2010 Tec Award Nominees | VintageKing.com

API Audio
Neve
Barefoot Sound
Shadow Hills Industries
Retro Instruments
Waves Audio
Coles Microphones
Endless Analog Clasp

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2010 TEC Award Nominees

The Ableton Live 8 is about making music; for composition, songwriting, recording, production, remixing and live performance. Live's nonlinear, intuitive flow, alongside powerful real-time editing and flexible performance options, make it a unique studio tool and a favorite with live performers. If you'd rather be "making music" than just "using music software," Ableton Live is for you. Live 8, the latest version, includes a wealth of new techniques and improvements with a new groove engine, revamped warping, live looping, new effects, crossfades in the Arrangement View and a reworked MIDI editor. Features: <ul class="simple"><li>Multi-track recording up to 32-bit/192 kHz</li><li>Nondestructive editing with unlimited undo</li><li>Powerful and creative MIDI sequencing of software and hardware instruments</li><li>Advanced warping and real-time time-stretching</li><li>Supports AIFF, WAV, MP3, Ogg Vorbis and FLAC files</li><li>A comprehensive selection of built-in audio and MIDI effects</li><li>Built-in instruments: Simpler for sample-based synthesis, Impulse for sampled drums</li><li>Instrument, Drum and Effect Racks</li><li>New groove engine; apply and extract grooves in real time</li><li>VST and AU support; automatic plug-in delay compensation</li><li>REX file support plus built-in audio to MIDI slicing</li><li>Video import and export for scoring, video warping</li><li>Simple MIDI mapping plus instant mapping for selected hardware</li><li>Full ReWire support; runs as Slave or Master</li><li>Single-screen user interface for simple, creativity-focused operation</li><li>Multi-core and multiprocessor support</li></ul> Also Includes: <ul class="simple"><li>A selection of loops (box only)</li><li>Essential Instrument Collection 2: a wide range of sampled instruments (box only)</li><li>Printed reference manual in English, French, German or Japanese (box only)</li><li>Built-in interactive lessons</li><li>Localized software menus, tutorials and PDF reference manuals in English, Spanish, French, German and Japanese</li></ul>

Ableton Live 8 Full Version - Retail Box

The Ableton Max for Live puts the power and potential of Max/MSP inside Live. Create all the instruments, effects and extensions you've ever wanted. Go beyond the common and predictable, and transcend the limits that conventional tools impose. Build completely unique synths and effects, create algorithmic composition tools, or fuse Live and controller hardware into radical, new music machines. Join a society of makers and share ingenuity. What it is Basically, Max for Live is a tool kit for making new devices. Think of a diverse and comprehensive set of building blocks that you can use to build pretty much anything you can think of. These building blocks include basic objects such as "+", audio elements such as filters and oscillators, user interface objects, and a set of objects that regulate access to Live and hardware devices. Max for Live also provides a canvas where you can place and connect these objects with virtual wires. Flowing through these wires are audio, MIDI or video signals, or any other kind of data. Max is essentially a visual programming environment where you build courses or tracks for these signals to run through. You can build new devices from scratch, modify existing ones or simply use devices that others have made. Max for Live includes several ingenious example devices and plenty of tutorials to take you from using to tweaking, and then to building.Push the button The edit button included on every Max for Live device may be small, but there's some big stuff behind it. Click to open up the device and delve inside, where you can edit, add controls, modify the signal flow and configure as much or as little as you want. While you're editing, your track keeps playing and you hear the changes you're making in real time. Interface friendly Devices made with Max for Live are perfectly integrated into Live's workflow and user interface. You can manage Max devices just like Ableton devices, save presets or using automation and mapping just as you do now. The tool set provides user interface elements straight out of Live for an Ableton-like look and feel, but you also have the freedom to create new and unique interfaces using the extensive set of Max 5 user interface elements. Official Live API Max for Live also provides objects that allow you to access and modify the inner workings of Live. Modify the tracks, clips, notes, names and values, selection states—and pretty much anything else you can see or hear in Live. This API also allows you to access controller hardware via Live, creating new mappings that can completely repurpose a hardware device. Even if you don't know what an API is, you can still use devices that other people have built and apply them to your Live setup. Learning curves and tutorials Nobody can claim that programming with Max is easy: There is an unavoidable learning curve involved with any kind of programming. So, yes, it can get complex, but it's worth it. Max's visual approach is a lot easier to get into than traditional programming, especially because you can immediately see and hear the effects of your changes. Max for Live also includes a number of in-depth tutorials, each with its own reusable example content. The tutorials guide you through Max for Live, from the first basic steps to the advanced, ninja-style stuff. They'll help you find your level and provide support and examples as your skills develop. Attention Max users! The equation works both ways: If you already own Max, Max for Live provides straightforward tools for controlling Live from your Max environment. Maybe you want to exploit Live's timeline, or work some magic with the Session View—it's up to you. If you own Max 5, this will be your editing environment when you open up a Max for Live device. Please note, though, that Max for Live doesn't include a version of Live. Features: <ul class="simple"><li>Build your own audio effects, MIDI effects and instruments</li><li>Use the API to control Live Sets, tracks, clips, devices, notes, loops, parameters etc.</li><li>Extend your hardware's feature set: provides objects to access any hardware controllers that are connected to Live</li><li>Includes a specialized version of Max for creating and editing Max devices (Please note: does not run independently of Max for Live)</li><li>Comes with a selection of MAX devices that are ready to use out of the box for audio and MIDI processing, algorithmic composition, real-time performance and hardware control</li><li>Devices keep playing in Live while they are being edited in Max</li><li>Flexible user interface design: the UI can look like Live or completely different</li><li>Includes hundreds of built-in Max objects for logic, MIDI, scripting, audio and video processing</li><li>Supports video synthesis and animation via "Jitter" objects</li><li>Includes step-by-step tutorials for learning to program with Max for Live</li></ul>

Ableton Max for Live - Electronic Delivery

The ADAM S3A is one of ADAM’s most famous models and is found in many of the most prestigious recording studios all over the world. The successor of this world famous model is the S3X-H, a monitor second to none within its size and price point. Unlike the S3A, the new X-model incorporates a 4” HexaCone™-midrange as part of the redesigned construction to further improve the musically most important midrange. This new design provides more detail with improved radiation characteristics while presenting a musically coherent sound. To produce deep, tight bass both woofers now work within the same frequency range and radiate symmetrically. This allows for a problem free installation in any multi-channel application. Optional digital input All SX-models (except the S1X) can be optionally retrofitted with a 24 bit/192 kHz D/A Converter featuring an AES/EBU (XLR) and a SPDIF (RCA) inputs as well as a R/L/Mono switch. The front panel Six controls can be found on the new front panel. Input sensitivity is handled by two controls. One control allows for coarse settings (-20dB to +8dB), while the second is used for fine tuning in 0.5dB steps, ranging from -1.5dB to 2dB. There are two controls for the lower frequencies. One is an equalizer at 80 Hz that boosts bass response sometimes desirable in popular music. The second is a shelf filter that allows the engineer to alter the frequencies below 150 Hz. High frequencies can also be adjusted by two different controls. The first alters the high frequency volume (-2dB to +2dB), while the second is a shelf filter for frequencies above 6 kHz. Both the high and low shelf filters can raise or lower ±4 dB progressively within their frequency band.

Adam Audio S3X-H (single)

Designed for positioning on a meter bridge, or rack-mountable for broadcast applications, the ATC SCM25A Pro offers very high-performance in the most compact possible form factor. The SCM25A Pro incorporates ATC's proprietary short coil seven-inch carbon-paper woofer, a three-inch soft dome midrange driver and a one-inch silk dome tweeter in a ported enclosure that measures 10.4 inches (264 mm) (H) x 16.9 inches (430 mm) (W) x 16 inches (408 mm) (D). The integrated tri-amplifier generates 150 W RMS for the woofer, 50 W RMS for the midrange and 25 W RMS for the tweeter. The passively cooled amp pack also features FET limiting. The crossovers are all 4th order, critically damped with phase compensation. The SCM25A Pro produces a wide, stable soundfield with very low coloration and offers low frequency extension to 42 Hz (-6dB).

