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Vintage King proudly offers our worry-free warranty on Furman gear thanks to our confidence in the company’s superb production of AC power products. Furman protects your gear in four different ways: Series Multi-Stage Protection Plus absorbs, clamps and dissipates power surges or spikes, saving your gear without sacrificing any parts, while Linear Filtering Technology reduces noise in a linear fashion, ensuring optimum performance for all connected equipment. Furman also employs Extreme Voltage Shutdown circuits to monitor incoming voltage and cut dangerous over-voltages, and High Current MOV and TVZ Circuitry use an extremely high-current metal oxide varistor (MOV) in conjunction with a high-voltage thermo-fused varistor (TFV) to provide nearly maintenance-free protection to all connected gear.
The ACD-100 AC Power Distro is an extremely compact, low cost rack-mount power distribution system that is ideal for touring PA systems, touring musical and theatrical acts, mobile recording facilities, on-location film and video shoots, etc.-any situation where AC power must be distributed to multiple circuits and a hard-wired, built-in system is missing, inadequate, or impractical. Use of a Power Distro is cost-effective, both in terms of the convenience it offers and the elimination of bulky and expensive parallel feeds and related connectors.
The ACD-100 can handle up to 100 amps of incoming power, distributing it to five 20 amp, 120V circuits. Each circuit has a neon status indicator that lights up when its breaker is turned on, and a 20 amp duplex outlet on the rear panel.
The circuit breakers used in the ACD-100 are high-inrush magnetic types designed specifically for critical data processing and broadcast applications where nuisance tripping cannot be allowed. They have a pulse tolerance* of 10 times the rated current, or 200 amperes. This makes them particularly suited for use with power amps and other devices with high-reactance loads, since the high pulse tolerance will keep them from tripping falsely at the instant power is applied or on musical peaks. If a breaker should trip, it can be reset as soon as the overload is corrected-there is no cool-down delay time required. Temperature compensations which affect fuses and inexpensive thermal breakers are not a concern. The breakers are of the highest industrial grade, UL/CSA listed, precise in operation and rugged in construction. They may be used as on-off switches for the five circuits.
The ACD-100's design incorporates four oversized busses, allowing wiring for 120V or 240V single phase, or 208V three phase power. A strain relief clamp is provided that can accommodate a cable or wire bundle up to 1.5 inches in diameter. Cable termination is a simple process of breaking out and stripping the individual conductors and connecting them with set screws, and then tightening the strain relief clamp. Complete instructions accompanying the unit guide the user through the process of selecting and terminating the supply cable.
The ACD-100 provides basic spike and surge suppression, with metal oxide varistors (MOV's) connected between the hot and neutral conductors of each circuit. The MOV's respond to line-derived spikes in nanoseconds, clamping transient voltages to safe levels of 200V peak or less.
The 15 amp AR-1215 AC Line Voltage Regulator is intended to protect audio, video, computer and other electronic equipment from problems caused by AC line voltage irregularities-sags, brownouts, or overvoltages that can cause sensitive digital equipment to malfunction, or, in extreme cases, to sustain damage.
The AR-1215 is designed to provide a steady, stable 120 VAC output. It accepts any input voltage from 97V to 141V and transforms it to a constant 120V, ±5V. Voltages beyond that range may also be converted to usable levels, depending on how far out of range they are. The AR-1215 can handle loads totaling up to 15 amps as long as the input voltage is above 124 volts. For voltages below that level, its capacity must be derated at approximately .15 ampere per volt.
The AR-1215 has been designed specifically with the unique needs of audio and video in mind. Its technology differs from that of computer-oriented voltage regulators in many important ways. For example:
The AR-1215 does not use a ferro-resonant transformer, which would be heavy and bulky, radiate a large magnetic field, and be too frequency-sensitive to be usable with generators. Instead, it uses a use a design based on an eight-tap toroidal autoformer. The toroidal design assures minimal leakage of stray magnetic fields.
The AR-1215 circuitry monitors the incoming line voltage with each cycle, comparing it to an extremely precise voltage reference, accurate to ±0.15%. If a voltage fluctuation requires that a different tap be selected, the new tap is electronically switched exactly at the zero-crossing, to avoid distorting the AC waveform. (Most commercial voltage regulators using multiple-tapped transformers switch taps at uncontrolled times, thereby creating voltage spikes, and often creating clicks that can leak into the audio.) Hysteresis of 1.5V in the switching circuits avoids "chatter." The design is not sensitive to small errors in line frequency, making them ideal for use with generators.
