Monitor and Speaker Management | VintageKing.com

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Monitor Management

A Designs Audio
Audient
Coleman Audio
Dangerous Music

DBX
Drawmer
Dynaudio
Genelec

Grace Design
Klein + Hummel
KRK Systems
MartinSound

SPL
White Instruments

The <B>A Designs ATTY</B> (rhymes with "Patty") is a low-cost, no-noise, compact device designed for audio level control. It can be connected to any audio system requiring output gain control. This gives you additional power over your sound environment.
<P>The <I>ATTY</I> is easy to use and seamless to connect. It is a convenient solution for controlling audio from a variety of sources. It features dual audio INs and OUTs, a level control knob, and a mute button.
<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>
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<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>
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<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 ATTY
Passive Stereo Level Control

The <B>A Designs ATTY2'D</B> (pronounced "Attitude"), is the big brother of the successful ATTY passive audio line level controller. Think of the <I>ATTY2'D</I> as an ATTY on steroids. It offers fully independent control over two stereo pairs and two mono signals. <BR><BR>
The applications have now expanded from a passive line level controller to a host of other uses such as: Controlling output between multiple products like microphone preamps, CD players, talk backs, audio surge protectors, reamping, level control for multi speakers, extension speakers for bass pre-amps, etc.<BR><BR>
Now it has been brought to our attention that ATTY2'D can also be used in a surround sound environment! So, we have silk screened the faceplate of the ATTY2'D to reflect it’s usage in the surround sound arena.<BR><BR>
Please note: The following "indications" on the faceplate are for surround sound. Cal means calibration of your speakers. Place the level control to full/max, this is where the sound is at 100% for ALL speakers. Then, calibrate from your software, desk or console. <BR><BR>
When setting up your ATTY2'D always start with your "Sub" first.  These products are designed to be a redundant backup for your system control. The MUTE/MASTER MUTE on the ATTY and ATTY2'D are the major points of these products offering an instant audio termination.
<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 ATTY 2'D
Passive Audio Line Level Control 5.1

Coleman Audio A/B5.1 Surround Switcher
Surround Switcher

Coleman Audio CMC4 Monitor Controller
Monitor and sub control with mute

Coleman Audio LS3 Line Level Selector
Line Level Selector

Coleman Audio M3A MKII Active DAW Monitor Control
Active DAW Monitor Control.

Coleman Audio M3PH MKII Passive DAW Monitor Control
Passive DAW Monitor Control.

Coleman Audio MS6 Six Input Auxiliary Switcher
Six Input Auxiliary Switcher

Coleman Audio MS6A Six Input Switcher
Six Input Switcher with Monitor Controller - Active

Coleman Audio MS6A Six Input Switcher (Demo Deal)
Six Input Switcher with Monitor Controller - Active

Coleman Audio MS6R Alternate Speaker Switcher
Alternate Speaker Switcher

Coleman Audio MS8A Stereo Monitor Switcher
Eight Input Stereo Monitor Switcher

Coleman Audio PS1A Switcher with Monitor Controller
Four Input Switcher with Monitor Controller