ATC Loudspeakers SCM25A Pro - Pair

The Bricasti M7M Reverb Processor Mainframe is an exact duplicate of the M7 Stereo Reverb Processor with reduced front panel controls, and is intended to be used in conjunction with the M10 Remote Console. The Bricasti Design M7 provides the highest level of musicality and ease of control imaginable in a processor dedicated to the task of reverberation. A modern high resolution digital design, utilizing a stunning array of the latest DSP processors, provides a platform for the long overdue next step in reverb processing algorithms. A separate fully differential analog section and dedicated transformer based linear power supply provide the finest analog specifications of any product of its kind. An exceptionally strong stainless steel chassis, and a tooled aluminum front panel, combine with a classic high visibility display and straight forward human interface, to complete an enduring design that is intended to fulfill its role, now and into the future. Each design element of the Model 7 is a carefully considered statement of our vision of what the evolution of reverberation processing in its most classic form can be. With a deep appreciation of the best designs which precede it, and a passion for moving the science of reverberation forward, the Model 7 provides a palette of sounds that encompass the familiar as well as new expressions in the art. Listen to the new reference in reverb processing; it will bring new life to your art, in a way unimagined by any process before it. Programs and User Interface Features: <ul> <li>100 Unique reverb presets </li><li>Revolutionary new reverb algorithm True Stereo Reverb Process </li><li>Classic and new Presets; Halls, Plates, Rooms, Chambers, Ambient Spaces </li><li> 12 Parametric Program Parameters </li><li>100 User registers </li><li>4 Front panel “Favorites” for quick saves and compares</li></ul> Hardware Design Features:<ul> <li> Dual Dedicated Power Supplies </li><li>Custom design toroidal transfomer linear supply for analog </li><li>High performace switching supply for digital </li><li> Separate Digital and Analog modules </li><li>Non corrosive Stainless Steel chassis and top cover </li><li>Milled anodzied aluminum front panel, knobs and button caps </li><li>Postive feel 2 db stepped analog input level control </li><li>MIDI I/O </li><li> Hand Crafted in the USA </li></ul> The new Bricasti Design Model 10 remote console is a dedicated hardware remote controller for use with the M7 stereo reverb processor. Following the same design criteria as the M7, the M10 casing is manufactured and milled from solid anodized aluminum, for an enduring design and long life. The M10 is also designed to be simple to use, and easy to interface; utilizing a standard RS422 serial interface. In application, it can be very useful when using more than one M7 or when there is a need to be more in the sweet spot when making adjustments in a large mixing environment. Features: <ul> <li>Custom milled solid aluminum casing and buttons, fine finished and anodized for an enduring design and classic look. </li><li>Controls from 1-8 x M7s </li><li>Connects to the first M7 via RS422 9pin serial cable, 10 meter cable provided, up to 30meters that is 480L compatible, simple to install with no practical distance limits, or IP addresses to configure. Longer distances may require an additional power source for the M10. </li><li>Simple serial ‘loop thru” for connecting more M7s, connect to the first and loop to the second, and third etc. </li><li>DC Power is supplied from the M7 through the cable, no wall warts, or external supplies. </li><li>8 meters, for 4 stereo pairs, metering 4 machines at a time. </li><li>Machine selection is a by dedicated Machine key in the M10: <ul> <li>Press the machine key to “toggle or step though” for 2 x M7 operation. </li><li>Press machine key and use the Jog wheel to step through the machineso for control of more the 2 x M7s. Press machine key and use the 1-4 keys to directly access any machine, for control of more the 2 x M7s. </li><li>Use the “up down keys” to change banks and for metering for control of more the 4 x M7s.o </li><li>Same clear easy to read displays as used in the M7 </li></ul> </li><li>Same user interface as the M7, with the addition of Machine and Setup keys, so no need to learn something new. </li><li>Simultaneous control of the M7 from both the M7s front panel and or the M10 with a lock out. </li><li> Setup key for the M10’s local memory, configurations, and settings. </li></ul>

Bricasti Design System 1

Built in response to demand from a professional studio community searching for unique sonic signatures, the Dangerous design team took inspiration from the classic Baxandall shelving curves of the 60’s and 70’s and created a unique equalizer with a 21st century mastering aesthetic. The result is pure emotive expression with audiophile accuracy. <ul><li>Stepped controls throughout for repeatability and identical stereo operation</li><li>Broad Q Shelving</li><li>7-position High Pass and Low</li><li>Pass Filters--2-pole Butterworth configuration (12 dB/oct)</li><li>8-position High and Low Frequency Select</li><li>+/- 5dB Cut and Boost controls in 1/2 dB steps</li></ul> “Unlike anything you have heard, but exactly like what you’ve been looking for.” -Phil Demetro, Lacquer Channel Mastering “I want this box for the 60 Hz band alone. While testdriving the prototype I got addicted to it--the BAX gave me a foot like no other EQ I have does. It’s no surprise that the first piece of signal processing from Dangerous is something that currently does not exist and something I need to have.” -David Kutch, The Mastering Palace “The BAX EQ is my new favorite box to put across my whole mix. It lets me achieve that modern pop brightness without any of the usual sibilance or harshness. The super low-end is fat without being muddy and it’s incredibly smooth and balanced. I have never heard any EQ like this one before.” -Fab, FLUX Studios, NYC

Dangerous Music Bax EQ

The Dynaudio BM 5A Compact is an extremely small yet very powerful speaker for post and broadcast production. Dynaudio Acoustics have gone to great length to ensure massive power and superior sound quality in combination with serious space restrictions, and novel research have made it possible to fit loads of power and quality into a very minute cabinet, defeating what was previously deemed impossible. That effort now gives audio professionals an extremely compact nearfield monitor with uncompromising acoustic qualities, and fills an important gap in the broadcast and post production industry, where space often is the determining factor for installations. The BM 5A Compact is a great solution for the space problems that remote broadcast trucks/OB Vans and tight editing bays have to deal with.

Dynaudio BM 5A Compact - Pair

The Electrodyne 501 is a two-stage, discrete transistor, transformer-coupled preamp with active DI based primarily on the modules found in the classic 1608 console. Each amp stage is individually optimized for peak performance using detailed Electrodyne factory engineering notes and select high performance components identical to the originals. In fact, the 501’s transformers are made by Electrodyne’s original supplier to exacting factory specifications. The new preamp’s active DI circuit presents an almost immeasurable load (over six megohms!) to sensitive musical instrument outputs allowing incredibly accurate capture of the instrument’s true tone. Furthermore, the output of the DI circuit is designed to directly connect and interact with the mic input transformer to permit an extremely broad spectrum of tonal options. The faceplate of the Electrodyne 501 features a large rotary gain control offering up to 68dB of gain – adjustable over 50dB in 2dB steps with two ranges via a 20dB pad switch – and a smaller output level pot infinitely adjustable from 0 (off) to +6dB over unity. Additional switches for impedance selection (50 or 200 ohms), phase reverse, +48V phantom power and DI (with 1/4" input jack) are also present, as well as a clip LED that monitors all three amp stages and illuminates when any stage is 3dB from clipping. Specifications <ul><li>Maximum Gain: 68db. Adjustable over 50db in 2db steps with two ranges using 20db pad. </li><li>Output level control: Infinitely adjustable from 0 (off) to +6db over unity. </li><li>Input impedance: Microphone, 50 / 200 ohms selectable. DI, over 7 megohms. </li><li>Output impedance: 150 ohms </li><li>Distortion: 0.02%typical over entire gain range. </li><li>Maximum output: +30db at less than 0.8%thd. (+29.5db at 0.06%thd) </li><li>Frequency response: +/- 0.25db, 10hz to 60khz. </li><li>Signal to noise: -80db typ, -60db at absolute maximum gain. </li><li>Clip indicator: Monitors all three amp stages and illuminates when any stage is 3db from clip. </li></ul>

Electrodyne 501 Preamp

Tape + CLASP + DAW = What’s Been Missing 'Quick, easy, and professional beyond all expectations, CLASP proves to be the biggest breakthrough in recording technology we’ve seen in years.' - EQ Magazine What could single-handedly revive analog tape and make your tape machine worth 50 grand again? When tape-based recording was largely replaced by DAWs, it left a sonic void that plugins have not been able to fill. CLASP is tape > at digital speed. CLASP routes all audio to tape then lines it up with sample accuracy in the DAW in real time. CLASP integrates your tape machine into the modern DAW workflow, making the most of both platforms. All functionality of the DAW remains, but your computer will sound like your tape machine. You’ll spend more time recording, and no time waiting for transfers, Lynx boxes or SMPTE. The DAW controls the tape machine, and you don’t have to touch it once tape is loaded. DAW features like playlists and quickpunch are not compromised. Perhaps best of all, CLASP delivers what is technically impossible with a DAW alone: zero latency, real time analog monitoring. Better for singers and the groove. Switch tape speeds to get different tones all within the same project—track drums at 15ips, bass at 7.5 and vocals at 30, for example. CLASP is easy on transports because it’s not chasing anything. Standard tape reels are used from top to tails which means the tape wears down much more slowly, lasting anywhere from multiple songs to multiple projects. Record as many simultaneous tracks as your tape machine and converters can accommodate. CLASP consists of mastering-grade hardware and rock-solid control software <ul><li>Analog auto-router with zero-loss and zero latency.</li><li>Tape machine remote emulator—works with virtually any professional analog tape machine that has a remote connection. </li><li>Master control plugin to coordinate delay compensation, tape track arming and tape transport. </li><li>Supports Mac and PC, Pro Tools, Nuendo, Cubase, and DP (coming soon).</li></ul> Draw a sonic line in the sand: between normal studios | and studios with tape machines. With CLASP your tape machine will generate business again and cost less to operate <ul><li>CLASP encourages overdubs on tape. Give clients a HUGE SOUNDING reason to make their entire record in your studio.</li><li>Mid-session tape transfers are no more, and no longer a stumbling block to studio owners or artists.</li><li>Reuse tape. Minimize tape costs and make analog recording affordable again.</li><li>Less wear and tear on tape machine means less maintenance. </li><li>One CLASP system can operate up to three machines: Get the most of your tape machine investments.</li><li>Easy installation and set up (about one hour) with Free Technical Support.</li></ul> CLASP – The Sound of What’s Been Missing Call Vintage King today to arrange a demo! Manufacturer's Description Finally, Pro Tools ® sounds like your analog tape machine. Endless Analog CLASP is a revolutionary device that ties your existing tape machine to your DAW system invisibly. The Closed Loop Analog Signal Processor (CLASP ®) is a hardware and software system that integrates Analog Tape Recorders with Digital Audio Workstations using a proprietary method called SST ® (sample synchronization technology). CLASP ® delivers a true analog front end recording solution with the sonic character of your tape machine. CLASP ® works invisibly in the background allowing you to capture all the great warmth off the tape but without impeding the workflow and since you’re not saving endless out takes of tape, CLASP ® is easy on the budget as well.CLASP ® turns your analog tape machine into an analog flavored plug-in, delivering a true analog front end recording solution with all the sonic character of real tape. The fat sound of real analog tape Imagine experiencing analog tape recording as fast, effortless and time-saving as Pro Tools ®. With the CLASP ® system you can record using tape while simultaneously maintaining all the speed, flexibility, and editing capabilities that you depend on from your workstation. CLASP ® allows for a seamless analog recording experience where all recording and overdubs are done in real time, and all audio is stored in your Pro Tools session. Record one or several albums using a single reel of tape. How do I use it? CLASP ™ installs between your mic pre’s, DAW, and tape machine, typically accessible through your patch bay. CLASP ™ is compatible with Pro Tools HD ®, Logic ®, and Nuendo ®, providing 24 tracks of recording. Supported tape machines include Studer, MCI, Otari, 3M, Ampex, Sony, and Tascam. The CLASP ™ software suite includes versions for RTAS, AU, & VST. Once installed, simply set up a recording session inside your DAW, initialize synchronization of your analog recorder to your DAW with CLASP ™, and you are ready to record. Daisy chain up to three CLASP ™ hardware interfaces and synchronize three analog recorders for a total of 72 channels of recording. Use with a 24, 16 or 8 track for tracking sessions or even a 2 track for overdubs. Combine different machines and tape speeds for different tones. With the CLASP ™ the possibilities are endless. Record, listen, and enjoy. <a href="http://instantvintage.net/docs/ENDLESS_ANALOG_CLASP_CONNECTION_DIAGRAM.pdf" target="blank">Download the CLASP connection diagram (pdf)</a> CLASP DEMO TOUR: <a href="/Endless-Analog-Clasp-Demonstration-Tour">(click here)</a> CLASP demo system in Los Angeles, make an appointment today! Contact Jeffrey Ehrenberg 248 591 9276 ext 102 <a href="mailto:jeffrey@vintageking.com">jeffrey@vintageking.com</a> Features <ul><li>Zero-loss signal path</li><li>Sample accurate synchronization</li><li>Auto input monitor switching</li><li>Full latency compensation</li><li>Zero latency analog monitoring</li><li>Auto tape transport control</li><li>Post-roll record</li><li>Return to zero rewind from DAW</li><li>Audible rewind function</li><li>Auto rewind</li><li>End of tape sensor</li><li>Large tape reel support</li><li>CLASP Machine Matrix Ready</li><li>MMC and HUI support</li><li>Remaining tape time counter</li><li>Auto channel cascading</li><li>Repro only monitor option</li><li>Daisy chaining</li><li>Auto standby mode</li><li>Machine online / offline hotkey</li><li>Arm / Disarm all tracks hotkey</li><li>Machine sync memory</li><li>Direct record mode</li><li>MIDI Programmer mode</li></ul>Supported Tape Machines If you do not see your tape machine listed hereplease contact us. <ul><li>3M M79</li><li>Ampex</li><li>Ampex ATR 102</li><li>MCI JH Series</li><li>Otari MTR</li><li>Otari MX 5050</li><li>Sony APR-24</li><li>Studer 800</li><li>Studer A80</li><li>Studer A827</li><li>Studer J37</li><li>Tascam</li></ul>Dear Endless Analog, Thanks for making such an amazing product with CLASP. It was a very important part of the new Taylor Swift album Speak Now. Having the tape machine rolling during recording inspired our creativity and captured sonic nuances that would have been otherwise missed. Vocals, electric guitars, and bass, are just a few of the instruments that we used with CLASP. You guys rock. Peace to you, and tape to all. -Nathan Chapman

