrees. Granelli Audio Labs uses brand
 new Shure® SM57s and inserts a custom-made aluminum part with an 
acoustically-engineered internal sound path. The result is a microphone 
that maintains the SM57's renowned durability and familiar tone while 
increasing functionality.<br>

<br>

<span style="font-weight: bold;">Giving engineers an edge</span><br>

The Granelli G5790 gives engineers more options when miking crowded drum
 kits, allowing them to choose a position that minimizes unwanted bleed 
and does not obstruct the drummer. It also creates a neater appearance 
and takes up much less space on stage when miking speaker cabinets, 
percussion, and a number of other sources.<br>

<br>

<span style="font-weight: bold;">Changing the shape, not the sound</span><br>

Inside the handle of the SM57 is a small acoustic chamber that affects 
the tone of the microphone. Our patent-pending design manages to change 
the shape of this chamber without increasing the air volume. That is 
critical to keeping the sound that engineers know and trust. Granelli 
did not adjust the frequency response, alter the pickup pattern, or 
change any other components inside the microphone. It's still the mic 
engineers love, with the mod it's always needed.<br>

<br>

<span style="font-weight: bold;">Durability and Quality</span><br>

The part that we have added is machined out of a solid block of aluminum
 and then threaded into the original microphone's body. Our 
modifications are done by hand without the use of power tools, welding, 
or any other process that may harm the original microphone. Each unit is
 individually tested after modification, and guaranteed by our two-year 
warranty. <br>

<br>

The G5790 is currently in the studio with producers Eddie Kramer (Jimi 
Hendrix, Led Zeppelin, Kiss), Barry Rudolph (Lynyrd Skynyrd, Rod 
Stewart) and Brian Ahern (Emmylou Harris, Roseanne Cash) and on tour 
with the Dave Matthews Band, Creed, Gloria Estefan and Cirque Du Soleil.
 <br>

<br>

<span style="font-weight: bold;">About Granelli Audio Labs</span><br>

Granelli Audio Labs was started in 2009 by John Grant of Secret Sound 
Studio and his friend and protégé Tony Correlli of The Deep End Studio 
in Baltimore, Maryland. Each are established, full-time recording 
engineers and producers who have worked with platinum selling artists as
 well as countless Mid-Atlantic area bands.<br>

<br>

<span style="font-weight: bold;">About the G5790</span><br>

After talking shop late one night, John and Tony decided that it would 
be worthwhile to modify one of their SM57s to make it easier to position
 in a crowded drum kit. They went out and got a PVC plumbing elbow and 
modifed one just for their own use. Upon seeing the mic in the studio, 
drummers would frequently comment on it with interest, and colleagues 
began inquiring about how to get their own modified SM57. It became 
clear right away that this modification would be very useful both in the
 studio and live. So after many designs, tests, and refinements, the 
labor of love grew into a new, high quality product that they call the 
G5790. This microphone can now be found in major recording studios and 
on the road with professional sound companies and freelance engineers 
all around the world.<br>

<br>

<span style="font-weight: bold;">Warranty Information</span><br>

Granelli Audio Labs purchases new, authentic SM57s from authorized 
Shure® dealers. Our modifications are done by hand, and we inspect and 
test each microphone. Our modified SM57s are no longer a Shure product, 
and they are not covered by Shure's® warranty, but we guarantee each of 
our microphones with our own two-year warranty.

Buy a Dangerous Bax EQ, Get a Free Granelli G5790
Mastering shelving EQ and Granelli G5790 modified Shure SM-57 set at a right angle

<span style="font-weight: bold;">Bundle Includes: </span><br>
<ul><li>Neumann U 87 AI Set Z</li><li>Rupert Neve 5017</li><li>Mogami Gold Studio Microphone Cable - 15' </li></ul>
The <b>Neumann U 87</b> is probably the best known and most widely used 
Neumann studio microphone. It is equipped with a large dual-diaphragm 
capsule with three directional patterns: omnidirectional, cardioid and 
figure-8. These are selectable with a switch below the head grille. <br><br>A
 10 dB attenuation switch is located on the rear. It enables the 
microphone to handle sound pressure levels up to 127 dB without 
distortion. <br><br>Furthermore, the low frequency response can be reduced to compensate for proximity effect. <br><br><b>Acoustic features</b> <br>The
 U 87 Ai is addressed from the front, marked with the Neumann logo. The 
frequency response of the cardioid and figure-8 directional 
characteristics are very flat for frontal sound incidence, even in the 
upper frequency range. The microphone can be used very close to a sound 
source without the sound becoming unnaturally harsh. By means of a 
high-pass filter interferences through subsonic and low frequencies are 
reduced remarkably. <br><br><b>Polar patterns</b> <br>The dual-diaphragm
 capsule is elastically mounted and protected by a large head-grille. A 
switch below the headgrille selects the three directional patterns: 
omnidirectional, cardioid and figure-8. A window above this switch shows
 the symbol of the selected characteristic. <br><br><b>Electrical features</b> <br>The
 letter A in the name indicates a more recent generation, as compared to
 the U 87 i microphones that were built from 1967 to 1986. Modifications
 apply to the electronic components of the microphone only; the capsule 
remained unchanged. <br><br>The present-day circuitry increases the 
operational headroom of the U 87 Ai by supplying the bias voltages for 
the capsule through a reduced resistance. The result is a higher 
sensitivity of 10 dB for identical sound pressure levels, and an 
improved S/N ratio of 3 dB. <br><br><b>Filter and attenuation</b> <br>A 
switch located at the rear attenuates the sensitivity by 10 dB. When 
this switch is activated, the microphone accepts sound pressure levels 
up to 127 dB (equivalent to a sound pressure of 45 Pa) without 
distortion. <br><br>An additional switch at the rear allows to change 
the microphone's cutoff frequency. This reduces low frequency 
interference directly at the input of the microphone amplifier. <br><br>This
 setting also compensates for the unavoidable bass boost that occurs 
with all pressure gradient transducers when they are used at close 
distance (proximity effect). <br><br>The cardioid characteristic 
maintains a smooth frequency response at a distance of 30 to 40 cm, the 
figure-8 characteristic even at a distance of 15 to 20 cm.
<br><br>