The <span style="font-weight: bold;">Coleman QS8</span> is a control room monitor, a communications module, a cue mixer 
and a summing box all in a one unit. As a control room monitor the QS8 
has a passive signal path, stepped attenuator and alternate speaker 
outputs. Both the stereo cue input and the stereo Aux 3 input have their
 own level control and combine to make the cue mix. Aux 3 eliminates the
 latency issue by feeding the input signal back to the headphone mix. 
The talkback mic with it's own level control allows easy communication 
with the artist.  The QS8 also sums four stereo inputs to a balanced 
stereo output that can be recorded as a DAW mix track.<br>
<br>
<span style="font-weight: bold;">Features</span><br>
<ul><li>Passive signal path for monitoring</li><li>Stepped attenuator tracks to .05db</li><li>Alternate speaker outputs</li><li>Talkback mic and remote switching available</li><li>Cue mix eliminates latency issues</li><li>Sums four stereo inputs to a stereo output</li><li>All inputs and outputs are balanced</li></ul><span style="font-weight: bold;">Control Room Monitor</span><br>
To start the QS8 is a passive control room monitor module. A/B between 2
 balanced stereo sources, Aux #1 and Aux #2 with a stepped attenuator 
for level control feeding the output to the main or alternate speakers. 
The main signal path is completely passive, no electronics in the signal
 path means no noise added or coloration of the audio signal. There is 
also a Mix selection on the control room switch when using the QS8 as an
 analog summing box. This selection does have electronics in the path 
since you are listening to the sum of 4 stereo inputs.<br>
<br>
<span style="font-weight: bold;">Cue Mixing Section (no latency)</span><br>
The cue mix is the sum of the stereo cue input and Aux #3 stereo input. 
The stereo cue can select between a dedicated stereo cue input from the 
back panel or the control room signal (Aux #1 or Aux #2). This stereo 
cue has it’s own input level control. The Aux #3 input sums with the 
stereo cue signal, has a L/R or mono select button and an input level 
control. The resulting stereo cue mix has an overall master level 
control and is sent out to the headphone amp.<br>
<br>
Example: If you are doing a vocal overdub and you can split the vocal 
mic pre amp output signal with a “Y” cord sending one side to the DAW to
 record and the other side to the Aux #3 input on the QS8. This 
eliminates any latency issue because the artist will hear the input. The
 stereo/mono select button allows the vocal to be on both sides of the 
headphone and input level control for Aux #3 allows for “more me” in the
 headphones for the vocalist. So if the artist can’t hear enough of 
themselves you can just reach over and turn them up without digging into
 the DAW.<br>
<br>
<span style="font-weight: bold;">Communication Section</span><br>
The talkback switch activates the talkback mic and dims the control room
 signal. There is a talkback level control so you can the talkback level
 to the headphones and a slate output on the back panel that can be used
 to slate the track (take 1, take 2, take 23). The omnidirectional 
talkback microphone is included with the QS8 and has a 12 foot cable. 
You can also remote the talkback switch from the TB remote jack on the 
back panel. Any momentary switch will work.<br>
<br>
<span style="font-weight: bold;">Engineer’s Headphone Section</span><br>
The headphone output on the front panel is designated for the recording 
engineer but could be used for a player in the control room too. You can
 select between 2 sources. The cue mix being sent to the artist, this 
includes the talkback signal too. Or the Mix which is the summing 
section of the QS8.<br>
<br style="font-weight: bold;">
<span style="font-weight: bold;">QS8 as an Analog Summing Box</span><br>
Pressing the Mix button on the control room selector turns the QS8 into a
 analog summing box. There are 4 stereo sources or stems that are summed
 together (Aux #1 and Aux #2, the stereo cue input from the back panel 
and stereo Aux #3 on the back panel). The Aux #1 and Aux #2 levels are 
controlled in the DAW but the stereo cue and Aux #3 input level control 
can adjust the level in the analog mix. Aux #3 stereo/mono switch is 
also present in the mix so a bass and kick drum can be brought into Aux 
#3 L and R and made mono in the resulting stereo mix. The analog mix 
comes out on a pair of XLR connectors on the back and can be looped back
 to the DAW to record the mix track.<br>
<br>
<span style="font-weight: bold;">But wait there’s more</span><br>
Sometimes you need a second stereo cue. The QS8 can do this. Example: 
Let’s say the drummer wants to hear a click track but none of the other 
players want the click in their headphones. The engineer is listening to
 the Aux #1 input signal on the control room monitors so that signal is 
not feeding the mix output XLR’s but the Aux #2, Aux #3 and the stereo 
cue are still feeding the mix output XLR’s. So bring the click to the 
Aux #2 input. Now the mix output XLR’s can be sent to another cue 
headphone amp and will have the complete stereo cue mix plus the click 
for the drummer. The rest of the players have the cue mix signal without
 the click track, problem solved.<br>
<br>
The QS8 has the features of the mix and control room section of a recording console but only takes up 1 rack space.

Coleman Audio QS8 Control Room Master
DAW Master Monitor, communications module and summing box

Coleman Audio SMP5.1 Surround VU Meter System
Surround VU Meter System

Coleman Audio SPK5+1
Alternate Speaker Switcher

Coleman Audio SR5.1MKII Surround Level Control
Surround Level Control

Coleman Audio SR7.1
Surround Level Control

Crane Song Avocet
Monitor and volume control

Designed to provide incredible flexibility, sonic excellence and intuitive control for performance applications, the <b>dbx 4800 DriveRack® </b>is the new flagship of the hugely successful DriveRack family. From the powerful 96 kHz DSP engine and standard analog and digital I/O, to the VGA display and multiple control surfaces, the 4800 provides all the processing, flexibility and control necessary for both installation and live use. The Wizard function enhances its capability by making the DriveRack 4800 easier to use providing a menu based setup procedure including system configuration, Auto-EQ, and an Advanced Feedback Suppression™ (AFS™) Wizard. <br><br>The DriveRack 4800 is the next generation of the famous DriveRack family, and like its predecessor it is engineered to provide “Everything you need between the mixer and the power amps”. In keeping with this philosophy the 4800 includes four inputs and eight outputs with both analog and AES/EBU XLR connectivity; a CobraNet option rounds it out offering greater flexibility for large installations. The 96 kHz processing engine is capable of offering insert processing functions to customize the processing path for your application, in addition to the standard system processing functions all with extremely low latency and extended frequency response. From Signal Routing, EQ, and Bandpass Filters, to classic dbx® Dynamics and Feedback Suppression all the processing is available and with the sonic excellence that you would expect from the world's leading system processing manufacturer. With all this processing power available, control is of paramount importance. The DriveRack provides a full color display to speed manual operation; this combined with intuitive front panel controls, an easy to use GUI and optional wall panel controllers means that whether your application is tour sound or installation, the DriveRack 4800 has what it takes.

DBX 4800 DriveRack
4x8 Loudspeaker Management Processor

Results 1-20 of 55

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