Endless Analog Clasp

Take deep, hands-on control of your favorite audio and video applications with Avid Artist Control - a compact control surface with unmatched integration and programmability that acts and feels like a physical extension of your software. Speed up and enhance your work-flow with functionality far beyond what a mouse and keyboard can provide, so you can focus on being creative. Artist Control features EUCON (Extended User Control), a high-speed open control protocol that has been adopted by many of the world’s leading software developers. Pro Tools, Media Composer, Apple Logic, Apple Final Cut Pro, Steinberg Cubase, and many other applications support EUCON, giving you highly responsive control over almost all software functions. You gain high-resolution, high-speed control over almost all software functions, and a tightly connected “software as hardware” experience. Features <ul><li>View and access top-level information, track record arm/solo/mute/select commands, Soft Keys, surround panning, and more using the customizable LED-backlit touchscreen</li><li>Trigger keyboard shortcuts, macro commands, and more through unlimited programmable touchscreen Soft Keys and 12 physical Soft Keys</li><li>Get highly responsive control through high-speed Ethernet connectivity</li><li>4 touch-sensitive 100mm long throw motorized faders</li><li>8 touch-sensitive rotary encoders</li><li>Data wheel and transport controls with modifier keys to assign wheel function</li><li>Dedicated monitor/control room level and talkback mic controls</li><li>Footswitch jack to punch in and out of recording</li><li>Supports EUCON, HUI, and Mackie Control protocols</li><li>Controls multiple applications and workstations</li><li>Slim, compact design for easy studio integration and portability</li></ul>

Avid Artist Control

The Focal CMS 40 is the most compact monitor of the Focal Professional range. Its size/extended bass frequency ratio ensures excellent versatility. This monitor guarantees ultra-realistic voicing, whilst offering optimum acoustic integration in a small room. Its design permits a listening position from 16" (40cm), even in the least advantageous locations (ex. proximity to reverberating surfaces). The CMS 40 is the perfect tool for post-production and home studios. And even in the biggest and best studios, it proves to be an excellent second monitoring system, allowing one to quickly check how the mix translates onto smaller speakers.

Focal CMS 40 (Single)

With eight channels of Focusrite microphone pre-amplification, eight VCA-based Red 3-derived compressors and built-in 24-bit / 96 kHz digital inputs and outputs, Focusrite OctoPre MkII Dynamic is Focusrite’s feature-rich expansion upgrade for any digital audio workstation. It’s equally an ideal expansion for any analogue or digital console, or hard disk recorder. Digital inputs and outputs let you make the most of often-neglected ADAT i/o; ideal for expanding the number of mic-pre inputs on your interface or for providing analogue monitoring from any digital ADAT feed. With this entire package fitting into a single 1U chassis complementing Focusrite’s Saffire PRO range, and all controls adjustable from the front fascia, OctoPre MkII Dynamic sets the standard for modern, compact, multi-channel recording expansions. Features Eight award-winning Focusrite pre-amps Focusrite's unparalleled pre-amp legacy forms the foundation of this new device, with pre-amps optimized to handle extreme levels from sound sources like acoustic drums. Eight ‘single-dial’ Focusrite Compressors A single dial gets you to the right amount of compression, fast. These new VCA-based, feed-forward compressors model the character of the celebrated Focusrite Red 3. Compress transparently or with effect The classic soft-knee design achieves beautifully transparent compression that caresses your sound. Focusrite’s unique “More” switch doubles the ratio to deliver ‘compression with effect’. Built-in eight channel 24-bit / 96 kHz digital outputs Make the most of your interface's ADAT input for tracking, with eight channels of analogue to digital conversion via ADAT, boasting a ‘real world’ dynamic range performance of 110dB. Built-in eight channel 24-bit / 96 kHz digital inputs Switchable from the front panel, digital to analogue conversion via ADAT provides analogue monitoring of any digital ADAT feed, as well as the ability to clock from any ADAT device. State-of-the-art Clocking Solutions OctoPre MkII Dynamic's internal clock delivers a jitter performance of +/- 20 PPM. For external clocks, industry-standard JetPLL™ jitter elimination technology is employed Two high-quality instrument inputs OctoPre MkII Dynamic’s first two channels feature DI’s, ready for you to plug in your Guitars and Bass. No expensive external DI required. Additional Features <ul><li>Input clip and Compression active LEDs on every channel</li><li>5 LED input metering on every channel</li><li>Phantom power available on every channel (switched in two groups: 1-4 and 5-8)</li><li>24-bit resolution, 44.1, 48, 88.2 and 96kHz sampling rates</li><li>Internal clocking, master clocking and external clocking via BNC or ADAT</li></ul> The original ISA mic pre, as featured in the early Focusrite Forte console, is still used by many of the industry's greatest producers and has contributed to the sound of countless hit records. Today, Focusrite design equipment for a far greater audience, from professionals to amateur enthusiasts, all with varying budgets. As with the Classic ISA mic pre used in both the ISA and Red ranges, the Saffire mic pre found in the OctoPre MkII Dynamic is designed to the highest possible standards. It upholds the same wide bandwidth philosophy featured in the original forté console, back in 1989. As with the Classic ISA mic pre, the Saffire mic pre design features custom components which have undergone an intense testing and qualification process. With the facts and figures in, Focusrite designs then have to pass the essential listening stage. Any design can measure well on the test bench but only a great design can be qualified in the studio. The FET-based Saffire mic pre design is no exception. It delivers clarity without colouration and exhibits the signature transparency for which Focusrite have become famous. With the high channel count interfaces (Saffire PRO 40 and Liquid Saffire 56) and both the OctoPre MkII and OctoPre MkII Dynamic, the Saffire pre-amp has been optimized for drums. The theoretical maximum level of a microphone was calculated, and the mic pre was adjusted with this in mind so as not to clip with this level present, set to minimum gain. As a result, the mic pre won’t clip, even with a high output level mic right up close to a snare drum (the mic input will accept signal levels up to +16dBU from a microphone). The Compressors featured in OctoPre MkII Dynamic are a new VCA-based, feed-forward design, derived from the celebrated Focusrite Red 3. With just a single dial, these eight 'recording' compressors allow you to get to the desired amount of compression for each channel, fast, providing a natural but loud sound. The single dial solution decreases the threshold, and increases the makeup gain simultaneously, the result of which is a sound that gets progressively more compressed but retains a good output level. The compressors uses a soft-knee progressive compression curve, modeled on the properties of the Red 3 compressor, and featuring a fixed Attack time of 1.2 ms and Release time of 28ms. The circuit has been tuned by ear at Focusrite and these settings were chosen after critical listening and analysis of the Red 3. Bass guitar and drums were put through the Red 3 compressor, and the threshold, ratio, attack and release envelopes were modified until the desired 'controlled' sound was achieved. These settings were then applied to the new VCA circuit where the soft knee and ratio curve had been duplicated. A further listening then helped to tweak the settings and ensure that the compressors behaved as expected. The compressor has two modes: Normal and ‘More’, which let you change the behavior of the compressor to suit different instruments. Whist the Red 3 is well known and loved for its sympathetic approach to compression, it’s not regarded as an ‘effect’ compressor. However, with the OctoPre MkII Dynamic’s 'More' button, found on each compressor, you can bring a bit of aggression to your sound. The More button doubles the ratio from 2:1 to 4:1 and shifts the threshold range, so you have more sensitivity on control. The threshold is closed down, working across a smaller range, as you’re applying threshold control over a much louder signal.