Comprised of a rugged, portable chassis with world class Portico
pre-amp, compressor and DI circuits as well as two channel operation,
variphase, silk and DI/mic blending capabilities, the <span style="font-weight: bold;">Rupert Neve Designs Portico 5017</span> is an
innovative and powerful tool for recording or live performance. In
replacing the Portico 5016 Mic Pre / Variphase DI, the 5017 Mobile DPC
adds single knob compression, DI / Mic Pre blending, and a go anywhere
design to a well established classic.<br>
<br>
With Portico Series custom transformers and silk mode, the Mobile DPC’s
sonic signature is nothing short of legendary. It’s the 5017’s
revolutionary feature set however that make it an indispensable tool for
studio recording, live recording and stage performances.<br>
<br>
<span style="font-weight: bold;">Dual Channel Use</span><br>
Used as a two channel device, a lead singer and guitar player, can take
the classic studio quality of the Rupert Neve 5017 wherever they go;
using the DPC for a Vocal mic pre and compressor, as well as a separate
DI preamplifier. To achieve this, the blend control should be selected
as fully DI (blend off), and an internal jumper can be selected to apply
the compressor to the mic pre signal. When engaged, Silk mode would
effect both vocal and guitar tracks, and the HPF control would effect
only the mic path.<br>
<br>
<span style="font-weight: bold;">Blended Use</span><br>
Used as a single channel device for instruments, the 5017 can be used to
phase align, combine and compress direct and amplified signals. To
achieve this, use the DI for the instrument’s direct signal and the mic
preamp for the speaker cabinet signal. The blend control is used for
mixing direct and amplified signals to achieve the desired tonal blend
between the two sources, and the variphase is used to minimize or
extenuate phase cancellations between the two signals. To compress the
blended signal, the internal compressor jumper must be set to the blend
path (this is the default setting). This technique could also be used to
create a single, mixed output of a guitar and vocals.<br>
<br>
<span style="font-weight: bold;">The Compressor</span><br>
Based around a new LDR (light dependent resister) design, the 5017’s
opto-coupler compressor has been simplified to a single threshold
control with auto make up gain. By default, the compressor is set to a
fixed 2:1 ratio with an internal jumper to change between standard and
fast time constants. To set the compressor, simply dial the threshold
control down until the desired amount of compression is achieved. An LED
light indicates when the compressor is active.<br>
<br>
<span style="font-weight: bold;">Vari-Phase</span><br>
In addition to the standard polarity reverse, the 5017 also incorporates
a vari-phase control to adjust the phase incrementally. This control is
useful any time two signals derived from the same source are combined.<br>
<br>
For instance, even with careful placement, the combination of close
miced drums and overheads, can often yield hollow sounding results. By
using the variable phase adjust, the direct signal can be phase rotated
until the signals are naturally aligned.<br>
<br>
This technique is also extremely useful when combined with the internal
blend control on instruments. A bassist, using both direct and miced
signals can blend the two into a single output, using the vari-phase to
reach an optimal alignment. By adjusting the phase in the 5017, the
musician or engineer can find the absolute best mic position without
regard to the phase relation to the direct signal.<br>
<br>
<span style="font-weight: bold;">Two Channel Operation</span><br>
With two transformer coupled outputs, the 5017 has separate line outputs
for the DI/Blend and Mic signals when the blend control is set to fully
DI. The mic output is always independent.<br>
<br>
<span style="font-weight: bold;">Silk</span><br>
Much could be written about this feature, suffice to say, that it gives a
subtle option to enhance sound quality in the direction of vintage
modules. The silk button reduces negative feedback and adjusts the
frequency spectrum to provide a very sweet and musical performance. We
suggest you try it and make your own judgment.<br>
<br>
<span style="font-weight: bold;">Mic Gain</span><br>
Mic gain is from 0dB to 66dB. Overall gain to restore the apparent
program level<br>
<br>
<span style="font-weight: bold;">DI Gain</span><br>
DI Gain is from 0dB to 30dB<br>
<br>
<span style="font-weight: bold;">DI input</span><br>
Balanced or unbalanced Hi-Z input for instruments<br>
<br>
<span style="font-weight: bold;">High pass filter</span><br>
The high pass filter is a valuable aid in any signal chain but
particularly so in a microphone preamplifier. Signals below 80hz can be
attenuated at a rate of 12db / octave, getting rid of building rumble,
air handling motor hum etc.<br>
<br>
<span style="font-weight: bold;">Phantom power</span><br>
Provides 48v phantom power to microphones. Controlled by a switch on the
back of the unit.<br>
<br>
<span style="font-weight: bold;">Phase invert</span><br>
Reverses the polarity of the mic input<br>
<br>
<span style="font-weight: bold;">Threshold</span><br>
When signals exceed the “threshold” level, the gain is reduced at a
controlled 2:1 ratio, with attack and release time constants set to
standard or fast depending on the internal jumper setting.<br>
<br>
<span style="font-weight: bold;">Indicators</span><br>
Indicators on the 5017 denote signal presence and clipping on both DI
and mic signals, as well as compressor activation.<br>
<br>
<span style="font-weight: bold;">Internal jumpers</span><br>
Two internal jumpers in the 5017 can be set to change the compressor
from the mic channel to the di / blend channel, and to change the
compressor time constant from standard to fast.<br>
<br>
With the 5017, the Portico sound is always within reach.

<br><br>

<b>Mogami Premium-Grade Studio Microphone Cable</b><br>
The Gold Series uses selected Mogami Neglex "Studio Quad" Oxygen Free 
Copper cable. This 4-conductor cable actually cancels noise caused by 
poor ground planes and high RF or electromagnetic fields. The 
ultra-low-noise spiral shield is the most densely wound available. All 
this engineering helps cure many of the problems encountered in a 
project or home studio, creating a much quieter recording environment 
with vastly improved Dynamic Range.
<br><br>
Virtually every major recording facility in the world is wired with 
Mogami cable. This means that just about any music you choose has been 
recorded using Mogami in the audio chain. This cable is famous for 
unmatched accuracy, extremely low noise and remarkable flexibility. Top 
engineers rave about its amazing clarity and silent background. If 
accuracy in reproduction is your goal, this is the cable for you.
<br><br>
<b>Features</b><ul><li>Microphone cable for studio use

</li><li>Gold-pin/black body Neutrik XLR connectors

</li><li>Neglex quad microphone cable</li></ul>

Neumann U 87, Rupert Neve 5017 & Mogami Mic Cable Save $569!
Large diaphragm microphone with shockmount, windscreen, case, 5017 mic pre and cable