The AR-1215 also features power conditioning that is truly in a class by itself, thanks to the quantity, quality and configuration of the overvoltage suppression devices used. These include MOV's, high voltage inductors and capacitors, and precise high-inrush magnetic circuit breakers. This unique combination can safely divert large spikes as well as filter audible high frequency noise.
An additional feature, Extreme Voltage Shutdown, senses dangerously high or low voltages and shuts down the output before any damage is done. The output remains off until the overvoltage or undervoltage is removed, with an LED indicating the shutdown condition. This invaluable feature provides positive protection to your equipment from accidental connection to incorrect line voltages (for example, 220V when 120V is expected-- a not uncommon hazard in the entertainment industries.)
The AR-1215 has eight outlets on the rear panel, and one on the front panel. All outlets are regulated, spike-suppressed, and filtered against RFI with a 3-pole filter. There are no controls except the circuit breaker/on-off switch. A bar-graph meter comprised of 10 LED's indicates input voltage, while another LED indicates "In Regulation" status (i.e., that the output voltage is within ±5V of 120V.) The unit is housed in a compact, single-space rack-mount chassis, 1.75" high and 8" deep (8.9 x 43.2 cm) and weighs only 12 lbs. (5 kg).
The ASD-120 AC Sequenced Power Distro is an extremely compact, low cost rackmount power distribution system that is ideal for touring PA systems, touring musical and theatrical acts, mobile recording facilities, on-location film and video shoots, etc.-any situation where AC power must be distributed to multiple circuits and a hard-wired, built-in system is missing, inadequate, or impractical. Use of a Power Distro is cost-effective, both in terms of the convenience it offers and the elimination of bulky and expensive parallel feeds and related connectors. The ASD-120 offers many more features as well.
The ASD-120 allows you to power up and its six circuits in a sequenced fashion. The sequence is reversed for power down. The delay interval is user-adjustable via an internal trimpot.
Power sequencing is needed whenever various kinds of equipment must be powered up or down in groups, rather than all simultaneously. In audio systems, sequenced powering is often necessary to allow turn-on transients from low level amplifiers and processors to settle down before any power amps are turned on, because simultaneous powering would result in a loud, annoying, and potentially destructive "pop" reaching the speakers. And in any large system whose components present an inductive load to the AC line (including electric motors, power supplies, and power amplifiers of all kinds), sequenced powering can avoid excessive inrush currents that cause circuit breakers to trip even though the steady-state currents are not excessive.
The ASD-120's front panel provides a three-position switch for each circuit that allows each circuit to be part of the power up/down sequence, or to remain on or off apart from the sequence. An LED that indicates when either the power-up or power-down sequence is in progress. The sequence can be initiated with either momentary or maintained switches, locally or remotely. A duplex outlet is provided for each delay step. A locking switch with a removable key is provided for maximum security.
Since the sequence control signals are also available on the rear panel, one or more ASD-120's may be installed in remote locations and operated via low-voltage control wiring. The sequence control signals can also drive PowerPorts, MiniPorts, PS-PRO and PS-8-R Power Sequencers, or any other circuits that need to know when their particular time delay has elapsed. Using one or more ASD-120's can provide the capability of controlling power and power sequencing for an entire system.
The ASD-120 can handle up to 120 amps of incoming power, distributing it to six 20 amp, 120V circuits. Each circuit has a front panel status indicator that lights up when it is turned on, and a 20 amp duplex outlet on the rear panel.
The ASD-120's design incorporates four oversized busses, allowing wiring for 120V or 240V single phase, or 208V three phase power. A strain relief clamp is provided that can accommodate a cable or wire bundle up to 1.5 inches in diameter. Cable termination is a simple process of breaking out and stripping the individual conductors and connecting them with set screws, and then tightening the strain relief clamp. Complete instructions accompanying the unit guide the user through the process of selecting and terminating the supply cable.
The Furman D10-PFP is a sturdy,
rack-mountable power distributor. Featuring 10 rear panel outlets with
circuit breaker, it offers a convenient way to power a rack full of
equipment up to a 15 amp load.
The sturdy, all steel construction and heavy-duty 6 foot (14 AWG) three
conductor cord provide ultimate durability and longevity.
Note that the D10-PFP is a power distributor only, and offers no surge
protection or conditioning functions, making it an ideal extension to an
existing branch circuit.
Features
10 rear panel outlets for your equipment Sturdy one rack space design Heavy duty 6 foot, 14 AWG Cord Circuit breaker protected Rated 15 amps All steel construction
The Furman F1000-UPS is a battery backup designed exclusively for audio/video professionals and home theater aficionados.