Focusrite OctoPre MKII Dynamic

The Focusrite Saffire PRO 24 DSP is Focusrite’s latest 16 In / 8 Out FireWire audio interface, featuring real-time DSP-powered tracking and mixing solutions tailor-made for the modern home studio environment. Alongside DSP-powered Compression and EQ for latency-free tracking and ‘comfort’ reverb, is VRM; a Virtual Reference Monitoring technology that lets you hear your mix in different environments, through different speakers and from different positions, all just using headphones. VRM makes Saffire PRO 24 DSP the only interface capable of simulating over one hundred different monitoring scenarios through your headphones. VRM overcomes the major obstacle for mixing with headphones by giving you multiple perspectives on your mix, as if you were listening through speakers. Indeed, noise levels from mixing through speakers can make it impossible for most to mix at home, especially late at night; with VRM, you can mix anytime, anywhere. Using any pair of monitoring headphones, VRM let’s you choose your mixing environment from a living room, a bedroom studio, or a professional studio. You then simply choose where you are positioned in that room and what speakers you listen through. Saffire PRO 24 DSP draws on twenty-five years of mic-pre excellence. The two Focusrite pre-amps capture every subtle nuance of your sound whilst ensuring low noise and distortion. Meanwhile, high-quality digital conversion and JetPLL™ jitter elimination technology ensure pristine audio quality as your audio flows between the analogue and digital domains. Saffire PRO 24 DSP’s other real-time DSP-powered effects also exhibit Focusrite’s uncompromised approach to audio quality. EQ, Compression and ‘Comfort’ Reverb sonically derived from the ‘Focusrite Plug-in Suite’ (also included as VST/AU plug-ins) are all integrated within the Saffire Mix Control software, providing professional latency-free tools for tracking and monitoring. Alongside the two Focusrite pre-amps are a host of I/O options; two additional analogue inputs, six analogue outputs, ADAT inputs (for expanding the interface with, for example, Focusrite’s OctoPre), stereo SPDIF I/O and 2 virtual ‘loopback’ inputs for routing digital audio between software applications - ideal for capturing online audio. Front panel 5-LED metering for each analogue input offers accurate viewing of levels. Saffire Mix Control, the zero-latency 16 x 8 DSP Mixer/Router software provided with Saffire PRO 24 DSP, sets a new standard at this price point for audio interface control. It features flexible output routing and monitoring, as well as intuitive one-click set-up solutions designed to help you track, monitor and mix as easily as possible. Saffire PRO 24 DSP also comes with all the additional tools needed to start making music right away. These include the latest version of the Focusrite Plug-in Suite, which provides a significant upgrade from your standard sequencer effects. The suite includes Compression, Reverb, Gating and EQ VST/AU plug-ins. Focusrite’s established Xcite+ bundle is also included. The bundle features Ableton Live 7 Lite (for all your production, performance and compositional needs), Novation’s Bass Station soft synth and over 1 gig of royalty-free samples from Loopmasters and ‘Mike the Drummer’. Saffire PRO 24 DSP combines two award-winning Focusrite pre-amps and a host of other I/O with VRM Virtual Reference Monitoring, integrated real-time tracking and monitoring effects, and easy-to-use mix control software. Together, they deliver the most comprehensive professional compact music-recording interface to date. The Focusrite Saffire PRO 24 DSP Features: <ul> <li> VRM Virtual Reference Monitoring Hear your mix in different environments, through different speakers and from different positions, just using headphones <li> Two High Quality Award-winning Focusrite Pre-amps The best sounding interface in its class. Focusrite's unparalleled pre-amp legacy forms the foundation of this new interface, with two award-winning Focusrite pre-amps. <li> Onboard DSP-powered, latency-free tracking and mixing tools Classic Focusrite EQ and Compression for tracking, as well as ‘comfort’ reverb to place across your monitor mixes. <li> High Quality 24-bit/96kHz FireWire Interface Features high quality A-D / D-A conversion and JetPLL™ jitter elimination technology; pristine audio quality and reliable synchronisation are guaranteed. <li> Total I/O Count of 16 Inputs and 8 Outputs A host of I/O options are provided*, including a unique loop-back facility for routing audio between software applications via Saffire Mix Control. <li> Saffire Mix Control Zero-latency DSP Mixer/Router Routing flexibility and intuitive one-click set-up solutions; Saffire Mix Control provides an 16 x 8 DSP mixer with excellent output routing and monitoring capabilities. <li> Xcite+ Software Bundle Featuring a host of royalty-free loops and samples, a full-fledged Novation soft-synth and Ableton Live 7 Lite, providing an affordable upgrade path to Ableton Live. <li> Focusrite VST/AU Plug-in Suite, for use in the mix Upgrade your standard sequencer effects and bring a touch of class to your session with all-new Focusrite Compression, Reverb, Gating and EQ VST/AU plug-ins. <li> Front panel 5-LED metering LED metering for each of the analogue inputs offers accurate viewing of levels direct from the front fascia. <li> Two dedicated front-panel headphone busses Providing two fully customised monitor mixes, with tactile level control available on the front panel. <li> Bus-powered for a tidy mobile recording rig Saffire PRO 24 DSP can be powered via FireWire, or via its own power supply </ul>

Focusrite Saffire Pro 24 DSP

Preliminary Information Channel strip... it doesn’t roll off the tongue or smack of a high fidelity recording device. Maybe that's why its taken us so long to build one. But we got over it. All labels aside, the new Grace Design m103 is a powerful tracking tool for virtually any recording scenario. It starts with our tried and true m101 transformer-less microphone preamplifier circuity. Headroom, detail, clarity, musicality – its all there. Complete with our exclusive ribbon mic mode, a 75Hz HPF and 48V phantom. The 3 band EQ section is built around single stage parallel tuning architecture, which minimizes circuitry and delivers natural, musical tonal shaping at all frequencies. Controls include a fully parametric mid, with shelving and peak modes on the high and low bands. The compressor circuit is based on an optical attenuator - the purest, high fidelity gain control mechanism available. It provides gentle limiting to fairly heavy compression, while remaining nuetral and transparent. The perfect way to zip it all up and send it downstream - clean, intact and alive. Comprehensive I/O options allow the mic pre and EQ/COMP sections to be accessed independently of each other, and the order of the EQ/COMP is switchable. The compressor controls can be linked for stereo applications, and 10 segment gain reduction and output meters make monitoring signal status simple. So there it is, we’ve done it. The m103 - a channel strip by name, a powerful tool by design. Stay tuned for complete details. Features <ul><li>Fast and musical transimpedance microphone preamplifier architecture</li><li>Updated audio path with 0.5% precision metal film resistors</li><li>New 12 position gold plated rotary gain switch</li><li>High performance output line driver amplifier and HPF amplifier</li><li>Ribbon mic mode (also great for dynamic mics)- Relay bypass of phantom power decoupling capacitors, increased input impedance, and 48V lockout</li><li>3-band precision EQ, fully parametric mid band, peak and shelf mode for hi and low bands</li><li>Newly designed optical compressor</li><li>Mic amp direct output</li><li>EQ/COMP section line input</li><li>Bombproof laser-etched black anodized front panel </li><li>Sealed gold contact relay for Hi-Z input switching</li><li>Built in power supply</li><li>Led indicators for +48V, Ribbon mode, and HPF</li><li>Powerful 10 segment meters for gain reduction and output level</li><li>Five year warranty on parts and labor</li><li>Made in the USA</li></ul>

