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Headphone Systems & Accessories

Originally made for in-house testing of the STO-2 microphones, the <span style="font-weight: bold;">Avenson Headphone Amp</span> is designed to bring out the best in your headphones. The convenient desktop form factor, high power and transparent operation make it ideal for any high quality headphone reference system.<br><br>Two outputs allow you to drive multiple sets of headphones. The large volume knob feels nice and is easy to adjust. The push button is to engage the crossfeed circuit to reduce the extreme channel isolation that headphones exhibit. Crossfeed makes your headphones sound a bit more like listening on speakers. The Headphone Amp also features a white LED power indicator and a bright red clip indicator.<br><br>There are two sets of inputs: RCA unbalanced and 1/4" TRS balanced. The unbalanced inputs skip the integrated balanced line reciever and can be used at the same time as the balanced inputs. The balanced inputs feature high common mode rejection and are normalled together so that plugging into one jack will put a mono signal in both ears.

Avenson Audio Headphone Amp
Reference quality headphone amplifier

With one A-Net input and eight parallel A-Net outputs, the <b>Aviom A-16D</b> provides a low-cost way to replace daisy-chain connections with star configurations. The A-16D is also capable of distributing DC power out any of the eight A-Net Out jacks, eliminating the need to connect a power supply at each Personal Mixer. Any combination of powered and unpowered connections is possible; simply connect external power supplies to the A-16D on a per- channel basis as needed.
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The A-16D is also a cost-effective way to refresh an A- Net signal for long runs in excess of 500ft/150m, to provide a redundant cable path in a digital snake or audio distribution system, and to split an A-Net signal to multiple output locations. There is no limit to the number of A-Net Distributors that can be used in a single system. 
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The <b>Aviom A-16D Feaures:</b><ul>
    <li> One A-Net input, eight A-Net outputs
    <li> Can insert DC power for up to eight A-Net devices into the Cat-5e cable
    <li> 1/2-rack-space footprint - mounts easily on a standard rack shelf
    <li> A-Net activity LEDs on the main input
    <li> DC power indicator LEDs on each output jack
    <li> Multiple A-16D Distributors can be used in a system</ul

Aviom A-16D
A-Net Distributor

The <b>Aviom A-16II</b> allows individual performers to create custom monitor mixes tailored to their individual needs. Designed for use in live performance or in the studio, the A-16II Personal Mixer gives each performer control over channel volume, grouping, pan, stereo spread, and master volume and tone. Every Personal Mixer in a system can create a unique monitor mix for a performer. Users can save and recall up to sixteen custom mixes as presets in their Personal Mixer.
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The stereo output from the A-16II can be used to drive wired or wireless in-the-ear monitors, headphones, powered floor wedges, an amplifier, or spot monitors.
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The A-16II Personal Mixer is fully compatible with all Pro16® Series products, including Aviom's digital interface card for Yamaha® digital mixing consoles. Support for Aviom monitor mixing is available in the form of console interface cards from an ever- increasing list of digital console manufacturers including Digidesign®, Soundcraft®, Innovason®, etc. Look for the A-Net Active™ logo, and see our Partners page for additional information.
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Mixers can be daisy-chained or connected in parallel using an A-Net Distributor. Parallel connections also allow power to be supplied to the mixers over the Cat-5e cable. As with all Pro16 Series products, Cat-5e cable runs of up to 500 feet (150 meters) are possible between devices, and there is no limit to the number of mixers in a system.
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The <b>Aviom A-16II Features:</b><ul>
    <li> 16-channel stereo mixer
    <li> Fully adjustable pan per channel
    <li> Line/headphone audio output
    <li> Auto-detect mono/stereo circuitry
    <li> Simple set-up with Cat-5e cables
    <li> Sixteen Preset locations for storing custom mixes
    <li> Channel solo, mute, and group functions
    <li> Global trim for reducing all channel volumes
    <li> Sixteen channel select buttons with dual LEDs
    <li> Pan/Spread control with LED readout
    <li> Channel volume control with LED level readout
    <li> Master Volume, Treble, and Bass controls
    <li> Mounts easily on a mic stand with the optional MT-1 Mic Stand Mount</ul>