For decades, traditional audio/video components were simple analog
devices designed to easily weather power outages of well over two
seconds. Later, as computer and microprocessor based components gained
in popularity, their extraordinary sensitivity to even a fraction of a
second’s power loss was managed with traditional UPS (uninterruptible
power supply) technology.
Unfortunately, these units were solely designed for the I.T.
professional. Though they included many technologies and features
appropriate to that application, they fell short for premium audio/video
components. Though many of these manufactures later recognized the
ever-emerging professional audio/video, broadcast, and home theater
market, their lack of experience led merely to a re-tooled chassis.
These hastily produced UPS devices lacked the technologies necessary to
truly optimize protection, performance, and control for today’s audio
video components.
The Furman F1000-UPS more than fills this void, and offers your system
unparalleled battery back-up technology, created from the ground up to
meet the exacting demands of the world’s most sensitive audio, video and
control systems!
Features
1000 VA Battery Backup maintains critical data and allows orderly shutdown in the event of a power outage Voltage Regulation provides a consistent 120V (±5V) output Series Multi-Stage Protection (SMP) provides virtually maintenance-free AC surge suppression Linear Filtering Technology (LiFT) for unequaled audio/video clarity Extreme Voltage Shutdown (EVS) protects your equipment from sustained overvoltage conditions Dual IR Output Controls allow you to program components for shutdown sequencing RS-232 Open Source Code Protocol provides custom programming for components Easy to use CD ROM software included USB Interface Critical Load Management Optional rack ears included
Protection
Typical UPS systems feature antiquated surge suppression technologies
that can cause as much damage and annoying lock-ups as they attempt to
prevent. Only Furman offers battery back-up with our road-proven SMP
non-sacrificial, zero ground contamination surge suppression technology
and EVS Extreme Voltage Shutdown. After all, the most robust battery can
not function if the accompanying circuits are damaged. With Furman’s
F1000-UPS, you can expect years of trouble free operation.
Filtration
Though many control devices are relatively immune to moderate levels of
AC line noise, today’s more sensitive devices (such as DLP projectors)
certainly are not. High-definition technologies have pushed resolution
to levels so extreme that virtually any AC noise capable of coupling
with your system’s signal will distort, mask, or destroy the performance
advantages we all strive so hard to capture and reproduce. Once again,
the F1000-UPS is different. While other UPS devices feature AC line
filters suitable for a I.T. closet, only Furman employs our exclusive
Linear Filtering Technology (LiFT). This advanced noise filtering
technology assures that today’s ultra-wide dynamic range is maintained
as it must be – pristine. Remember, less AC noise equals greater
content, greater resolution, and higher definition.
Programmability & Control
Audio/video systems can vary greatly in their size and components, and
as such, flexibility is needed in determining how a battery backup
solution should function under different circumstances. Because of this,
Furman has provided open source RS-232 control over two independent AC
outlet banks, with a wide range of control features to interface with an
existing automation solution. Dual programmable IR control allows the
unit to send a shut down command to remote components – no more
expensive projector bulbs to replace in the event of a blackout.
Typical Backup Components
Given the nature of battery backup technology, high-current audio and
video components such as power amplifiers, powered subwoofers, and
high-wattage displays are not recommended for use with the F1000-UPS.
Not only will these components drain battery power quite rapidly, line
impedance will be raised due to the F1000-UPS’s (or any) AVR and AC to
DC inverter, which can induce current compression and noticeably
diminish performance with high-current A/V equipment.
The following components are ideal for use with the F1000-UPS:
Satellite Receivers Cable Boxes Digital Video Recorders Media Servers High Resolution Game Gaming Consoles Lamp Based Video Display Control Systems
The Furman F1500-UPS is a battery backup designed exclusively for audio/video professionals and home theater aficionados.
For decades, traditional audio/video components were simple analog
devices designed to easily weather power outages of well over two
seconds. Later, as computer and microprocessor based components gained
in popularity, their extraordinary sensitivity to even a fraction of a
second’s power loss was managed with traditional UPS (uninterruptible
power supply) technology.
Unfortunately, these units were solely designed for the I.T.
professional. Though they included many technologies and features
appropriate to that application, they fell short for premium audio/video
components. Though many of these manufactures later recognized the
ever-emerging professional audio/video, broadcast, and home theater
market, their lack of experience led merely to a re-tooled chassis.
These hastily produced UPS devices lacked the technologies necessary to
truly optimize protection, performance, and control for today’s audio
video components.