Grace Design m103

There’s a new king in tone, and its name is AmpliTube 3. A massive upgrade of the leading guitar and bass tone gear modeling software, IK Multimedia AmpliTube 3 raises the industry standard of sound variety, realism and creative power. If your recording or playing “rig” is lacking in that rich, lush expressive analog warmth, then you need to check it out. With over 160 precisely modeled pieces of vintage and modern gear available in one package, AmpliTube 3 is the ultimate tone gear collection for the player/producer/engineer suffering from tone angst. AmpliTube 3 gives you more. More Gear — Infinite Combinations. AmpliTube 3 contains over 160 pieces of gear, more than double the amount of other packages, including models from the most sought-after vintage collections and modern day workhorses. You’ll get 51 individual stompboxes and effects, 31 amplifier preamp & power sections, 46 speaker cabinet models, 15 high end stage and studio mics, and 17 post amp rack effects. Plus, with the new AmpliTube 3 open architecture, you can add more packages as you need them, like AmpliTube Fender™ and Ampeg® SVX. More Feel — True Dynamic Response. AmpliTube 3 gear models give you THE most realistic playing feel — not just the tones — but the actual dynamic response of their hardware counterparts. Nothing comes closer to the feel and touch of playing through a real rig than AmpliTube 3. Plus, with IK’s proprietary VRM™ (Volumetric Response Modeling) technology, you can add ultra-accurate rotating speaker effects, free dual mic placement plus room ambience and response to custom craft your tone. More Power — Creative Inspiration. Face it — the better you sound, the better you play. AmpliTube 3 unleashes more creative power than ever, helping you to easily carve new, truly unique voicings for your guitar, bass, keyboard, drum and vocals. Our new creative effects let you create sounds you never heard before, and the new “drag & drop” effects configuration feature lets you quickly experiment with effects in the signal chain to get that totally unique sound. More Tone — Every Sound you can Imagine. AmpliTube 3 is the voice for your soul. With the largest collection of ultra-accurately modeled gear, creative effects and flexible routing features, you’ll never run out of sonic possibilities. Every sound you’ve heard, and ones you haven’t are here… your sound is in here. What's New in Amplitude 3? Now includes over 160 models of vintage and modern gear Packing in more than ever before, AmpliTube 3 has nearly 100 more gear models than its predecessor AmpliTube 2, all accurately modeled down to the finest detail with renown IK craftsmanship and third generation DSM™ technology. Not only did we add tons of new amps and effects, but all of the legacy models of AmpliTube 2 have been reworked providing greater efficiency and even more dynamic response for that “real amp” touch and feel. AmpliTube 3 offers the widest palette of effects, amps, cabinets and microphones of any guitar amp and effects product on the market. Together with the inclusion of nearly 70 top amp and effects models from AmpliTube Metal and AmpliTube Jimi Hendrix™, plus over 30 all new premium gear models AmpliTube 3 is the most powerful and complete anthology of guitar and bass gear ever. 30 all new vintage gear models – 5 creative effects Over 30 brand new previously unreleased models are now included in AmpliTube 3. Together with a collector’s selection of some of the all time finest amps and cabinets (including accurate replica models based on vintage Vox®, Orange®, Mesa®, Roland®, Trace Elliot®, Acoustic®, Gallien Kruger® and more) along with must-have new analog modeled stomp boxes (models based on Electro-Harmonix®, Marshall®, Ibanez®) a series of new, “creative” effects has been added! AmpliTube 3 also includes innovative effects not found in other modeling packages such as: StepFilter, StepSLicer, TapDelay, Rezo and Swell in both stomp and rack versions. These inspirational effects can open a whole new sonic panorama to your performance and push forward the creativity of what you can do with your guitar, bass or any other instrument both live and in the studio. New cabinet/room module with freely movable microphones The cabinet module of AmpliTube 3 has been entirely redone. Sporting a redesigned GUI, not only now you can mic and mix each cabinet with 2 microphones, but the microphones also can be freely moved around the speaker making it easier to find that magical sweet spot. Cabinet “size” can now be also controlled so you can enlarge and shrink your cabinet behind the limits of the physical world. Additionally now you can adjust the room ambience and room mic positioning for an ultra-accurate modeling of the cabinet in the natural recording space. Incredible new rotary speaker simulation with VRM™ The new AmpliTube 3 speaker cabinet module contains one of the best sounding models of a rotary speaker ever, thanks to our exclusive VRM™ technology (Volumetric Response Modeling). Never before has a software rotary speaker sounded so much like the original. Based on a pristine model of a vintage Leslie® 147, the cabinet features both new and vintage original matching speakers, and is able to give to your sound that timeless magic characteristic of this must have gear. New Stomp & Rack FX “drag & drop” configuration A feature largely requested by AmpliTube users, now you can reconfigure your pedal board and rack effects chain simply by dragging & dropping the effect into its new position. Setting up your effects has never been easier, and this feature makes sonic experimentation fast and easy. Now includes both mono and full stereo signal paths Now you can add AmpliTube 3 effects to your stereo recording of drums, vocals, keyboards and more! We have implemented a new full stereo-chain signal path that allows to use AmpliTube 3 as a multi-effects unit on every instrument in your DAW session. Plus you can now use AmpliTube 3 on two instruments simultaneously, each one with their own rig. New advanced preset management AmpliTube 3 sports a new preset browser that allows you to quickly search and organize the huge number of presets that are included in the package, plus the thousand of presets built by a growing community of users through the online Preset X-Change sharing services. Presets can now be saved and recalled using a series of user-defined keywords and attributes, plus a new “copy & paste” feature allows to quickly re-position your amp or effects retaining all existing settings and tweaks. Additionally presets now can be saved for a single model simply by right clicking on it. New MIDI learn for compatibility with any controller AmpliTube 3 makes it easier than ever to control it using any existing MIDI gear. Simply click on the control knob/parameter of any of the gear and the new MIDI learn function will allow to immediately set the selected control to respond to the corresponding MIDI control function of your gear. And of course no set-up is needed when it is used with IK’s new StealthBoard, StealthPedal and StompIO controllers and interfaces. New 4 track audio recorder/player In Standalone mode the new SpeedTrainer module offers the possibility to play or record up to 4 track, with independent pitch-shift/time-stretch. Now you can record your band all within AmpliTube 3, use it to learn difficult licks, or to quickly capture and layer your musical ideas at the moment of inspiration. New eco-mid-hi quality mode To help managing the best balance between sound quality and CPU usage, we have designed 3 new modes (eco-mid-hi) that are accessed with a simple click. These allow to get the minimal possible CPU, a good sounding medium set up and the best possible sound quality accessible via the main interface. Improved overall performance In AmpliTube 3 we also have greatly enhanced the CPU usage efficiency of all new models and “remastered” the legacy models in order to be more efficient and take advantage of our latest technologies. The result is better sounding ultra-accurate gear models with more available computational resources for other tasks. New built-in expandability Now you can expand your collection of gear directly in AmpliTube 3 by adding individual pieces, or entire collections like AmpliTube Fender™ or Ampeg® SVX. This will also allowsyou to purchase “singles” on an as needed basis in the future, and have them all available in one plug-in from within the AmpliTube 3 structure.

IK Multimedia AmpliTube 3 Plug-in

The world of DAWs doesn't need another channel strip. What it needs is a better way of working with the essential tools you need for all of your tracks and busses. That's why we designed Alloy. Alloy provides the key dynamics and sound shaping effects you'll use again and again, in a self-contained and completely configurable interface. Add the iZotope Alloy to your tracks and busses and bring them to life with six processors designed to add character to every element of your mix. Alloy gives you exceptional sound quality, vintage emulation balanced with digital precision, time-saving presets and workflow features, and a forward-thinking interface that puts just the controls you need at your fingertips. Equalizer As essential as EQ is to mixing, why do so many EQs force you to work with tiny graphs or clumsy knobs? Alloy's powerful 8-band EQ combines exceptional sonic quality with precise controls and a large spectrum overlay that gives you the best visual feedback of any EQ available. <ul> <li> Enter EQ settings visually or with precise numerical values </li><li> Choose from Low Shelf, High Shelf, Peak, Lowpass, Sharp Lowpass, Highpass and Sharp Highpass modes for each band </li><li> Soft-saturation emulates analog EQs for a natural sound when pushed hard </li><li> Alt-click and use your mouse to solo and zero in on problem frequencies </li></ul> Exciter Alloy's Exciter features new Harmonic Scaling technology that lets you add gentle saturation to your tracks by emulating the sounds of tube pre-amps, tape, and other hardware devices in a unique new way. It's perfect for adding subtle character to everything from vocals to strings to drums. <ul> <li> Blend between different Harmonic profiles including Tube, Tape, Transistor and more with an XY pad </li><li> Switch to Multiband mode to apply color to different frequency ranges independently </li><li> Unique spectrum meter shows you which frequencies are being affected by the Exciter </li><li> Integrated stereo width control allows you to narrow or widen different frequency bands </li></ul> Transient Shaper Shape percussive sounds and more with Alloy's simple and powerful Transient Shaper module. Add more “stick” to a snare, make a kick drum less boomy, or even apply Transient Shaper to hammered or plucked instruments to fine tune their attack character. Try Multiband mode for unmatched shaping of more complex material like drum loops and busses. <ul> <li> Perfect for shaping drums and other percussive sounds </li><li> Concise controls let you boost or cut the attack and sustain portions of transients with adjustable time values </li><li> Adjust sounds in different frequency ranges with powerful Multiband mode </li></ul> Dynamics Smooth out vocals or slam your drum buss with a Dynamics module that combines the best characteristics of analog and digital compressors. While many “vintage emulated” dynamics plug-ins are useful on only some material, Alloy can switch between tasks with ease. And with advanced sidechaining and a multiband mode this is sure to become one of the most versatile mixing tools in your arsenal. <ul> <li> Vintage mode combines a forgiving multi-stage release curve with program dependent characteristics; Digital mode provides clean, linear compression </li><li> Gate/Expander provides gating and even upward compression effects </li><li> Sidechaining lets you trigger the Compressor or Gate from external sources– even to individual frequency bands in Multiband mode </li><li> Crosschaining lets you trigger dynamics processes on one band with audio from another, for completely new gating and ducking possibilities </li><li> Two dynamics stages for parallel compression effects </li><li> Soft Knee, RMS, and Auto-gain modes; single or multiband operation </li></ul> De-Esser Tame vocal sibilance and harsh high frequencies in other instruments. Alloy's De-Esser lets you zero in on sibilant frequencies with a simple-to-use spectrum graph. It's perfect for transparently reigning in vocals, cymbals and other high frequency problem spots. <ul> <li> Spectrum meter with solo control helps you set the De-Esser quickly and easily </li><li> Multiband mode affects just the sibilant frequencies; Broadband mode affects the whole signal based on the sibilant band. </li><li> Control over De-Ess attack and release times </li></ul> Limiter Alloy's Limiter module acts as a zero latency loudness maximizer for busses and tracks, automatically adding gain as you pull down the threshold. Or use it to keep a lid on your levels with a simple and efficient Brickwall limiter. <ul> <li> Brickwall mode for keeping peaks under zero at all times; Soft mode for more forgiving, smooth limiting </li><li> Phase Tools panel lets you optimize the symmetry of vocal and instrument waveforms to get more overall loudness </li><li> Zero-latency mode ensures your tracks and busses stay in sync, even in hosts without effective latency compensation </li></ul> MacroPresets Some plug-ins come with five or ten presets. Alloy comes with over 150 presets designed to give you the perfect starting point for a broad range of mixing tasks. MacroPresets customize Alloy's display to show you just the sliders and meters you need for the task at hand, giving you powerful preset signal chains with simple controls, making each preset feel like its own custom-tailored plug-in. <ul> <li> MacroPresets combine the most useful parameters and meters for a preset into one useful view. </li><li> Over 150 presets included covering individual instruments, ensembles, busses, utility tasks, broadcasting & podcasting, post production and more. </li><li> Create or customize your own MacroPresets that show custom configurations of controls in Alloy's Macro screen. </li></ul>