Aviom A-16II Personal Mixer
Digital Monitor Mixing System

The <b>Aviom A-16R</b> is a single-rack- space stereo digital mixer that can be added to any Pro16® network. Its versatile feature set makes it the ideal choice for a variety of applications on stage or in permanent installations.
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For performers using wireless in-ear systems and powered floor wedges, the A-16R couples the mixing features of the A-16II Personal Mixer with additional connectivity options. Balanced outputs on the rear panel (with both XLR and 1/4" jacks) and stereo balanced insert points simplify audio connections to external processors, amps, or wireless transmitters. A front-panel headphone jack is also provided.
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The rear-panel stereo Mix In jacks allow a local analog audio source, such as a click track or program material, to be added to the user's mix. A front-panel Mix In level control is also provided. 
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The <Aviom A-16R Features:</b><ul>
<li> Remote-controllable sixteen-channel stereo digital mixer
<li> Channel volume and pan control with LED readout
<li> Dedicated Recall, Group, Solo, and Mute buttons
<li> Sixteen user Preset memory locations
<li> Front-panel headphone jack
<li> Master Volume, Treble, and Bass controls
<li> Balanced XLR and 1/4-inch TRS stereo outputs
<li> Balanced 1/4-inch TRS inserts
<li> Auxiliary stereo mix in
<li> Sixteen channel select buttons with dual LEDs
<li> MIDI control over mix and preset save/recall
<li> Remote control via A-Control with the A-16CS or via RS-232 with approved third-party control systems</ul>

Aviom A-16R
Rack Mounted Personal Mixer

The <b>Aviom AN-16/i</b> provides 16 balanced line-level inputs into a Pro16 system. Audio is converted to digital and transmitted via A-Net, up to 500'/150m over Cat-5e. A dedicated audio thru is available for each input channel, allowing the AN-16/i to be seamlessly inserted into an existing audio signal path.
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Placed at a front-of-house or monitor console, the AN-16/i can be used as a head-end for a Pro16 Monitor Mixing System. Audio from the console—any combination of channel inserts, direct outs, submixes, auxes, or groups—is connected to the input channels on the AN-16/i. The A-Net Out on the AN-16/i is connected to the A-Net In of a Pro16 Personal Mixer or A-Net Distributor.
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Used in conjunction with the AN-16/o Output Module, the AN-16/i can also be used in a digital snake as an input path for main return signals from front-of- house. The built-in A-Net Expansion jack allows two 16-channel A-Net streams to be combined onto a single cable (32x0 or 16x16), and the AN-16SBR System Bridge can be used to combine up to four 16-channel streams onto a single cable in a variety of bidirectional configurations.
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The flexibility and simplicity of the Pro16 Series allows complex audio distribution systems and snakes to be created quickly and cost-effectively.
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The <b>Aviom AN-16/I Features:</b><ul>
    <li> Sixteen balanced audio inputs (TRS connectors)
    <li> Sixteen balanced Thru connectors (TRS)
    <li> A-Net Out and A-Net Expansion network connections (RJ45)
    <li> Stereo Link switches for each channel pair
    <li> Four-position gain switches (+22, +4, 0, -10dB)
    <li> Signal present and clip LEDs per channel</ul>

Aviom AN-16/I
16 Channel Line Level Input Module

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. <BR>
<P>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. 
<P>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. 
<P>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. 
<P>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.
<P> 
<P><SPAN class=bold_text>OPTIONS</SPAN></P>
<UL>
<LI>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. </LI></UL>
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Furman HA-6AB
Headphone/Monitor Amplifier