<span style="font-weight: bold;">Bundle Includes: </span><br>
<ul><li>Neumann U 87 AI Set Z</li><li>Daking Mic Pre One</li><li>Mogami Gold Studio Microphone Cable - 15' </li></ul>
The <b>Neumann U 87</b> is probably the best known and most widely used 
Neumann studio microphone. It is equipped with a large dual-diaphragm 
capsule with three directional patterns: omnidirectional, cardioid and 
figure-8. These are selectable with a switch below the head grille. <br><br>A
 10 dB attenuation switch is located on the rear. It enables the 
microphone to handle sound pressure levels up to 127 dB without 
distortion. <br><br>Furthermore, the low frequency response can be reduced to compensate for proximity effect. <br><br><b>Acoustic features</b> <br>The
 U 87 Ai is addressed from the front, marked with the Neumann logo. The 
frequency response of the cardioid and figure-8 directional 
characteristics are very flat for frontal sound incidence, even in the 
upper frequency range. The microphone can be used very close to a sound 
source without the sound becoming unnaturally harsh. By means of a 
high-pass filter interferences through subsonic and low frequencies are 
reduced remarkably. <br><br><b>Polar patterns</b> <br>The dual-diaphragm
 capsule is elastically mounted and protected by a large head-grille. A 
switch below the headgrille selects the three directional patterns: 
omnidirectional, cardioid and figure-8. A window above this switch shows
 the symbol of the selected characteristic. <br><br><b>Electrical features</b> <br>The
 letter A in the name indicates a more recent generation, as compared to
 the U 87 i microphones that were built from 1967 to 1986. Modifications
 apply to the electronic components of the microphone only; the capsule 
remained unchanged. <br><br>The present-day circuitry increases the 
operational headroom of the U 87 Ai by supplying the bias voltages for 
the capsule through a reduced resistance. The result is a higher 
sensitivity of 10 dB for identical sound pressure levels, and an 
improved S/N ratio of 3 dB. <br><br><b>Filter and attenuation</b> <br>A 
switch located at the rear attenuates the sensitivity by 10 dB. When 
this switch is activated, the microphone accepts sound pressure levels 
up to 127 dB (equivalent to a sound pressure of 45 Pa) without 
distortion. <br><br>An additional switch at the rear allows to change 
the microphone's cutoff frequency. This reduces low frequency 
interference directly at the input of the microphone amplifier. <br><br>This
 setting also compensates for the unavoidable bass boost that occurs 
with all pressure gradient transducers when they are used at close 
distance (proximity effect). <br><br>The cardioid characteristic 
maintains a smooth frequency response at a distance of 30 to 40 cm, the 
figure-8 characteristic even at a distance of 15 to 20 cm.
<br><br>

Sharing the gain structure and Class A, fully discrete transistor circuitry design of the popular Daking Mic Pre IV, the <B>Mic Pre One</B> additionally features a unique variable high-pass filter and ships in a freestanding 'DI-style' steel enclosure, ensuring both strength and noise immunity. <BR><BR>Essentially a single channel of the Mic Pre IV, the Mic Pre One features switchable phase, 20dB mic input pad and +48V phantom power, plus a selectable 1/4-inch line/hi-z instrument input, all utilizing relays with gold bi-furcated contacts. Two large knurled aluminum knobs control the variable high-pass filter (0-200Hz) and continuously variable input gain, which is complemented by a full-width, twenty-segment bi-color LED meter. The rear of the unit offers a Jensen transformer-isolated mic input and fully-balanced XLR output, plus a 1/4-inch line output. A fourth connector introduces DC power from the external power supply to the unit. <BR><BR><B>Features:</B> <BR>

<UL>
<LI>Class “A” Circuitry
<LI>Jensen Transformer
<LI>Discrete Transistor Design
<LI>Single-Sided Amplification
<LI>Lead Free
<LI>Rohs Compliant </LI></UL>Noted Brad Lunde, president of TransAudio Group, "This Mic Pre One is the very definition of value - a Daking-designed high-end mic pre for those who only need one channel. It's ideal for pros on tour and studios that seek to locate the mic pre in the vocal booth for short cable runs. Small project studios on a limited budget, can now use the same high-end sounding gear as the pros."

<BR><BR>
<b>Mogami Premium-Grade Studio Microphone Cable</b><br>
The Gold Series uses selected Mogami Neglex "Studio Quad" Oxygen Free 
Copper cable. This 4-conductor cable actually cancels noise caused by 
poor ground planes and high RF or electromagnetic fields. The 
ultra-low-noise spiral shield is the most densely wound available. All 
this engineering helps cure many of the problems encountered in a 
project or home studio, creating a much quieter recording environment 
with vastly improved Dynamic Range.
<br><br>
Virtually every major recording facility in the world is wired with 
Mogami cable. This means that just about any music you choose has been 
recorded using Mogami in the audio chain. This cable is famous for 
unmatched accuracy, extremely low noise and remarkable flexibility. Top 
engineers rave about its amazing clarity and silent background. If 
accuracy in reproduction is your goal, this is the cable for you.
<br><br>
<b>Features</b><ul><li>Microphone cable for studio use

</li><li>Gold-pin/black body Neutrik XLR connectors

</li><li>Neglex quad microphone cable</li></ul>

Neumann U 87, Daking Mic Pre One & Mogami Mic Cable Save $689!
Large diaphragm microphone with shockmount, windscreen, case, Daking Mic Pre One and cable