iZotope Alloy

Series Seven microphones provide unprecedented flexibility in studio pickups with a variety of directional patterns. The Josephson C715 uses a unique single large diaphragm capsule with an adjustable vent allowing cardioid or omni operation, and includes a new, patent-pending metal foam housing for minimum acoustic coloration due to the elimination of many internal reflecting surfaces. The C715 features the new single-sided capsule with a 5 micron evaporated gold diaphragm. The backplate has an adjustable vent, reached through an opening in the back of the grille, that allows the mic to be adjusted from cardioid to omni. The single diaphragm capsule has a particularly smooth sound, usable for many studio applications where some conventional dual diaphragm mics are too harsh or bright. The internal circuitry uses a class-A cascode FET front end, driving a large nickel core Lundahl output transformer for compatibilty with a wide range of preamps and consoles. The internal high voltage linear supply generates capsule polarization voltage without using a switching oscillator, for very low noise. The capsule assembly in the C715 is internally shock mounted so that the mic may be attached directly to a stand through its rugged yoke mount, without using any external accessories.

Josephson C715

The Lexicon PCM Native Reverb Plugin Bundle is the result of several years of research and significant advances in computer processing speeds, that have enabled Lexicon to provide seven legendary Lexicon reverb algorithms with the original hardware levels of sonic quality and function, as native plugins.  The plugins can be used within popular DAWs such as Pro Tools and Logic, as well as with any other VST, Audio Unit, or RTAS compatible host. The bundle includes unique plugin for each algorithm, including vintage plate, plate, hall, room, random hall, concert hall and chamber, with hundreds of versatile and finely crafted studio presets including recognizable classics from Lexicon’s substantial library of sounds. Librarian functionality allows the user the option to take an available preset, adjust the parameters, compare it to the original and then return to the edited preset. Presets can also be saved off in a DAW independent file format allowing a user to easily move custom presets to any DAW. Features at a Glance <ul><li>PCM Reverb Plug-In 7 Algorithms</li><li>7 legendary Lexicon Reverbs</li><li>Hundreds of brilliantly crafted studio presets</li><li>Multi-platform compatibility (Windows XP, Vista, and 7; Mac OSX 10.4, 10.5, 10.6, PowerPC and Intel)</li><li>Formats that work seamlessly in any VST, Audio Unit, or RTAS compatible DAW</li><li>Graphical real-time display illustrating the frequency stages of each algorithm</li><li>Visual EQ section for easy adjustment of both early and late reflections</li><li>Presets can be stored in a DAW independent format which allows custom presets to be transferred between any DAWs.</li><li>Full parameter control and automation</li><li>Input and output meters for quick assessment of audio levels going to and from the reverb</li><li>iLok authorized</li></ul> Each reverb algorithm can be run in mono, stereo or a combination of the two. The user interface features a ‘pro or go’ mode which enables the user to easily access nine of the most logical parameters for customization, but also provides the ability to transition deeper into the algorithm to edit the full matrix of parameters. Input and output meters allow a user to quickly assess the audio levels going to and from each algorithm, while the eq section makes it possible to visually dial in the eq settings for both the early and late reflections of the algorithm. Each algorithm is complemented with three different real time displays providing graphical insight into what is happening inside the different frequency stages of the reverbs. The PCM Native reverb plugin bundle is a fully functional cross-platform program that is compatible with Windows XP, Vista, and 7 along with MAC OSX 10.4, 10.5, 10.6, Power PC and Intel based. The bundle is native only, and requires iLok authorization.

Lexicon PCM Native Reverb Plugin Bundle

Bring on the Band Eight full channels of mic pres and four stereo channels means there are few sessions that the Mackie Onyx 1620i cannot handle. Each mic channel features 4-band Perkins EQ with dual sweepable mids, providing truly professional tone-shaping. Band-friendly features like the dedicated talkback section with built-in mic allow you to easily communicate with the talent, whether behind the glass or in front of stage monitors. Deep FireWire integration, along with complete platform support allows you to easily record in the studio, or at the gig. The matter is settled then…the 1620i is a true band workhorse. DAW-Friendly Doesn't Even Begin To Cover It Mackie-designed gear is more often than not, the result of customer interaction and suggestion. After all, we are making gear for you. For years, our customers have been asking for the freedom to work with any DAW they choose. So when we designed the Onyx-i series, we took this suggestion to heart. We are very proud that Onyx-i mixers are more DAW-friendly than any other interface ever. Onyx-i mixers are qualified by Mackie for use with all major DAWs, including Pro Tools® M-Powered™ 8*, Logic©, SONAR™, Cubase© and more. Now, dedicated Mackie customers can enjoy using their Mackie mixer with the world’s most popular DAW. And Pro Tools® M-Powered™ 8 users now have a variety of new, and different, tools to use with their favorite DAW. It’s a win-win situation. DEEP Firewire Intergration The Onyx-i Series features deeper FireWire integration than any other mixer out there and offers immensely powerful routing capabilities: Wet or Dry? — Every channel on the mixer can be routed pre or post EQ to the computer, allowing you to choose whether to implement ‘EQ to tape’ or not. Studio Quality Effects — Aux sends are routable to the computer, allowing you to utilize your computer as a powerful FX engine by implementing your favorite plug-ins in a live scenario. Preserve Your Mix — Master L/R is routable to the computer for recording your analog mix. Burn and sell CDs of the mix at the end of the gig! Mix Integration — Stereo return from the computer can be routed to either the control room for instant monitoring or to a stereo channel for mix integration. Latency-Free Overdubs — Having a “real” mixer has its benefits. Latency-free overdubs are simple since you are using an analog mixer. No more wasted time dealing with the complicated “DSP” mixers commonly used on standalone interfaces. The 1620i delivers hassle-free FireWire connection to your favorite DAW. All channels, auxes and (of course) the master L/R are available to your DAW. And since you can return your DAW outputs straight into a channel strip, mix integration is easier than ever. Premium Analog Mixer When it comes to the high pressure environment of a recording session or live performance, you simply cannot beat the stability and reliability of an analog mixer. With features honed over 20 years of design by some of the legends in the industry, the Onyx-i Series mixers are simply the best sounding full-featured analog mixing boards available to the modern sound engineer. The 1620i has a plethora of analog features that are sure to please. First off, there are eight Onyx mic preamps which have been proven as some of the best boutique quality preamps available today. That is, without having to re-mortgage your house in order to pay for all the inputs you need. Then there’s the Perkins EQ, which offers highly musical Q filter without sacrificing the precise control that Mackie EQs are known for. Eight mono mic/line channels feature 4-band Perkins EQ with dual sweepable mids, the additional four stereo line channels have 3-band Perkins EQ. So, regardless of the type of signal you need to input, there is sure to be a channel with the right EQ for the application. Other analog tools include four aux sends with pre/post fader assignment, allowing for monitor mixes, effects loops or additional headphone mixes. There are built-in DIs on the first two channels for direct connection of guitars or bass and a dedicated talkback section with a built-in mic that lets you easily communicate with band members while on stage or recording. With all these proven, great-sounding analog features, it is easier than ever to create a memorable mix. Smacks of Quality The Onyx 1620i offers a tremendous collection of professional analog features and extremely deep DAW integration, but it is so much more than that. The sleek, modern design might even tempt you build a museum quality display for your engineer friends to admire. Plus, since it’s a Mackie, you can be sure that it is “Built-Like-A-Tank” and will survive years of abuse. Any audio company can cram a bunch of inferior components into a chassis and, believe us, a lot of them do. This is never the case with a Mackie mixer. Everything about the Onyx-i Series smacks of quality, because only the most quality, high-end components are used throughout the entire signal path. At the front end, you have the pristine signal boost offered by the Onyx mic preamps, which will likely get routed through the legendary Perkins EQ. The signal then passes through a series of sealed rotary knobs, which keep dust and grime out of the potentiometer. Then your mix hits the summing bus, which has been custom-designed to offer the highest possible headroom while preserving the sonic quality offered by the aforementioned components. Maybe you assigned the signal to stream across the FireWire outputs. If so, they had the pleasure of passing through the high-quality Cirrus analog-to-digital converter on their way to your computer. Or maybe you were overdubbing and streamed your backing tracks from your DAW and integrated them into the mix. In that case, you can thank the ridiculously high-end AKM digital-to-analog converter for the immaculate quality of the playback. These converters are extremely high-quality and easily rival the most esoteric (and expensive) interfaces out there today. From start to finish, no matter how you use it, the 1620i offers the quality demanded by industry professionals. Features: <ul><li>16-channel premium analog mixer with integrated 24-bit/96kHz FireWire I/O</li><li>Qualified by Mackie for use with all major DAWs, including: - Pro Tools® M-Powered™ 8 (Requires $49.99 USD driver upgrade at www.mackie.com) - Logic® - SONAR™ - Cubase® - Ableton® Live - Final Cut Pro® </li><li>8 Onyx boutique-quality mic preamps</li><li>4-band Perkins EQ with sweepable mids on mic/line channels</li><li>3-band Perkins EQ on stereo line channels</li><li>16x2 FireWire routing, including aux sends and pre/post EQ assignment for all channels</li><li>4 aux sends with pre/post assignment</li><li>Smooth 60mm channel and master faders</li><li>Built-in DI on first two channels for direct connection of guitars, bass, etc.</li><li>Individual 48V phantom power switches on all mic inputs</li><li>Talkback section with built in mic and flexible routing</li><li>“Planet Earth” switching power supply for worldwide use</li><li>Optional rack kit available</li></ul>