The Furman F1500-UPS more than fills this void, and offers your system
unparalleled battery back-up technology, created from the ground up to
meet the exacting demands of the world’s most sensitive audio, video and
control systems!
Protection
Typical UPS systems feature antiquated surge suppression technologies
that can cause as much damage and annoying lock-ups as they attempt to
prevent. Only Furman offers battery back-up with our road-proven SMP
non-sacrificial, zero ground contamination surge suppression technology
and EVS Extreme Voltage Shutdown. After all, the most robust battery
cannot function if the accompanying circuits are damaged! With Furman’s
F1500-UPS, you can expect years of trouble free operation. *
Filtration
Though many control devices are relatively immune to moderate levels of
AC line noise, today’s more sensitive devices (such as DLP projectors
and line-level signal processors) certainly are not. High-definition
technologies have pushed resolution to levels so extreme that virtually
any AC noise capable of coupling with your system’s signal will distort,
mask, or destroy the performance advantages we all strive so hard to
capture and reproduce. Once again, the F1500-UPS is different. While
other UPS devices feature AC line filters suitable for an IT closet,
only Furman employs our exclusive Linear Filtering Technology (LiFT) to
four discrete isolated outlet banks. This advanced noise filtering
technology assures that today’s ultra-wide dynamic range is maintained
as it must be – pristine. Remember, less AC noise equals greater
content, greater resolution, and higher definition.
True Sine Wave Output
The F1500-UPS provides True Sine Wave output when in battery backup
mode, ensuring the utmost reliability to all connected equipment while
running on battery power.
Expandability
At 1500VA, the F1500-UPS provides substantial backup time for most
critical digital A/V components (see runtime chart). If more runtime is
needed, 1500VA battery packs (BATT1500E-EXT) may be daisy chained to
double, triple, and further increase runtime as the application demands.
Programmability & Control
Audio/video systems can vary greatly in their size and components, and
as such, flexibility is needed in determining how a battery backup
solution should function under different circumstances. Because of this,
Furman has provided open source RS-232 control over four independent AC
outlet banks, with a wide range of features to interface with an
existing control unit. Dual programmable IR control allows the unit to
send a shut down command to remote components in the event of a blackout
– no more expensive projector bulbs to replace in the event of a
blackout. Optional TCP/IP control (separate interface card, available
Q4), offers remote control over any Internet connection via a truly
plug-and-play, hosted, web-based graphical user interface, with full
remote control and power monitoring functionality.
* As with any battery back up system, the battery pack must be replaced periodically (2.5 to 3 years typically)
Typical Backup Components
Given the nature of battery backup technology, high-current audio and
video components such as power amplifiers, powered subwoofers, and
high-wattage displays are not recommended for use with the F1500-UPS.
Not only will these components drain battery power quite rapidly, line
impedance will be raised due to the F1500-UPS’s (or any) AVR and AC to
DC inverter, which can induce current compression and noticeably
diminish performance with high-current A/V equipment.
The following components are ideal for use with the Furman F1500-UPS:
DAWs Satellite Receivers Cable Boxes Digital Video Recorders Media Servers External Hard Drives Digital Mixing Consoles Lamp Based Video Displays Control Systems
For power management of other components, Furman recommends Classic or
Prestige Series Power Conditioners. For high-current components such as
power amplifiers and powered subwoofers, solutions featuring Furman’s
exclusive Power Factor Technology are ideal.
The Furman Gooseneck Lights are the perfect accessory for any Series II Power Conditioner. All of the Series II units are designed with a rear BNC connector to accommodate either a GN-I or GN-LED for rear rack illumination. These flexible 12 inch lights provide an ample amount of light and can be controlled by an on/off switch located on the front of the unit. In addition to their use with Furman Series II Power Conditioners, the versatile GN-I and GN-LED will work with a variety of other products in various applications. The replaceable head / bulb (depending on the model) provides for virtually indefinite use. Get a Furman Rack Light and see what you’ve been missing!
The Furman Gooseneck Lights are the perfect accessory for any Series II Power Conditioner. All of the Series II units are designed with a rear BNC connector to accommodate either a GN-I or GN-LED for rear rack illumination. These flexible 12 inch lights provide an ample amount of light and can be controlled by an on/off switch located on the front of the unit. In addition to their use with Furman Series II Power Conditioners, the versatile GN-I and GN-LED will work with a variety of other products in various applications. The replaceable head / bulb (depending on the model) provides for virtually indefinite use. Get a Furman Rack Light and see what you’ve been missing!