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. 
<P>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. 
<P>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.
<P>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. 
<P>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).
<P> 
<P><SPAN class=bold_text>OPTIONS</SPAN></P>
<P><B>Model HDS-16E:</B> "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.</P>
<P><SPAN class=bold_text>OPTIONAL ACCESSORIES</SPAN></P>
<P><B>HRM-CABL:</B> Replacement 25 foot (7.7m) Centronics cable for linking or daisy-chaining HRM-16's, or for extending existing cables. <BR><B>HRM-16EX:</B> 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). <BR><B>HRM-THRU:</B> Wallmount kit consisting of two Centronics connectors linked with an 18 inch flat cable. Includes two wall plates and gaskets. <BR><B>HRM-RAW:</B> Raw HRM-16 cable, priced per foot, for those desiring to make their own cables in exact, custom lengths. <BR><B>HRM-CONN:</B> Cable-mount Centronics connector, for making custom cables.</P><BR>

Furman HDS-16
Headphone/Audio Distribution System

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. 
<P>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.
<P>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.
<P>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. 
<P>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. 
<P>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.
<B>Features</B> 
<UL>
<LI>Every performer in a studio or live sound setting can have a personalized mix without any adjustments at the board</LI>
<LI>Perfect for use as a headphone system in the studio, plus drives powered monitors in live sound applications</LI>
<LI>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</LI>
<LI>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</LI>
<LI>HDS-6 to HR-6 linking cables are included with the HR-6, as is a universal mic stand clamp</LI>
<LI>HDS-6 provides gain trims and overload LEDs for each input, ground lift and on/off switch, and system status LEDs</LI></UL>

Furman HDS-6
Headphone/Audio Distribution System

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. 
<P><B>USING THE HR-2</B>
<P>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. 
<P>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. 
<P>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. 
<P>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.</P><BR>

Furman HR-2
Headphone Remote Station

The <span style="font-weight: bold;">Furman HDS-6 / HR-6 Audio Distribution System</span> 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. 
<p>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.
</p><p>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.
</p><p>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. 
</p><p>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. 
</p><p>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.
</p><p><b>Features:</b>
</p><ul>
<li>Every performer in a studio or live sound setting can have a personalized mix without any adjustments at the board</li>
<li>Perfect for use as a headphone system in the studio, plus drives powered monitors in live sound applications</li>
<li>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</li>
<li>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</li>
<li>HDS-6 to HR-6 linking cables are included with the HR-6, as is a universal mic stand clamp</li>
<li>HDS-6 provides gain trims and overload LEDs for each input, ground lift and on/off switch, and system status LEDs</li></ul>

Furman HR-6
Headphone Remote Station

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. 
<P>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. 
<P>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.
<P>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. 
<P>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).
<P>**The HDS-16 and HRM-16 are sold separately. 
<P><SPAN class=bold_text><B>OPTIONS</B></SPAN></P>
<P><B>Model HDS-16E:</B> "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.</P>
<P><SPAN class=bold_text><B>OPTIONAL ACCESSORIES</B></SPAN></P>
<P><B>HRM-CABL:</B> Replacement 25 foot (7.7m) Centronics cable for linking or daisy-chaining HRM-16's, or for extending existing cables. <BR><B>HRM-16EX:</B> 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). <BR><B>HRM-THRU:</B> Wallmount kit consisting of two Centronics connectors linked with an 18 inch flat cable. Includes two wall plates and gaskets. <BR><B>HRM-RAW:</B> Raw HRM-16 cable, priced per foot, for those desiring to make their own cables in exact, custom lengths. <BR><B>HRM-CONN:</B> Cable-mount Centronics connector, for making custom cables.</P><BR>