<span style="font-weight: bold;">Bundle Includes: </span><br>
<ul><li>Neumann U 87 AI Set Z</li><li>Atlas SB36W 62" Mic Boom w/Wheels - Chrome</li><li>Stedman PS101 pop filter</li><li>Mogami Gold Studio Microphone Cable - 25' </li></ul>
The <b>Neumann U 87</b> is probably the best known and most widely used 
Neumann studio microphone. It is equipped with a large dual-diaphragm 
capsule with three directional patterns: omnidirectional, cardioid and 
figure-8. These are selectable with a switch below the headgrille. <br><br>A
 10 dB attenuation switch is located on the rear. It enables the 
microphone to handle sound pressure levels up to 127 dB without 
distortion. <br><br>Furthermore, the low frequency response can be reduced to compensate for proximity effect. <br><br><b>Acoustic features</b> <br>The
 U 87 Ai is addressed from the front, marked with the Neumann logo. The 
frequency response of the cardioid and figure-8 directional 
characteristics are very flat for frontal sound incidence, even in the 
upper frequency range. The microphone can be used very close to a sound 
source without the sound becoming unnaturally harsh. By means of a 
high-pass filter interferences through subsonic and low frequencies are 
reduced remarkebly. <br><br><b>Polar patterns</b> <br>The dual-diaphragm
 capsule is elastically mounted and protected by a large headgrille. A 
switch below the headgrille selects the three directional patterns: 
omnidirectional, cardioid and figure-8. A window above this switch shows
 the symbol of the selected characteristic. <br><br><b>Electrical features</b> <br>The
 letter A in the name indicates a more recent generation, as compared to
 the U 87 i microphones that were built from 1967 to 1986. Modifications
 apply to the electronic components of the microphone only; the capsule 
remained unchanged. <br><br>The present-day circuitry increases the 
operational headroom of the U 87 Ai by supplying the bias voltages for 
the capsule through a reduced resistance. The result is a higher 
sensitivity of 10 dB for identical sound pressure levels, and an 
improved S/N ratio of 3 dB. <br><br><b>Filter and attenuation</b> <br>A 
switch located at the rear attenuates the sensitivity by 10 dB. When 
this switch is activated, the microphone accepts sound pressure levels 
up to 127 dB (equivalent to a sound pressure of 45 Pa) without 
distortion. <br><br>An additional switch at the rear allows to change 
the microphone's cutoff frequency. This reduces low frequency 
interference directly at the input of the microphone amplifier. <br><br>This
 setting also compensates for the unavoidable bass boost that occurs 
with all pressure gradient transducers when they are used at close 
distance (proximity effect). <br><br>The cardioid characteristic 
maintains a smooth frequency response at a distance of 30 to 40 cm, the 
figure-8 characteristic even at a distance of 15 to 20 cm.
<br><br>
<b>The Atlas SB-36W Features</b><br><ul><li>Professional Boom Stand for Stage and Studio Use</li><li>Caster-Equipped Model Offers Silent and Effortless Mobility</li><li>Adjustable 6 or 2-lb. Counterweight Provides Precision, Balance, and Stability</li><li>Wear-proof, Three-Piece Clutch Offers Secure, Fast, and Noise-Free Adjustment</li><li>Variable, Piston-Type Air Suspension System on SB-36W Model Ensures Microphone Protection</li><li>Rugged Construction and Heavy-Duty Components Assure Long Service Life</li><li>Made in U.S.A. to High Quality Standards</li></ul><b>Applications:</b><br><br><p>This
 Atlas Sound brand professional quality boom stands incorporate the 
functional features and service reliability desired by performers and 
musicians, as well as broadcast/recording studios,theaters, and 
performance centers. All models are designed to meet the varying 
operational requirements of daily recording applications by combining 
maximum height and boom articulation ranges with increased mobility and 
dependable performance.</p><b>General Description:</b><p>These 
top-of-the-line boom stands feature a variable, piston-type air 
suspension system to ensure microphone protection. Model SB-36W is 
equipped with silent-motion, ball-bearing swivel casters of hard rubber 
for friction-free and vibration-absorbing mobility.Two-piece horizontal 
boom assembly is 7/8" dia. cold rolled steel with a heavy-duty, 
die-cast, gyromatic swivel and an adjustable 6-lb. counterweight for 
precise and secure orientation.Tubing terminates with an adjustable mic 
holder swivel with standard 5/8" - 27 thread to accept all microphones, 
holders, and adapters. Guide clips are supplied for cable attachment. 
Vertical tube assembly is manufactured of 11/8" and 7/8" chrome-plated 
cold rolled steel and includes the wear-proof Atlas Sound grip-action 
clutch for easy adjustment and positive locking.Model SB-36W includes 
wheels for a height span of 49" to 73". Triangular cast metal base with 
edge-concentrated weight distribution offers extra stability and is 
finished in ebony epoxy with a chrome shell.</p><b>Specifications:</b><br><br>Tube Style: Two Section<br>Stand Height: 49" - 73" (1245 x 1854mm)<br>Boom Length: 62" (1575mm)<br>Boom Counterweight: Adjustable 6 lbs (2.75 kg)<br>Triangular Base: 21"* (533mm)<br>Stability Factor**: 1890 I.S.I.<br>Base Finish: Ebony with a Chrome Shell <br>Tube Finish: Chrome<br>Weight: 40 lbs (18 kg)
<br><br>
The <b>Stedman PROSCREEN 101 </b>uses the same unique patented metal 
screen as the PS100. The PROSCREEN 101 has an attached 13 inch flexible 
goose neck with adjustable clamp. This clamp allows the PS101 to be 
attached to any microphone stand or boom while allowing easy positioning
 of the screen with the flexible goose neck. Like the PS100, the Stedman
 PROSCREEN 101 can be cleaned with detergent and hot water and will 
outperform and outlast fabric filter designs. It includes a lifetime 
warranty. <br>Made in U.S.A. <br>
 <br>
<b>Specifications</b> <br>
<ul><li>Screen diameter: 4.6 inches (11.7cm)
</li><li>Length: 20 inches (50.7cm)
</li><li>Weight: 5.8 oz.
</li><li>Clamp opening diameter: .5” to .80”</li></ul>
<b>Mogami Premium-Grade Studio Microphone Cable</b><br>
The Gold Series uses selected Mogami Neglex "Studio Quad" Oxygen Free 
Copper cable. This 4-conductor cable actually cancels noise caused by 
poor ground planes and high RF or electromagnetic fields. The 
ultra-low-noise spiral shield is the most densely wound available. All 
this engineering helps cure many of the problems encountered in a 
project or home studio, creating a much quieter recording environment 
with vastly improved Dynamic Range.
<br><br>
Virtually every major recording facility in the world is wired with 
Mogami cable. This means that just about any music you choose has been 
recorded using Mogami in the audio chain. This cable is famous for 
unmatched accuracy, extremely low noise and remarkable flexibility. Top 
engineers rave about its amazing clarity and silent background. If 
accuracy in reproduction is your goal, this is the cable for you.
<br><br>
<b>Features</b><ul><li>Microphone cable for studio use

</li><li>Gold-pin/black body Neutrik XLR connectors

</li><li>Neglex quad microphone cable</li></ul>

Neumann U 87 w/Boom Stand, Pop Screen & Mic Cable Save over $350!
Large diaphragm microphone with shockmount, windscreen, case, boom stand, pop screen and cable

<span style="font-weight: bold;">Instantly & effortlessly add pristine analog focus, detail, clarity, and air to any sound</span><br>
<br>
<ul><li>Silky top end presence and air coupled with subtle, tight low frequency enhancement</li><li>Innovative interface allows for rapid experimentation with 16 possible filter combination's<br>
</li><li>Meticulously tuned slopes, Q, and corners ensure foolproof operation and stunning results</li></ul>
<br>
<span style="font-weight: bold;">From Gregory Scott aka UBK:</span><br>
The <span style="font-weight: bold;">Clariphonic Parallel Equalizer</span>
 is a mastering grade, parallel shelving EQ matrix with a new filter 
shape that allows a single band to lift both the top and the bottom, 
simultaneously but asymmetrically. To my ears the top gets lifted at 
about a 3:1 ratio compared to the bottom, but I have yet to test it to 
see what the proportions actually are.
<br>
<br>