Furman GN-LED
The Furman Gooseneck Lights are the perfect accessory for any Series II Power Conditioner
... Learn more
The HA-6AB Headphone/Monitor Amplifier is a unique combination of a headphone amp and a conventional power amp. This combination of functions can save the expense of an extra power amp in many recording studios.
The HA-6AB is basically an economical 20 watt per channel stereo amplifier. Unlike a conventional power amp, however, it has six headphone outputs (stereo phone jacks) on the front panel, each with an associated volume control. When used for overdubbing or rehearsal, this provides more than adequate loudness in all headphones (even older low-impedance models), and allows each musician to set his or her own comfortable volume level. When the overdubbing is complete and the musicians remove their headphones, the HA-6AB can power the tape playback through either (or both) of two sets of studio monitor speakers, selected by pressing front panel pushbuttons. Without the HA-6AB, a separate amp would be needed for the studio speakers.
The HA-6AB also features a convenient input level control on the left side of the front panel. A pair of yellow LED's-one for each channel-light up whenever signal is present (threshold -28 dBu). Another pair of red LED's show an overload condition in either channel.
The Furman HA-6AB's 20 watts-per-channel make it ideal as a low distortion headphone driver for the most critical listening situations. While most headphone amps provide half a watt or less per headphone channel, the HA-6AB's higher power can drive headphones of any impedance to their full rated listening level, and do so with minimal noise and distortion. Its power capacity is also just right for the small "cube" reference speakers used in most recording studios as a comparison with the main control room monitors-it can power them without overpowering them. On the studio floor, a set of small monitor speakers driven by the HA-6AB can make a session progress more efficiently by giving the musicians a chance to hear a playback without needing to disconnect themselves from their equipment and walk into the control room.
The HA-6AB utilizes an efficient toroidal power transformer for silent operation and low magnetic leakage, as required in a studio environment. It is fully protected against thermal overload, and it can withstand a short circuit on any or all outputs for an indefinite time without damage.
OPTIONS
Accessory: Model HR-2 Headphone Remote Station: A compact, unobtrusive box that clamps to a mike stand or belt, providing two headphone jacks, each with its own volume control. Any number of HR-2 stations may be connected to a HA-6A using standard microphone cables. Comes with snap-on, snap-off mike stand clamp.
Following up on the tremendous success of its HDS-6/ HR-6 Headphone/Audio Distribution System, Furman introduces an enlarged and enhanced system, the HDS-16/HRM-16 Headphone/Audio Distribution System.
The HDS-16 Headphone/Audio Distribution System and HRM-16 Headphone/Audio Remote Mixer are the logical extension to Furman's very popular headphone amp/audio distribution lineup. These models are designed to function equally well for both live (in-ear or stage monitors) and studio applications, allowing greater flexibility and ease for both the user and the engineer.
The HDS-16/HRM-16 Headphone/Audio Distribution System cleanly routes 8 mono and 4 stereo signals to remote mixing locations via Centronics 50 pin cables. Up to eight HRM-16's can be connected directly or daisy chained to a single HDS-16, allowing as many as sixteen users (two per each HRM-16) to customize eight different mixes. A unique talkback system allows each user to communicate with other users and the main mixing location. Additionally, a SOLO system allows the engineer to mute all but one stereo send from the mix location -- very handy for reviewing recent takes or rough mixes. Additional HRM-16 features include local effects send/return, line out, overall bass/treble controls, talkback level, and a master level control.
The double rack-space HDS-16 provides full patching functions on its front panel via 1/4" and TT input jacks, and is intended to be installed at the mixing console location. The HDS-16 provides power and signal conditioning to drive the HRM-16 Remote Mixers. There is no power cord or wall wart required for the HRM-16's. In addition, it includes two 1/4" jacks for the two-way talkback functions, and a SOLO REMOTE switch with an indicator that allows muting of all but one stereo feed at all HRM-16's. This comes in handy for isolating tracks for critical listening without having each HRM-16 user turn down all but one channel. The SOLO function also includes a 1/4" jack so actuation can be done with a footswitch. Front panel indicators include POWER ON and SOLO ON. The rear panel includes six Centronics 50 pin connectors to link up to six HRM-16's (more if daisy chaining is used), and the standard Furman ON/OFF and GROUND LIFT switches.
The unique talkback system is extremely versatile. It can be configured two different ways by moving a jumper on the circuit board in the HDS-16. One way allows the talkback mic on each HRM-16 to be fed to all of the other HRM-16 units as well as the HDS-16. The other configuration allows communication to the HDS-16 only. This is particularly useful for stage use where the user's talkback mic should not feed into all of the monitors (including the user's own monitor).