Mackie Onyx 1620i

Metric Halo recognizes that sometimes you already have mic pres you love or don't need pres at all, but you're eager to tap into the phenomenal conversion that's built MH's stellar reputation. They heard and delivered. Meet the Metric Halo LIO-8 FireWire Mac interface and standalone converter, borrowing its converter design from the acclaimed ULN-8 to deliver eight channels of straightforward archival-quality 24-bit/192kHz conversion whenever you need it. <ul><li>Plenty of I/O with fully clickless remote-controlled monitor outputs</li><li>Offers pristine and colorless 24-bit/192kHz</li><li>Comes loaded with renowned DSP sound-shaping tools</li><li>Operates standalone when you need it</li><li>Expandable to work in tandem with other MH gear</li><li>Relevant today and tomorrow thanks to upgradability</li></ul> Plenty of I/O with fully clickless remote-controlled monitor outputs The hallmark of any Metric Halo piece of gear is a functional design with pro needs at the forefront. The connectivity of the LIO-8 matches that of the ULN-8, just without the eight preamps. (Keep in mind that if you decide you want to tap into Metric Halo's boutique-quality pres, you can upgrade your LIO-8 to add four or eight pres at any time with a connector board available here at Vintage King.) The LIO-8 offers eight line inputs plut eight channels of AES I/O with eight balances sends and eight line/monitor outputs plus MIDI and word clock connectivity. All of the LIO-8's analog outputs also feature Metric Halo's clickless remote technology, allowing for flexible monitoring applications from stereo up to 7.1 sound. Offers pristine and colorless 24-bit/192kHz Rather than lock you into a color from the beginning, the Metric Halo LIO-8 is designed for transparent performance built with a straight wire gain mentality. Metric Halo's goal was to provide the cleanest and most transparent conversion platform. If you want to put your very character-heavy mic pres in front of it or plug-ins after it to get color, you can dirty it up however you like, but the LIO-8 will ultimately give you what you give it. It's become a popular choice with mastering engineers for that reason. Comes loaded with renowned DSP sound-shaping tools Metric Halo was the first to make portable interface DSP a reality and the LIO-8 carries the tradition nicely. Thanks to its 2d DSP chip, you can take advantage of a bunch of included processing solutions, including Metric Halo's exclusive per-channel Character control that lets you dial in the right flavor and add some color to your inputs. You can also upgrade and get the +DSP license to tap into 100+ additional processing tools from Metric Halo's renowned collection. Operates standalone when you need it When what you need is an excellent standalone converter, the LIO-8 is your ticket. Just boot it in standalone mode and you'll be ready to go. The range of I/O onboard the ULN-8 opens up your options, with line inputs, eight channels of balanced send, eight line/monitor outputs, and eight channels of AES I/O, letting you go from and into just about anything. Expandable to work in tandem with other MH gear When you need a larger-scale setup, the LIO-8 is ready for expansion. It works seamlessly with other ULN-8, ULN-2, and 2882 units even scaling the DSP organically so you don't have to compromise. Relevant today and tomorrow thanks to upgradability Metric Halo is committed to making their new and legacy gear upgradable. After all, why obsolete your own gear? Their track record is proven, with even their earliest-era gear still in use today. To achieve the "future proof" design, Metric Helo's DSP processing card is upgradable and they're constantly making sure the MIO control software and drivers backing the unit up are as good as can be too. Plus, here, you can add microphone preamps to your LIO-8 at any time should your needs change, rather than go out and grab the ULN-8. The bottom line is that Metric Halo is all about protecting your investment and making sure you have an interface that sets a standard today and tomorrow too. Metric Halo LIO-8 features: <ul><li>Exceptional archival-grade converter quality</li><li>Flexible, integrated analog-domain monitor controller</li><li>Universal sample rate support</li><li>Analog, AES, and FireWire interfacing</li><li>Rock-solid stability: mature, real-world tested Dependable firmware, software, and drivers</li><li>Instant access to tactile controls</li><li>Fully digital control for total recall, remote control, and control-surface support</li><li>Comprehensive precision metering </li><li>Works with or without a computer</li><li>Metric Halo’s exclusive per-channel selectable character</li><li>Integrated ultra-low-latency instantiable processing with plenty of DSP power to run it</li></ul>

Metric Halo LIO-8 Line-level Digital Audio Processor

Players, producers and DJs everywhere have been anxiously awaiting the return of the ultimate bass machine. Bass connoisseurs worldwide made this instrument possible by pre-ordering it sight-unseen. Now the wait is over. The new Moog Taurus 3 Bass Pedals faithfully recreate the sound of the legendary Taurus I. We started with an in-depth analysis of the original circuitry, and then added modern amenities like MIDI and USB. We didn’t stop until we had created a work of art that can knock down a small building. If you're serious about bass, take the next step up to the ultimate bass synthesizer: Taurus 3 Bass Pedals

Moog Music Taurus 3 Bass Pedals

The Native Instruments Maschine combines the flexibility of computer-based music production with the ease of a groove box into one powerful creative tool. Utilizing onboard samples or your own audio files, MASCHINE’s symbiosis of hardware and software not only ensures a fast and fun workflow, but lets you easily turn your ideas into professional productions. Maschine comes loaded with over 5GB of production-ready sounds and patterns. Everything from fat drum kits to state-of-the-art synthesizer sounds and pristine acoustic instruments have been sampled, sliced and tagged for your convenience. Maschine also features studio quality effects ranging from dynamics processors to beat-mashers and even mastering tools, all tweakable in real time via the hardware controller. Maschine's pattern-oriented concept frees you from the limits of linear arrangement. Build song "scenes" by layering patterns, and re-arrange the scenes on the fly. MASCHINE offers external sampling through your computer’s audio interface as well as internal re-sampling, precise editing and slicing, auto-mapping, effects and an ultra-convenient browser – all perfectly attuned to the hardware controller. The Maschine hardware is both instrument and controller in one. Sixteen illuminated, velocity-sensitive pads form an interface to intuitively make beats, tweak sounds, create patterns and sequence whole songs with the powerful Maschine software. Two large, high-resolution displays with eight corresponding rotary encoders, buttons, and transport controls integrate perfectly with the Maschine software. Maschine unifies and vastly improves on familiar groove production workflows. Using the Maschine hardware controller you can jam out ideas in a pattern-oriented environment, and use them as the building blocks to create your track within Maschine. New samples, loops, effects or arrangements can be added, edited and tweaked in the same intuitive way, utilizing the ultra-convenient hardware interface.

Native Instruments Maschine

The Neumann TLM 102 defines a new generation of Neumann studio microphones. This applies not only to the design of the microphone but also to the price. The reduced overall size of the TLM 102 contributes to an exceptionally compact appearance, which unites all of the typical design components of a Neumann microphone. The harmonious proportions and gleaming grille ring ensure that even at first glance, the TLM 102 attracts attention. <ul><li>Large-diaphragm microphone with cardioid directional characteristic (pressure gradient transducer)</li><li>Compact, characteristic but smaller-scale Neumann design</li><li>Fits in the palm of your hand - great for mobile recording</li><li>Built in pop filtering and shock mounting</li><li>Very high maximum sound pressure level</li><li>Slight presence boost above 6 kHz</li><li>Transformerless circuitry</li></ul>The TLM 102 is impressive in terms of sound: In the interior is a newly developed large-diaphragm capsule (cardioid) with a maximum sound pressure level of 144 dB, which permits the recording of percussion, drums, amps and other very loud sound sources, for example. Instruments that are not especially loud also benefit from the very fast transient response of the TLM 102. However its most important applications are in the realm of vocals and speech; a slight boost above 6 kHz provides for excellent presence of the voice in the overall mix. Up to 6 kHz the frequency response is extremely linear, ensuring minimal coloration and a clearly defined bass range. The capsule has an elastic suspension for the suppression of structure-borne noise. A pop screen integrated into the grille serves to suppress plosives in vocal and speech recording. Due to its price and flexible field of application, the TLM 102 is ideal for the home recording and project studio sector, as well as for the broadcasting area, especially when clear lines of sight to the speakers are a priority. The TLM 102 is available in black and nickel; a stand mount is included.