The signal path is super minimal --- it's primarily a capacitance 
network made up of Wima and Panasonic caps --- but the switching 
architecture is extremely cool and allows for a lot of new 
possibilities. I wanted to create an eq that was artistic and 
right-brain in nature, to get you to think about sound in terms of 
textures and colors rather than numbers.<br>
<br>
To that end, there are 2
 engines per channel, the Focus Engine and the Clarity Engine, each of 
which can have 1 active band. I call them engines because they work on 
both ends of the spectrum despite being a single band. Anyway, there are
 4 unique bands to choose from in each engine, each with its own slope 
and corner on top and bottom. So essentially it's a dual channel 2-band 
eq that behaves like a 4-band hi/low eq, with 8 available filter shapes 
per channel which, because of the switching network, can be configured 
in 16 possible combination's.<br>
<br>
Sonically, the filters are insanely
 smooth up top and do crazy cool things to the bottom, but the general 
idea is tighten/define the lows and lift/open the top with minimal 
coloration or phase smear. Each engine does that in its own way.<br>
<br>
The <span style="font-weight: bold;">Focus Engine</span>
 is more of a broad push that totally clears the mud from sounds, lifts 
them up and forward, and can be aggressive at max boost but is always 
easy on the ears; combined with the tight-ass lows it brings a new level
 of detail and immediacy to the picture.<br>
<br>
The <span style="font-weight: bold;">Clarity Engine</span>
 works further out in the spectra, with the highest band's corners being
 somewhere in the 40hz area on the bottom and the 40k range up top (!). 
I've never heard air or shimmer like it. You have to be careful, the top
 on the Clarity Engine is like crack, it's highly addictive and really 
easy to do more than is wise because it always sounds good, it just 
takes the lid off the sound and opens it up. Use with caution!<br>
<br>
<span style="font-weight: bold;">But it gets better</span><br>
When
 your signal comes into the Clarity Control, it is passed full bandwidth
 to the output. It is also multed to each of the bands, and you use the 
gain control of each engine to blend that band in parallel with your 
original signal via an internal mix buss. This is very different than 
your typical console and channel eq's, which pass your signal thru each 
band in series, with each band doing its thing on the phase-altered 
signal of the band before it.<br>
<br>
The parallel mix architecture means
 the phase coherence of your signal remains completely intact, and the 
bands are blended in behind it. The effect is kinda holographic and 
super tight, no hash or harshness at all.<br>
<br>
What's really cool is 
that the full range signal and each engine all have their own mute 
switches, so you can listen to just one or both filters in isolation and
 hear exactly what you're grabbing. You can also leave the full-range 
killed and bring the Clarity Control back in parallel on your own 
console, where you can compress, saturate, or otherwise play with the 
high and low freqs as their own entities. The creative possibilities 
here can't be overstated.<br>
<br>
<span style="font-weight: bold;">Granelli G5790</span><br>
The <span style="font-weight: bold;">Granelli Audio Labs G5790</span> is
 a real SM57 modified to turn 90 degrees. Granelli Audio Labs uses brand
 new Shure® SM57s and inserts a custom-made aluminum part with an 
acoustically-engineered internal sound path. The result is a microphone 
that maintains the SM57's renowned durability and familiar tone while 
increasing functionality.<br>

<br>

<span style="font-weight: bold;">Giving engineers an edge</span><br>

The Granelli G5790 gives engineers more options when miking crowded drum
 kits, allowing them to choose a position that minimizes unwanted bleed 
and does not obstruct the drummer. It also creates a neater appearance 
and takes up much less space on stage when miking speaker cabinets, 
percussion, and a number of other sources.<br>

<br>

<span style="font-weight: bold;">Changing the shape, not the sound</span><br>

Inside the handle of the SM57 is a small acoustic chamber that affects 
the tone of the microphone. Our patent-pending design manages to change 
the shape of this chamber without increasing the air volume. That is 
critical to keeping the sound that engineers know and trust. Granelli 
did not adjust the frequency response, alter the pickup pattern, or 
change any other components inside the microphone. It's still the mic 
engineers love, with the mod it's always needed.<br>

<br>

<span style="font-weight: bold;">Durability and Quality</span><br>

The part that we have added is machined out of a solid block of aluminum
 and then threaded into the original microphone's body. Our 
modifications are done by hand without the use of power tools, welding, 
or any other process that may harm the original microphone. Each unit is
 individually tested after modification, and guaranteed by our two-year 
warranty. <br>

<br>

The G5790 is currently in the studio with producers Eddie Kramer (Jimi 
Hendrix, Led Zeppelin, Kiss), Barry Rudolph (Lynyrd Skynyrd, Rod 
Stewart) and Brian Ahern (Emmylou Harris, Roseanne Cash) and on tour 
with the Dave Matthews Band, Creed, Gloria Estefan and Cirque Du Soleil.
 <br>

<br>

<span style="font-weight: bold;">About Granelli Audio Labs</span><br>

Granelli Audio Labs was started in 2009 by John Grant of Secret Sound 
Studio and his friend and protégé Tony Correlli of The Deep End Studio 
in Baltimore, Maryland. Each are established, full-time recording 
engineers and producers who have worked with platinum selling artists as
 well as countless Mid-Atlantic area bands.<br>

<br>

<span style="font-weight: bold;">About the G5790</span><br>

After talking shop late one night, John and Tony decided that it would 
be worthwhile to modify one of their SM57s to make it easier to position
 in a crowded drum kit. They went out and got a PVC plumbing elbow and 
modifed one just for their own use. Upon seeing the mic in the studio, 
drummers would frequently comment on it with interest, and colleagues 
began inquiring about how to get their own modified SM57. It became 
clear right away that this modification would be very useful both in the
 studio and live. So after many designs, tests, and refinements, the 
labor of love grew into a new, high quality product that they call the 
G5790. This microphone can now be found in major recording studios and 
on the road with professional sound companies and freelance engineers 
all around the world.<br>

<br>

<span style="font-weight: bold;">Warranty Information</span><br>

Granelli Audio Labs purchases new, authentic SM57s from authorized 
Shure® dealers. Our modifications are done by hand, and we inspect and 
test each microphone. Our modified SM57s are no longer a Shure product, 
and they are not covered by Shure's® warranty, but we guarantee each of 
our microphones with our own two-year warranty.