OPTIONS
Model HDS-16E: "E" suffix version is for use in countries with 220/240 VAC mains. Since HRM-16 units derive their power from the HDS-16, no special HRM-16 model is needed.
OPTIONAL ACCESSORIES
HRM-CABL: Replacement 25 foot (7.7m) Centronics cable for linking or daisy-chaining HRM-16's, or for extending existing cables. HRM-16EX: Extension adapter which allows two HRM-CABLs to be joined together to create extended cable lengths. Up to eight HRM-CABLs may be joined, making a total length of up to 200 feet (62m), using one HRM-16EX adapter per cable segment (see Cable Specifications below). HRM-THRU: Wallmount kit consisting of two Centronics connectors linked with an 18 inch flat cable. Includes two wall plates and gaskets. HRM-RAW: Raw HRM-16 cable, priced per foot, for those desiring to make their own cables in exact, custom lengths. HRM-CONN: Cable-mount Centronics connector, for making custom cables.
The Furman HDS-6 / HR-6 Audio Distribution System offers a great-sounding, cost effective and flexible way to provide custom mixes for up to sixteen people in recording and live sound environments. The combination of unique functions add unprecedented functionality and convenience to any multiple-user audio application.
The system consists of two components: the rackmount HDS-6 Audio Distribution System, and one or more HR-6 remote mixers (please note that the HR-6 remote mixers are sold separately). Linking the distribution unit and remote mixers is as easy as plugging in cables -- multiple HR-6's are simply daisy-chained together. A pair of 25 foot linking cables is included with each HR-6, and other lengths are easily obtained at your local computer store or through mail order. For applications where daisy-chaining is not practical, a twelve port or larger ethernet patch panel can be wired to allow multiple HR-6 units to connect from a central location. Up to eight HR-6 remote mixers can be linked to an HDS-6, and two pairs of headphones may be plugged into each HR-6.
The HDS-6 rackmount distribution system connects to the mixer/console to provide interface and power supplies to drive a group of HR-6 remote mixers. Trimpots are provided on the HDS-6's front panel to match the console output levels to the HDS-6's inputs.
The HDS-6 is ideal as a low distortion headphone driver for the most critical listening situations. In addition to providing high current differential buffered signals, it also provides power and ground to the HR-6 remote mixers.
The HR-6 is a compact six-channel, five-pot remote mixer that clamps to any mic stand. When used with the HDS-6, the HR-6 allows musicians to customize their own headphone or monitor mix, and the engineer doesn't have to touch the board.
The HR-6 provides four mono pots and one stereo pot. The four mono pots allow each user to create a custom mix of four console channels or busses. The stereo pot will most often be used for a main control room mix, or for a stereo effects return.
Features
Every performer in a studio or live sound setting can have a personalized mix without any adjustments at the board
Perfect for use as a headphone system in the studio, plus drives powered monitors in live sound applications
HDS-6 rackmount audio distribution system connects to the mixer/console to provide interface and power supplies to drive a group of HR-6 remote mixers
HR-6 remote mixer provides each musician with five volume controls: four monaural (for mixer channels or busses), plus one for an overall stereo mix or a stereo effects return
HDS-6 to HR-6 linking cables are included with the HR-6, as is a universal mic stand clamp
HDS-6 provides gain trims and overload LEDs for each input, ground lift and on/off switch, and system status LEDs
Furman HR-2 Headphone Remote Stations (sometimes called satellites) are passive devices intended for use with the Furman HA-6A Headphone/Monitor Amplifier, to increase the number of headphone stations beyond the six provided, and/or to locate them more conveniently. With the use of a simple adaptor, HR-2's may also be used successfully with any stereo power amplifier of 50 watts per channel or less to convert them to use as headphone distribution amplifiers. (The Furman SP-20A Half Rack 20 Watt/channel Power Amplifier has the required adaptor built in.) Each HR-2 box can accommodate two sets of headphones, each with its own volume control.
USING THE HR-2
In rehearsals, headphones are often used to keep sound levels down to avoid disturbing neaighbors. In the recording studio, headphones are most often used in the overdubbing process, where new musical tracks are recorded in synchronization with previously recorded tracks. The musicians doing the overdub hear the already recorded tracks in their headphones, and play along with them. Because of the presence of open microphones, headphones are much preferred to speakers for cueing overdubs.