Furman HRM-16 Headphone System
Headphone Remote Mixer

The <span style="font-weight: bold;">Grace Design m903</span> keeps 
everything great about its predecessors, the m901 and m902, adds some 
useful new features, and ups the ante with even more breathtaking audio 
performance. A new volume control provides higher headroom and lower 
distortion and noise. New generation DAC's and ultra-low noise balanced 
current to voltage converter yields even more musical performance 
compared to the m902. Improved s-lock PLL circuitry delivers even lower 
phase noise and jitter. An improved power supply isolates headphone 
amplifiers, line amplifiers, DAC's and digital logic, resulting in lower
 noise and distortion.<br>
<br>
Perhaps the most exciting improvement is the all new high speed USB 
interface. This cutting edge technology provides a completely 
asynchronous data transfer mode which allows for bit-perfect USB 
playback with zero interface induced jitter. This new interface affords 
standard driverless USB Class 1 operation on Windows and Mac up to 
24bit/96kHz and USB Class 2 audio for 24bit/192kHz operation on Windows 
and Mac (drivers needed for 192kHz operation under Windows). This is 
computer-based audiophile playback, perfected.<br>
<br>
New crossfeed circuitry is even more useful and includes a gentle 
compensation to eliminate the perceived loss of low frequency content. 
Both balanced and unbalanced line outputs are now standard, with 
individual volume controls for each. We have even included a mono mode 
for checking a mix for phase issues or simply monitoring in mono. These 
improvements cement the m903 as the perfect compact, audiophile grade 
monitor controller, even for larger scale production environments with 
more than one set on monitors.<br>
<br>
A full complement of analog and digital inputs are provided (balanced, 
unbalanced, AES3, S/PDIF, TOSLINK and USB), which are selectable via a 
precision rotary front panel switch. And we offer an updated optional 
infrared remote control, which provides essential control for anyone 
working out of reach of their m903.<br>
<br>
Advancing the tradition of unmatched audio performance and 
functionality, the m903 is now the ultimate solution for high resolution
 audio playback. From the very top mastering engineers to the most 
discerning audiophiles – it is a must for anyone searching to discover 
new depths in music and sound.<br>
<br>
<span style="font-weight: bold;">Features</span><br>
<ul><li>Balanced and unbalanced analog inputs</li><li>24bit/192kHz digital stereo inputs- AES3, S/PDIF, TOSLINK and USB</li><li>High speed USB interface - completely asynchronous transfer mode 
allows for bit-perfect playback with zero interface induced jitter</li><li>Driverless operation on Windows & Mac up to 96kHz/24bit</li><li>Supports USB Class 2 audio specification for 192kHz/24bit 
operation on Windows & Mac (drivers needed for 192kHz operation 
under Windows)</li><li>New generation DAC's and ultra low noise balanced current to 
voltage converter yields more musical performance compared to the m902</li><li>Mono mode for checking mix phase issues (or listening to Pet Sounds)</li><li>s-Lock™ phase lock loop sample clock regeneration for ultra-low jitter and rock solid digital stability</li><li>High-current trans-impedance headphone amplifier circuitry built to effortlessly drive low impedance headphones</li><li>Balanced and unbalanced variable level analog line outputs</li><li>Improved power supply architecture isolates headphone power amplifiers, line amplifiers, DAC's and digital logic</li><li>Precision level control with a 99.5dB range in 0.5 dB steps</li><li>Channel level matching accuracy of 0.05dB</li><li>Improved x-feed circuit eliminates perceived loss of low frequency content</li><li>Optional infrared remote control available</li><li>Internal linear power supply with custom wound toroidal transformer</li><li>Sealed gold contact relays used for all signal switching</li><li>Five year transferable warranty on parts and labor</li></ul>

Grace Design m903
Reference headphone amplifier, DAC, monitor controller

A basic Hear Back system consists of a Hub and personal Mixers connected using standard CAT5E cables. A single Hub supplies signal and power to a maximum of eight Mixers. That’s one for you and everybody in the band. If that’s not enough, the Hubs can be daisy-chained using the HearBus In and Out for virtually unlimited system size. The Hear Back Hub can accept analog input signals from audio mixers, auxiliary, matrix, monitor, and/or direct outputs.
<br><br>
The ADAT input can come from digital audio workstations, digital recorders, or digital mixers. For front of house or remotely located digital mixers, we also have the Extreme Extender ADAT In/Out that converts ADAT optical, which has very limited distance, to the HearBus for transmission of up to 500 feet.
<br><br>
<B>Hear Back has several key advantages:</B>
		
<ul>
<li>Virtually unlimited system size
</li><li>Very attractive pricing
</li><li>Excellent audio fidelity
</li><li>Built-in DSP Limiter
</li><li>Very long digital lines possible without loss of audio quality
</li><li>Audio inputs ADAT, analog, and the HearBus are switch selectable from the front panel.
</li><li>Local control of up to ten channels of audio (8 inputs plus a stereo Aux input) Master Volume (controls the level to the headphones, line outs and the Aux input to the line outputs)
</li><li>Built-in DSP Limiter (designed as a “brick wall” limiter for hearing protection and to protect monitor wedges from overload)
</li><li>Headphone amplifier fault indicator in case of over temperature, or a short, the red LED comes on to alert the user something is a problem.