Buy a Kush Clariphonic EQ, Get a Free Granelli G5790
Clariphonic parallel shelving EQ Matrix and Granelli G5790 modified Shure SM-57 set at a right angle

<span style="font-weight: bold;">The UBK Fatso</span><br><br>" I had three goals in mind when I set about to modify what was already one of my favorite pieces in rack number one, Dave Derr's brilliant Fatso Jr." - UBK<br><br>
1. I wanted to create a collection of fixed-setting compressors that, with the turn of a single knob, could shape and tame any sound you throw at it, and be especially adept with those that are the easiest to screw up: vocals, drums, bass, acoustic and electric guitars, and pianos.<br><br>2. I wanted these preset comps to offer up several distinctly different ‘flavors’ of compression, each of which has a ‘grab’ and ‘motion’ that is totally unlike the others, in order to give the modern engineer maximum flexibility in terms of style, attitude, punch, and squeeze.<br><br>3. I wanted to make these compressors incredibly smooth and easygoing at moderate settings, but able to go to extremes (and beyond) to create sounds that are surprising, inspiring, and drenched in vibe. No matter how much you dig in, the results should be musical; it might be too much compression for you, but it will never be *bad* compression.<br><br>“How do I do this?” Once upon a time, compressors came with two knobs, and your compression options were ‘more’ and ‘less’. But make no mistake: this minimalism in design was actually an asset to the guy who had to turn the knobs and push the faders. The engineers who designed these simple boxes paid painstaking attention to every crucial aspect of envelope shaping --- the knee, the ratio, the attack and the release --- and they tweaked and tweezed the mysterious and often chaotic interplay of these parameters until they found their holy grail: a circuit whose action was incredibly musical and whose grab sounded amazing on every source and sound you feed it.<br><br>“Compression was easy, and it always sounded good.” So it is with the UBK Fatso. In addition to all the tone-sweetening characteristics and features of the classic Fatso --- harmonic thickening, tape-like saturation, independent ‘warmth’ control to soften and tame high frequency harshness --- the UBK Fatso features 3 brand new presets, lovingly crafted by yours truly, tweaked exclusively by ear, and exhaustively tested in the trenches on every sound you’re ever likely to find in your mixes, and a few you probably never will… just in case.<br><br>Splat - this is my take on the comps built into my favorite 3-lettered vintage console. At modest settings, it stiffens and reigns in drums, focuses a vocal, and enhances the vibe of the original sound while making it easier to manage. But when you dig in, wonderful things begin to happen. Drums develop thwack and hit you in the chest. Vocals get utterly creamy with a pleasing, old school hair. Loops come alive and breathe organically. Electric guitars get thicker, deeper, and stay pinned where you want them. But don’t be afraid of those meters: push it farther, past that red light. 20db of reduction? Don’t worry, keep going. Ever heard your drum buss do that? Didn't think so.<br><br><span style="font-weight: bold;">Welcome to 'no rules' compression.</span><br>Smooth - this is classic limiting, with a twist. My intent here was to craft a tracking style limiter that would allow the engineer to shave 6-10db off the peaks of instruments without sounding like much of anything happened, yet things are somehow sweeter, they behave better. When you print elements thru this preset, you’ll find your mixes come together easier and faster, with less eq and compression. Things just ‘fit’, the way they did when we tracked to tape.<br><br>But again, what happens if you start to abuse this preset in the mix? ‘Fast and smooth’ begets and ‘fast and aggressive’, that’s what. Slap it on electronic drum loops and watch the Germans seethe with envy. Put it on a room mic in parallel, maybe a little Abbey Road really is what that kit needs. Crazy hip hop vocal refusing to behave? Clamp it down, ruthlessly, effortlessly.<br><br><span style="font-weight: bold;">One compressor does it all.</span><br>Glue - the bottom end never sounded like this. It is simply unreal how easily this preset will lock the bass in place, punch it up, let all the notes ring clear as a bell, and make it loud while getting it out of the way. Engage the transformer to make the low end sing, even on iPod docks. If gluing the bass were the only thing the UBK Fatso did, it would still be worth the price. But Glue is every bit as versatile and surprising as the rest of this box, especially when pushed. It’s an extraordinary drum compressor, imparting a distinct smack even as it makes the room explode. It’s lovely on acoustic guitars, Rhodes, sitar… whatever.<br><br><span style="font-weight: bold;">When all else fails, glue the sucker down.</span><br>In addition to all of these purposeful compressors, the UBK Fatso features Dave Derr’s classic“Spank” for that inimitable SSL-style smack. You can also combine any two presets, or all three, for even more unusual and unexpected results. So grab those knobs, experiment fearlessly, and ignore those meters: your ears will tell you all you need to know.<br>
<br>
<span style="font-weight: bold;">Granelli G5790</span><br>
The <span style="font-weight: bold;">Granelli Audio Labs G5790</span> is
 a real SM57 modified to turn 90 degrees. Granelli Audio Labs uses brand
 new Shure® SM57s and inserts a custom-made aluminum part with an 
acoustically-engineered internal sound path. The result is a microphone 
that maintains the SM57's renowned durability and familiar tone while 
increasing functionality.<br>

<br>

<span style="font-weight: bold;">Giving engineers an edge</span><br>

The Granelli G5790 gives engineers more options when miking crowded drum
 kits, allowing them to choose a position that minimizes unwanted bleed 
and does not obstruct the drummer. It also creates a neater appearance 
and takes up much less space on stage when miking speaker cabinets, 
percussion, and a number of other sources.<br>

<br>

<span style="font-weight: bold;">Changing the shape, not the sound</span><br>

Inside the handle of the SM57 is a small acoustic chamber that affects 
the tone of the microphone. Our patent-pending design manages to change 
the shape of this chamber without increasing the air volume. That is 
critical to keeping the sound that engineers know and trust. Granelli 
did not adjust the frequency response, alter the pickup pattern, or 
change any other components inside the microphone. It's still the mic 
engineers love, with the mod it's always needed.<br>

<br>

<span style="font-weight: bold;">Durability and Quality</span><br>

The part that we have added is machined out of a solid block of aluminum
 and then threaded into the original microphone's body. Our 
modifications are done by hand without the use of power tools, welding, 
or any other process that may harm the original microphone. Each unit is
 individually tested after modification, and guaranteed by our two-year 
warranty. <br>

<br>

The G5790 is currently in the studio with producers Eddie Kramer (Jimi 
Hendrix, Led Zeppelin, Kiss), Barry Rudolph (Lynyrd Skynyrd, Rod 
Stewart) and Brian Ahern (Emmylou Harris, Roseanne Cash) and on tour 
with the Dave Matthews Band, Creed, Gloria Estefan and Cirque Du Soleil.
 <br>

<br>

<span style="font-weight: bold;">About Granelli Audio Labs</span><br>

Granelli Audio Labs was started in 2009 by John Grant of Secret Sound 
Studio and his friend and protégé Tony Correlli of The Deep End Studio 
in Baltimore, Maryland. Each are established, full-time recording 
engineers and producers who have worked with platinum selling artists as
 well as countless Mid-Atlantic area bands.<br>