In many situations, it may be sufficient to plug all headphones directly into an HA-6A or other headphone amp. However, in a larger studio, or when each musician must have easy access to his or her headphone volume control, it is more practical to use several HR-2 Remote Stations at strategic locations around the room. In this case, the HA-6A (or the stereo power amplifier substituting for it) would most likely be installed in the control room.
The HR-2 Remote Stations connect in "daisy chain" fashion to the SPEAKER B-SATELLITE/REMOTE output on the rear panel of the HA-6A. This output is a male 3-pin XLR connector, so that ordinary microphone cables can be used. The HA-6A connects to the first HR-2 box; another mic cable connects the first HR-2 to the second HR-2; a third mic cable connects the second HR-2 to the third HR-2; and so on. If low impedance headphones are used, up to twelve HR-2's may be chained together. If medium or high impedance headphones are used, 25 or more Remote Stations may be chained.
The HR-2 Remote Stations are compact boxes which easily attach with a thumbscrew to any microphone stand. Each HR-2 has two stereo volume controlsand two headphone jacks, to accommodate two listeners. There are also two XLR connectors, one male and one female, for use in daisy-chaining units together. If desired, the clip on an HR-2 box may be hung on a belt if no microphone stand is convenient. Or, the clip itself may be popped off the box for tabletopuse.
The Furman HDS-6 / HR-6 Audio Distribution System offers a great-sounding, cost effective and flexible way to provide custom mixes for up to sixteen people in recording and live sound environments. The combination of unique functions add unprecedented functionality and convenience to any multiple-user audio application.
The system consists of two components: the rackmount HDS-6 Audio Distribution System, and one or more HR-6 remote mixers (please note that the HR-6 remote mixers are sold separately). Linking the distribution unit and remote mixers is as easy as plugging in cables -- multiple HR-6's are simply daisy-chained together. A pair of 25 foot linking cables is included with each HR-6, and other lengths are easily obtained at your local computer store or through mail order. For applications where daisy-chaining is not practical, a twelve port or larger ethernet patch panel can be wired to allow multiple HR-6 units to connect from a central location. Up to eight HR-6 remote mixers can be linked to an HDS-6, and two pairs of headphones may be plugged into each HR-6.
The HDS-6 rackmount distribution system connects to the mixer/console to provide interface and power supplies to drive a group of HR-6 remote mixers. Trimpots are provided on the HDS-6's front panel to match the console output levels to the HDS-6's inputs.
The HDS-6 is ideal as a low distortion headphone driver for the most critical listening situations. In addition to providing high current differential buffered signals, it also provides power and ground to the HR-6 remote mixers.
The HR-6 is a compact six-channel, five-pot remote mixer that clamps to any mic stand. When used with the HDS-6, the HR-6 allows musicians to customize their own headphone or monitor mix, and the engineer doesn't have to touch the board.
The HR-6 provides four mono pots and one stereo pot. The four mono pots allow each user to create a custom mix of four console channels or busses. The stereo pot will most often be used for a main control room mix, or for a stereo effects return.
Features:
Every performer in a studio or live sound setting can have a personalized mix without any adjustments at the board
Perfect for use as a headphone system in the studio, plus drives powered monitors in live sound applications
HDS-6 rackmount audio distribution system connects to the mixer/console to provide interface and power supplies to drive a group of HR-6 remote mixers
HR-6 remote mixer provides each musician with five volume controls: four monaural (for mixer channels or busses), plus one for an overall stereo mix or a stereo effects return
HDS-6 to HR-6 linking cables are included with the HR-6, as is a universal mic stand clamp
HDS-6 provides gain trims and overload LEDs for each input, ground lift and on/off switch, and system status LEDs
Following up on the tremendous success of its HDS-6/ HR-6 Headphone/Audio Distribution System, Furman introduces an enlarged and enhanced system, the HDS-16/HRM-16 Headphone/Audio Distribution System.
The HDS-16 Headphone/Audio Distribution System and HRM-16 Headphone/Audio Remote Mixer are the logical extension to Furman's very popular headphone amp/audio distribution lineup. These models are designed to function equally well for both live (in-ear or stage monitors) and studio applications, allowing greater flexibility and ease for both the user and the engineer.
The HDS-16/HRM-16 Headphone/Audio Distribution System cleanly routes 8 mono and 4 stereo signals to remote mixing locations via Centronics 50 pin cables. Up to eight HRM-16's can be connected directly or daisy chained to a single HDS-16, allowing as many as sixteen users (two per each HRM-16) to customize eight different mixes. A unique talkback system allows each user to communicate with other users and the main mixing location. Additionally, a SOLO system allows the engineer to mute all but one stereo send from the mix location -- very handy for reviewing recent takes or rough mixes. Additional HRM-16 features include local effects send/return, line out, overall bass/treble controls, talkback level, and a master level control.