</li><li>A second visual trouble shooting aid for the user is the Bus status indicator
</li><li>Link Indicators – Whenever two pairs of mono inputs are linked for stereo operation the link LED is illuminated
</li><li>Standard CAT5E power and signal Connection, cost effective, simple, non-obtrusive way to connect eight channels of audio. The Cable is held in place with a “built-in cable strain relief”
</li><li>Balanced Line-Outs, Mono/Stereo
</li><li>Stereo AUX In
</li><li>Built-in Mic Stand Mount may be mounted to a standard mic stand or clipped onto a stand extension bar or clip
</li><li>High Power – Low Distortion Headphone Amplifiers
</li><li>One of the industry's most powerful headphone amplifiers
</li><li>High Power – Low Distortion Headphone Amplifiers
</li><li>One of the industry's most powerful headphone amplifiers
</li></ul>

Hear Technologies Hear Back 4 Pack
4 mixers, i hub , 4 50' CAT5e cables, and 1 Hear Back Analog, da88 style cable4

Hear Technologies Hear Back Hub
8 Channel Personal Monitor Mixer/Hub

Hear Technologies Hear Back Mixer
8 Channel Personal Monitor Mixer

Hear Technologies Hearbuds and Headset
Hearbuds and Headset combination

The <B>Hear Technologies Mix Back</B> is a flexible and affordable 16 x 12 x 2 x 2 monitor mixer that features two stereo outputs and twelve mono outputs. There are sixteen high quality
Mic/Line inputs with passive split. It also features two HearBus outputs and two ADAT optical outputs. A perfect companion to our Hear Back personal monitor system. A talkback mic preamp permits talking to any mono output, master outputs and the intercom output.
<BR><BR>
Included is a UV LED gooseneck lamp that makes the knob pointers and silkscreen on the front of Mix Back glow-in-the-dark!
<BR><BR>
<B>Input Channel Features:</B><UL>

<LI> 16 quality Mic/Line inputs with passive XLR split
    <LI>  Pin 1 lift and Mic phantom power switches
   <LI>  Channel inserts
    <LI>  Signal/Clip LED indicator
    <LI> 100 Hz high-pass filter
    <LI> Gain control
    <LI> 4 band EQ with separate controls for sweep and cut/boost on mid bands
    <LI> Two stereo level and pan controls (ST1 and ST2)
<LI> Twelve mono level controls (1-12)
    <LI> Switch selectable effects 1-2 sends
</UL>
<B>Master Features:</B><UL>

<LI>  2 stereo and 12 mono TRS outputs
    <LI>  Switch selectable meter/headphone monitoring
    <LI>  2 stereo TRS balanced effect returns
    <LI> Switch assignable FX1/FX2 returns to the 12 mono masters
    <LI>  Stereo Aux return with level controls to both stereo busses – great for FOH mix or the studio “two mix”
   <LI>  Buss inputs permit stacking of multiple mixers
    <LI>  Talk back mic preamp assignable to stereo masters 1 and 2, mono outputs 1-12, and the balanced Intercom/slate output
    <LI>  Relay contact when the talk back intercom switch is pressed
    <LI> 16 button talkback remote connects using standard CAT5e cable
    <LI> 16 channels of ADAT and HearBus output
</UL>
<B>Other Features:</B>
<UL>
    <LI>  Universal internationally approved internal power supply
    <LI>  11 RU chassis
    <LI>  All analog inputs and outputs are balanced