<br>

<span style="font-weight: bold;">About the G5790</span><br>

After talking shop late one night, John and Tony decided that it would 
be worthwhile to modify one of their SM57s to make it easier to position
 in a crowded drum kit. They went out and got a PVC plumbing elbow and 
modifed one just for their own use. Upon seeing the mic in the studio, 
drummers would frequently comment on it with interest, and colleagues 
began inquiring about how to get their own modified SM57. It became 
clear right away that this modification would be very useful both in the
 studio and live. So after many designs, tests, and refinements, the 
labor of love grew into a new, high quality product that they call the 
G5790. This microphone can now be found in major recording studios and 
on the road with professional sound companies and freelance engineers 
all around the world.<br>

<br>

<span style="font-weight: bold;">Warranty Information</span><br>

Granelli Audio Labs purchases new, authentic SM57s from authorized 
Shure® dealers. Our modifications are done by hand, and we inspect and 
test each microphone. Our modified SM57s are no longer a Shure product, 
and they are not covered by Shure's® warranty, but we guarantee each of 
our microphones with our own two-year warranty.

Buy a Kush UBK Fatso, Get a Free Granelli G5790
Stereo compressor hand-built by Gregory Scott aka UBK and Granelli G5790 modified Shure SM-57 set at a right angle

The vintage 251 is THE vocal sound people ask for, but the original (vintage) versions are 50+ years old and sound very different from one another. Repairing, rebuilding and “nursing” original 251’s along has been David Bock’s work spanning over 30 years. The risk for a modern studio or end user to depend on a vintage mic on a daily basis is increasingly problematic.
The <b>Bock 251</b> is David Bock’s answer to the vintage mic dilemma of getting “that sound” without the headaches. It is a premier lead microphone for premier voices. It is built to last and provide the studio and user with many years of daily, high end performance.
<BR><BR>
<B>What makes it different?</B><BR>
The BOCK 251 provides the user with absolute confidence that this is the mic you put in the most critical situations. The BOCK 251 uses a proprietary hand made German capsule, a proprietary hand wound multi sectioned audio transformer, a NOS tube in the mic amplifier, a hand built outboard power supply and a custom low capacitance audio cable. This is one of the best overall mic packages available on the market at any price. The BOCK 251 is the ideal microphone to choose when there is a variety of applications that must met with absolute top recording quality. With frequency response that extends well beyond the normal range of typical studio microphones, the BOCK 251 sets new standards.<BR><BR>
For vocals, the BOCK 251 instantly delivers that huge vocal sound you have wanted for years. It sounds equally impressive on females and males. It will capture the most intimate and subtle details of a vocal yet maintain integrity at high SPL’s. It holds up track after track, “sitting on top” in extremely dense mixes without EQ.
For instruments, the BOCK 251 offers very high end performance on critical stringed instruments, orchestras, choirs and small ensembles. The outstanding transient response reveals elusive harmonic details that spell the difference between good and great in your recordings.
<BR><BR>
<B>How do I use it?</B><BR>
The BOCK 251 cardioid pattern shuts off the back of the capsule to deliver extraordinary vocals when worked very close. It is recommended to use a pop filter on less experienced vocalists to enable closer working distances to take advantage of the magical proximity effect. There is no low frequency filtering used on a BOCK 251 so you will hear low frequency content you’ve never heard before.
<BR><BR>
At distance, the BOCK 251 delivers a level of definition that is amazing. The high end does not fade with distance like so many other condensers and the power and depth of the low end response is a joy to hear. The omni and Figure 8 patterns prove useful in these non-voice applications.

Bock Audio 251 Includes Free SE Electronics Reflexion Filter and 15' Mogami Mic Cable.
Large-diaphragm tube condenser mic with PSU, custom cable between supply and mic, SB Pro Spider suspension and wood box

<B>Mogami Bantam and Longframe Patch Cords </B>are the first high definition audio cables specially designed for recording studio engineers and broadcast professionals, and offer following outstanding features:
 <BR><BR>
<B>Made with W2893 Neglex Quad Cable</B>
<UL>
<LI>Super-flexible Quad-Balanced NEGLEX OFC wiring and Overall Served (Spiral) Shield provide maximum definition, detail and signal transparency in addition to giving excellent protection from electro-magnetic noise.
<LI>Both analog audio and digital audio patch cables are available.
<LI>Maintenance free with durable nickel plated tip / ring / sleeve connector preventing from tarnishing. Degradation of the sound quality caused by secular change becomes extremely low on account of it.
<LI>Compact low profile molded design permits use in high density jack fields. BANTAM PLUG : Overall Diameter 7.8mm (0.307") LONGFRAME PLUG : Overall Diameter 10.6mm (0.417")
<LI>Interchangeable color rings for easy patch cord identification.
<LI>Assorted Colors : Black • Red • Yellow • Green • Blue<BR>
    
<LI>Adapter cable of bantam plug or longframe plug to other connector available to special order.
<LI>Neglex OFC bulk cable also available in 50m (164Ft), 100m (328Ft) and 200m (656Ft) rolls

Mogami Bantam TT Cable 24" 10 Pack Special
10 Pack of 24" Mogami Bantam TT Cables in assorted colors.

<b>Solid State Logic XLogic Alpha-Link</b>
 <br>
The XLogic Alpha-Link Audio I/O range is a new family of fully featured multi-channel Audio Converters for Studio, Live and Broadcast Applications. The three different models each feature our high quality 24-channel AD/DA converter circuitry.
 <br><br>
All Alpha-Link units can be used as standalone format converters, but used in combination with a Soundscape Mixpander PCI card they provide a powerful, highly flexible I/O solution for native PC-based audio workstations.
 <br><br>
<b>XLogic Alpha-Link MADI AX
Professional MADI to ADAT & AD DA converter</b>