The double rack-space HDS-16 provides full patching functions on its front panel via 1/4" and TT input jacks, and is intended to be installed at the mixing console location. The HDS-16 provides power and signal conditioning to drive the HRM-16 Remote Mixers. There is no power cord or wall wart required for the HRM-16's. In addition, it includes two 1/4" jacks for the two-way talkback functions, and a SOLO REMOTE switch with an indicator that allows muting of all but one stereo feed at all HRM-16's. This comes in handy for isolating tracks for critical listening without having each HRM-16 user turn down all but one channel. The SOLO function also includes a 1/4" jack so actuation can be done with a footswitch. Front panel indicators include POWER ON and SOLO ON. The rear panel includes six Centronics 50 pin connectors to link up to six HRM-16's (more if daisy chaining is used), and the standard Furman ON/OFF and GROUND LIFT switches.
The unique talkback system is extremely versatile. It can be configured two different ways by moving a jumper on the circuit board in the HDS-16. One way allows the talkback mic on each HRM-16 to be fed to all of the other HRM-16 units as well as the HDS-16. The other configuration allows communication to the HDS-16 only. This is particularly useful for stage use where the user's talkback mic should not feed into all of the monitors (including the user's own monitor).
**The HDS-16 and HRM-16 are sold separately.
OPTIONS
Model HDS-16E: "E" suffix version is for use in countries with 220/240 VAC mains. Since HRM-16 units derive their power from the HDS-16, no special HRM-16 model is needed.
OPTIONAL ACCESSORIES
HRM-CABL: Replacement 25 foot (7.7m) Centronics cable for linking or daisy-chaining HRM-16's, or for extending existing cables. HRM-16EX: Extension adapter which allows two HRM-CABLs to be joined together to create extended cable lengths. Up to eight HRM-CABLs may be joined, making a total length of up to 200 feet (62m), using one HRM-16EX adapter per cable segment (see Cable Specifications below). HRM-THRU: Wallmount kit consisting of two Centronics connectors linked with an 18 inch flat cable. Includes two wall plates and gaskets. HRM-RAW: Raw HRM-16 cable, priced per foot, for those desiring to make their own cables in exact, custom lengths. HRM-CONN: Cable-mount Centronics connector, for making custom cables.
A Merit Series Power Conditioner is the perfect low-cost AC power solution for any rack mount system. Install a Furman M-8Dx into the top slot of your rack, and the eight switched outlets in the rear panel will power up and protect all your equipment up to a 15-amp load. The M-8Dx features two slide out, swiveling light fixtures to provide discreet illumination of your equipment on stages, in studios, and in other dark places. A dimmer knob lets you adjust the lamp brightness to just the right level.The M-8Dx also features a bright red, three-digit LED voltmeter that displays incoming voltage.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 standard level surge/spike protection defends your gear from the spikes and surges that are so common at gigs and practice spots. With Furman's standard level RFI/EMI filtration, 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 standard level RFI/EMI filtration you'll lower the noise floor caused by the dirty AC power coming into your console or DAW. Furman's standard level surge and spike protection keeps your sensitive digital equipment from acting funny or burning up due to everyday spikes and surges. With a 15A capacity and nine 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 standard level protection and filtration keeps the bad stuff out.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 standard level protection and RFI/EMI filtration. 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.
A Merit Series Power Conditioner is the perfect low-cost AC power solution for any rack mount system. Install a Furman M-8Lx
into the top slot of your rack, and the eight switched outlets in the
rear panel will power up and protect all your equipment up to a 15-amp
load. The M-8Lx features two slide out, swiveling light fixtures to
provide discreet illumination of your equipment on stages, in studios,
and in other dark places. A dimmer knob lets you adjust the lamp
brightness to just the right level.
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 standard level surge/spike protection defends your gear from
the spikes and surges that are so common at gigs and practice spots.
With Furman's standard level RFI/EMI filtration, 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 standard level RFI/EMI filtration you'll lower the
noise floor caused by the dirty AC power coming into your console or
DAW. Furman's standard level surge and spike protection keeps your
sensitive digital equipment from acting funny or burning up due to
everyday spikes and surges. With a 15A capacity and nine 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 standard level protection and filtration keeps
the bad stuff out.
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 standard level protection
and RFI/EMI filtration. 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.
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