Hear Technologies Mix Back
16 x 12 x 2 x 2 Matrix Monitor Mixer

Mytek Digital Private Q 5-Station Headphone System
Complete headphone monitoring system of the highest quality

Mytek Digital Private Q Mixing Station
Headphone distribution system

The <span style="font-weight: bold;">Presonus Monitor Station</span> is
the ultimate desktop monitoring and communications system for your
recording studio. Based on the award-winning Central Station, the
Monitor Station provides talkback, speaker switching, input source
switching and four ultra loud and clear headphone amplifiers delivering
everything you need to control your recording environment.<br>
<br>
<span style="font-weight: bold;">Input Switching</span><br>
The Monitor Station allows you connect up to three input audio streams
(TRS1, TRS2, Aux/Phono) allowing you to switch between and compare
different inputs. One application is used to connect your computer
recording system main outputs to the TRS 1 inputs and a CD player's
outputs to the Aux inputs on the Monitor Station to compare your mix
with a commercial CD with the touch of a button.<br>
<br>
<span style="font-weight: bold;">Speaker Switching</span><br>
Three sets of speaker outputs are loaded on the Monitor Station
allowing you to audition your mix on different speakers to take the
guessing out of how your mixes will translate in the real world.<br>
<br style="font-weight: bold;">
<span style="font-weight: bold;">Main and Cue Routing</span><br>
The Monitor Station allows each of the stereo inputs (TRS1, TRS2, aux)
to be routed to one of two audio paths, "main" and "cue". The Monitor
Station allows you to route two separate signals (Main and Cue) to each
of the four headphone amplifiers.Send a mix with click track to TRS 2
input while sending the "main mix" to TRS 1. You can then enable the
headphone amplifiers to listen to either cue or main mix. The main
audio path always feeds what you will hear in the control room.<br>
<br>
<span style="font-weight: bold;">Total Communication</span><br>
Communication during recording is essential. No more yelling when you
need to talk to the musicians wearng headphones. Use the Monitor
Station talkback system with onboad or external microphone to
communicate with the musicians.<br>
<br>
<span style="font-weight: bold;">Customize Your Monitor Station</span><br>
Three different functions on the Monitor Station can be set and saved
during power up so that you can customize your recording system for the
way you work.<br>
<br>
Input selection can be set in either "summing" mode (TRS1, TRS2, and
Aux/Phone are summed together when engaged), or in "toggle" mode (TRS1,
TRS2, and Aux/Phono can only be selected one at a time).<br>
<br>
Speaker selection can either work in "all on" mode (speaker A, B and C
can be engaged simultaneously), in "toggle" mode (speaker A, B, and C
can only be selected one at a time), or in "subwoofer" mode (A and B
are selectable while C can be selected with A or B).<br>
<br>
The Monitor Station's LED signal meters can also be set in three
different modes for various signal levels (-10dB, +4dB and +10dB).<br>
<br>
<span style="font-weight: bold;">Headphone Amplifiers that "go to 11"</span><br>
PreSonus has built a reputation for delivering the best-sounding
headphone amplifiers available. Each of the four headphone amplifiers
loaded in the Monitor Station deliver 150 milliwatts and are able to
power any headphone with as much loud and clear volume needed for
everyone in the band, including the drummer.<br>
<br>
<span style="font-weight: bold;">The Presonus Monitor Station Features</span><br>
<ul><li>Main speaker volume adjustment</li><li>3 stereo inputs (two balanced TRS, one RCA Aux/Phono)</li><li>Three sets of balanced TRS speaker outputs each with level adjustment</li><li>Talkback microphone with volume control to feed headphone and Cue output</li><li>XLR input for external dynamic talkback microphone</li><li>Accurate dual 8-segment LED for metering</li><li>4 loud and clear headphone amplifiers with separate volume control and independent input source selection</li><li>Main and Cue stereo output with independent input source selection</li><li>Dim with variable level adjustment</li><li>Aux and Phono level adjustment</li><li>Mute and Mono</li></ul>

PreSonus Monitor Station
Desktop Studio Control Center

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