<br><br>

Featuring 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 analogue I/O, TDM® Expansion Bus and much more, the Alpha link MADI SX delivers a dependable, versatile, high quality MADI to ADAT Lightpipe based conversion solution.
<br><br>
<b>Alpha Link MADI SX & MADI AX Shared Features</b>
<br>
Featuring 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 analogue I/O, TDM® Expansion Bus and much more, the Alpha link MADI SX delivers a dependable, versatile, high quality MADI to ADAT Lightpipe based conversion solution.
<ul>
   <li>56 or 64 MADI digital inputs and outputs at up to 48kHz, 28 or 32 MADI digital inputs and outputs at up to 96kHz.
     </li><li>24 analogue inputs and outputs with SSL enhanced AD DA at up to 96kHz on D-Sub connectors (for use with D-Sub to XLR looms).
     </li><li>Word/SuperClock input and output.
    </li><li>Video Sync input functionality for the WordClock input: the Video Sync. signal can be converted to WordClock internally and transmitted via the WordClock output.
     </li><li>MIDI input and output.
     </li><li>Connects to Mixpander via Expansion Bus port.
     </li><li>All input and output channels can be used simultaneously in any configuration.
     </li><li>Comprehensive input/output routing & mode selection matrix
    </li><li> Analogue input/output metering via 24 tricolour LEDs</li></ul><span class="MainText">The <b>SSL MadiXtreme</b> is a new family of
multichannel PCIe audio cards for Mac and PC from Solid State Logic.
Featuring our revolutionary PCIe-Core Audio Pipeline technology,
MadiXtreme is one of the first audio devices to take full advantage of
the high speeds and incredible bandwidth offered by the PCIe bus on
modern computers.
<br><br>
<b>MadiXtreme 64</b>
<br>With one optical Madi connector for 64 simultaneous I/Os, the MADI
Xtreme 64 is the ideal interface for the SSL Alpha-Link MADI AX or SSL
Alpha-Link MADI SX. MADI Xtreme 64 is also the perfect partner for MADI
equipped consoles, live recording, installations and broadcast servers.<ul><li> PCIe half-length card, single-lane PCIe v1.1-3.0
    </li><li> 1x MADI I/O (optical)
    </li><li> Channel count: 56/64 Ch@44.1/48k, 28/32 Ch@88.2/96k, 14/16 Ch@176.4/192k
    </li><li> 1x Wordclock Connector (Software controlled as Input or Output)</li></ul>
<b>Support for virtually any application</b>
<br>
MadiXtreme supports a huge variety of applications through its
legendary SSL Soundscape Family Drivers. The drivers are fully
multi-client capable (allowing several applications to simultaneously
access the device) and allow seamless multi-card configurations (up to
6 Cards per System if enough PCIe Slots are available).
<br><br>
Windows: (XP or Vista 32 Bit): ASIO 2, WDM, MME, GSIF2, DWave
Mac OS: OS X (10.4 or 10.5): Core Audio.
<br><br>
<b>Minimum System Requirements</b>
<br>
Windows: Windows XP (SP2) or Vista (32-Bit) Intel or AMD Configuration with one free PCIe Slot
Mac OS: Mac OS X 10.4 (Tiger) or Mac OS X 10.5 (Leopard) G5 or Intel Mac with one free PCIe Slot
<br><br>
Note: PCIe (PCI Express) is not compatible with PCI or PCI-X

</span>

SSL Alpha-Link MADI AX & MADI Extreme 64 Card Bundle
Bundle including Madi AX, Madi Extreme 64 & 3m Madi Cables

<b>Mercury EQH1 & EQP1 - Program Equalizers</b><br>
 
The Mercury EQ-H1 Program Equalizer has transformer balanced input and 
output, with a single ended gain make up amplifier. The EQ-H1’s passive 
EQ/gain make up amp topology provides a musically satisfying result 
unobtainable with active and parametric EQ’s, since it does not rely 
upon negative feedback (and all it’s associated phase and dynamic 
distortions) to achieve equalization. Our new Mercury production 
utilizes only the highest quality passive components, while remaining 
true to the original production.
 <br><br>
The Mercury EQ-H1 has a different amplifier than the Mercury EQ-P1 thus 
it has a different tone. The EQ-H1 and EQ-P1 sound different on the same
 application. The EQ-H1 is more punchy and robust and the EQ-P1 is more 
open and silky.
 <br><br>
The Mercury EQ-P1 also has transformer balanced input and output, with a
 fully balanced (push-pull) gain make up amplifier. The only 
modernization feature on the unit is a user switchable (in/out) 
interstage transformer. In the original Pultec EQP this transformer was 
always in the signal path, however, realizing that some of today’s 
engineers might want to remove it with the Mercury EQP1 Program 
Equalizer it is possible to do so with in/out switch on the Front Panel.
 This takes the middle (interstage) transformer out of the circuit Up, 
in the "in" position, it is more "vintage" like the original Pultec. 
Down, in the "out" position, it is a little more "open" and "airy." 
Either way, the input and output transformers are always in the circuit.
 Our new Mercury production utilizes only the highest quality passive 
components, while remaining true to the original production.
 <br><br>
The Mercury EQ-H1 and EQ-P1 Program Equalizers have realized all of the 
original Pultec specification in a modern production. We have not 
"improved" this unit, rather, we have kept all elements in line with the
 original designer’s ideas. The Mercury EQ-H1 and EQ-P1 is truly built 
to be a new classic, and work its magic today or in 50 years!

Mercury EQ-P1 Equalizer Pair Save $193!
Get extra savings when you buy two.

<b>Mercury EQH1 & EQP1 - Program Equalizers</b><br>
 
The Mercury EQ-H1 Program Equalizer has transformer balanced input and 
output, with a single ended gain make up amplifier. The EQ-H1’s passive 
EQ/gain make up amp topology provides a musically satisfying result 
unobtainable with active and parametric EQ’s, since it does not rely 
upon negative feedback (and all it’s associated phase and dynamic 
distortions) to achieve equalization. Our new Mercury production 
utilizes only the highest quality passive components, while remaining 
true to the original production.
 <br><br>
The Mercury EQ-H1 has a different amplifier than the Mercury EQ-P1 thus 
it has a different tone. The EQ-H1 and EQ-P1 sound different on the same
 application. The EQ-H1 is more punchy and robust and the EQ-P1 is more 
open and silky.
 <br><br>
The Mercury EQ-P1 also has transformer balanced input and output, with a
 fully balanced (push-pull) gain make up amplifier. The only 
modernization feature on the unit is a user switchable (in/out) 
interstage transformer. In the original Pultec EQP this transformer was 
always in the signal path, however, realizing that some of today’s 
engineers might want to remove it with the Mercury EQP1 Program 
Equalizer it is possible to do so with in/out switch on the Front Panel.
 This takes the middle (interstage) transformer out of the circuit Up, 
in the "in" position, it is more "vintage" like the original Pultec. 
Down, in the "out" position, it is a little more "open" and "airy." 
Either way, the input and output transformers are always in the circuit.
 Our new Mercury production utilizes only the highest quality passive 
components, while remaining true to the original production.
 <br><br>
The Mercury EQ-H1 and EQ-P1 Program Equalizers have realized all of the 
original Pultec specification in a modern production. We have not 
"improved" this unit, rather, we have kept all elements in line with the
 original designer’s ideas. The Mercury EQ-H1 and EQ-P1 is truly built 
to be a new classic, and work its magic today or in 50 years!

Mercury EQ-H1 Equalizer Pair Save $193!
Get extra savings when you buy two.

Results 1-20 of 27

1




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