Neumann TLM 102 - Nickel

The demands from a performing keyboard player haven't really changed all that much, good quality never goes out of style. We just want to offer you some of the best stuff we have, in a affordable and easy-to-use instrument. We hope that you will have as much fun owning and using the Electro 3, as we have had developing it. The Nord Electro 3 comes in two different sizes. The 61 and the 73 have the same type of semi-weighted keyboard with the waterfall profile. This is a great set of keys to play organ and pianos with. The Nord Electro 3 is compatible with the new Nord Piano library. It takes full advantage of the Library's multitude of velocity layers, pedal-down samples and extremely high quality samples providing you with an unprecedented expressiveness. Any current or future piano that is available for the Stage family will also automatically be available to the Nord Electro 3. Exquisite new pianos Right from the start, the Electro 3 is loaded with a great selection of pianos. There are three acoustic grands (two Yamaha* C7s and one Steinway* D) and two electric grands. Electric piano aficionados will love the tine-based types; a Mk I, a Suitcase Mk I, a Mk II and a Mk V all with their unique and distinctive personalities. A great Wurlitzer* A200 is of course present, as is the mighty Clavinet* D6. The Clavinet type also includes the Harpsichords. There is a French harpsichord in the factory sound bank, and more to come in the Nord Piano Library download area. Each and every one of these pianos can be replaced if you wish. There are plenty more to choose from in the Library area, including some XL versions of our grand pianos, with even more details like added velocity layers and pedal-down samples. And all those sounds are available for free. Samples from the Nord Sample Library Not only loaded with great piano sounds, the Electro 3 also sports some great samples to add flavor to your sonic arsenal. You'll find some of the classic Mellotron sounds, a selection of strings, a celeste, a vibraphone and many others. And just as with the piano partition, all of the samples can be replaced if the factory selection does not suit your immediate needs. You can add virtually any sound you want to the Nord Electro 3. Sounds that we offer for free are from the Mellotron Library or any other instrument from the expanding and extensive Nord Sample Library, which is the same format as the Nord Wave uses.

Nord Electro 3 61

Jointly designed by Ableton and Novation, the Novation Launchpad places Ableton Live at your fingertips. Whether you’re a DJ, performing musician or studio producer, Launchpad gives you all you need to truly ‘play' Live. With a multi-colour 64-button grid and dedicated scene launch buttons, Launchpad is purpose built for triggering and manipulating clips in Live, it also offers a totally new way of controlling Ableton Live’s mixer. Launchpad's buttons can be used to sketch out beats with drum racks, and they can be assigned to other functions in Live using Ableton's 'Learn' mode. Launchpad ships with a dedicated ‘Launchpad edition’ of Ableton Live 8, but can control almost any other music software using Novation's award-winning 'Automap' control software. The Novation Launchpad Features <ul><li>Launch clips and scenes Launchpad’s 64-button grid and dedicated scene launch buttons are ideal for launching and controlling your clips and scenes.</li><li>Innovative control over your mix Including volume, pans, sends, track arming, soloing and muting. Launchpad lets you jump to different levels across eight channels at once.</li><li>Sketch out beats Launchpad can be used to play drum racks, creating beats and triggering samples in real time.</li><li>Controlling other functions Launchpad can be used to control other functions using Ableton's 'Learn' mode. This includes Ableton's knobs and faders, which can be assigned to rows of buttons on Launchpad. </li></ul> <img src="http://vintageking.com/site/files/images/spacer.gif" height="20" width="1">

Novation Launchpad

Finally, a new-generation, studio-quality FireWire interface that you can use anywhere! The PreSonus FireStudio Mobile combines the superior analog-circuit design and advanced platform technology of our acclaimed FireStudio rack-mount interfaces with the ability to run on bus power in field applications. Now you can have enhanced audio performance for music recording and creation anywhere you can lug your laptop!The Most Inputs of Any Mobile InterfaceThe FireStudio Mobile is a ten-input, six-output professional recording system that combines two PreSonus XMAX™ Class A microphone preamplifiers; six line-level, analog input channels; S/PDIF digital input and output; MIDI I/O; and headphone monitoring with separate gain control. The FireStudio Mobile beats any and all competition when it comes to flexibility and input count. You can record a whole band with the FireStudio Mobile.The FireStudio Mobile is bundled with PreSonus Studio One Artist, our groundbreaking music creation program, and over 4 GB of virtual instruments, plug-ins, loops, and samples to get you started making music immediately.True 48-Volt Phantom Power -- Even when Powered by your Laptop! Here’s a dirty little secret: bus-powered mobile interfaces from other manufacturers deliver much less than the full 48 volts of phantom power that is specified by microphone manufacturers. This means even the finest condenser microphone can’t work at optimal internal gain levels, potentially compromising sound quality even before the signal gets to the mic preamp! PreSonus president Jim Odom and his team of engineers went the extra mile and created an “internal switching power plant” that lets the FireStudio Mobile convert computer bus power into a full 48 volts of phantom power, as well delivering 30 volts to power the superb mic preamps you’ll read about next.XMAX Class A Preamplifiers to Go At PreSonus, we know that the mic preamplifier is a key component in the sonic quality of a recording. Many other companies that offer mobile recording interfaces add the cheapest possible microphone preamplifier as an afterthought. In contrast, the FireStudio Mobile includes custom-designed, high-voltage, discrete, XMAX Class A microphone preamplifiers that are suitable for use with all types of microphones.The job of a microphone preamplifier in an audio interface is to boost a microphone-level signal to line level before conversion to the digital domain. A good preamp boosts the level to almost 400 times that of the original signal, making the preamp one of the most important stages in an interface. A cheap, off-the-shelf, op-amp-type mic preamp delivers thin, noisy, harsh results. But with XMAX preamps, the sonic quality is limited only by what microphone you plug into it.XMAX preamplifiers are built with three key elements:<ul class="listArrow"><li>High Voltage. The XMAX preamplifier runs on power rails of 30V. Most off-the-shelf, op-amp-based designs run on power rails of 10V to 18V. Higher-voltage power rails deliver more headroom, deeper lows, smoother highs, and a richer overall sound.</li><li>Discrete components—not op-amps. We only use genuine transistors, resistors, and capacitors. Op-amps add noise, coloration, and harshness to a signal. Our discrete design delivers ultra-low noise and transparency.</li><li>Class A. Class A circuits have no crossover distortion and deliver purer, clearer, and more musical results than the Class AB designs that are found in many preamps.</li></ul>The net result of the XMAX preamp design is high headroom, low noise, wide dynamic range, extended frequency response, and—most important—musicality and transparency, with smooth highs, solid deep lows, and everything in between.On the Front A pair of 3-LED level/clip indicators let you check the signal levels for channels 1 and 2, and a button enables 48V phantom power for the two mic channels. Also on the front panel are gain knobs for the two mic/instrument inputs and for the main stereo outputs and a stereo headphone output with gain knob. Gain for the mic inputs ranges from –10 dB to +70 dB; the high-impedance instrument inputs range from –30 dB to +50 dB of gain. Finally, a power/sync indicator LED shows whether the FireStudio Mobile is receiving adequate power and is correctly receiving word clock. Ins and Outs For a compact, portable unit, the FireStudio Mobile is loaded with I/O. We start with a pair of combination XLR/TS mic/instrument jacks, which are in the inputs for channels 1 and 2. The XLR mic inputs are routed to the aforementioned XMAX solid-state mic preamplifiers. The high-impedance, TS instrument inputs let you plug guitars or basses directly into the front panel.On the back are 6 more balanced, ¼-inch line level inputs for channels 3 through 8, plus a DB9 connector that accepts a breakout cable (included) to provide stereo S/PDIF digital I/O and MIDI I/O. You get two FireWire 400 ports: one port connects to your computer, and the other can be used to connect a hard drive or to daisy-chain any FireStudio-family interface, including the StudioLive 16.4.2 digital mixer, allowing you to integrate the FireStudio Mobile into a larger system.Digital Converters and JetPLL SyncFireStudio Mobile’s A/D/A converters have a dynamic range of 118 dB for unbelievable clarity. Synchronization to your computer is stable and robust, thanks to JetPLL™ synchronization technology. JetPLL incorporates noise shaping to virtually remove all audio-band jitter, ensuring near-perfect clock performance and optimal converter performance when networking two or more digital-audio devices. JetPLL quickly locks to any digital format through a wide range of frequencies and is extremely robust and tolerant of wide variations in clock frequencies. As a result, you’ll experience better stereo separation and clearer, more transparent audio.Universal Control Like all members of the PreSonus FireStudio family (including the StudioLive 16.4.2 mixer), the FireStudio Mobile comes bundled with Universal Control software. Universal Control is a powerful, flexible, and easy-to-use control-panel application that allows you to daisy-chain to up to four FireStudio family devices for a maximum of up to 52 inputs and outputs (assuming your computer can handle that many tracks).Universal Control consists of the Launch window and the Device window. In the Launch window, you can set the sample rate, clock source, safe mode, buffer size (PC only), and WDM routing (PC only) for all connected FireStudio Mobile-series interfaces. Each device is listed at the bottom of the window, along with Device Window buttons that open each interface’s Device window.The Device window provides level and routing controls for each FireStudio-series interface’s internal mixer, enabling you to set up zero-latency cue mixes. Input and output metering have been optimized for ultra-fast screen display and minimum CPU usage, and you can give each interface a custom name. You can use any device in the chain as the master clock source, or you can slave the entire chain to an external digital device using any of the available digital inputs in the chain.Studio One Artist--Plus Gigabytes of Creative Resources The FireStudio Mobile is bundled with an exceptional software package, featuring PreSonus Studio One Artist, the amazing new DAW software for Mac OS X and Windows XP and Vista that makes producing high-quality projects easier than ever before. As part of the Studio One Artist package, you get 20 new PreSonus Native Effects plug-ins and virtual instruments and a generous bundle of third-party loops, software, and instrument sounds. Compare Studio One Artist and bundled extras to what comes with competing mobile interfaces:<ul class="listArrow"><li>All-meat, no-bloat, music-creation software with an intuitive, practical, single-window interface</li><li>Unlimited tracks, insert effects, sends, virtual instruments, buses, and effects channels</li><li>Powerful drag-and-drop functionality</li><li>Content browser with convenient sort options and preview player</li><li>Full-featured, flexible automation</li><li>Powerful real-time auto/manual time-stretching and resampling engine</li><li>Control Link™ (advanced MIDI mapping made easy)</li><li>Twenty 32-bit Native Sound™ plug-ins, including reverbs, amp modeling, and EQ</li><li>Four new virtual instruments, including a sampler and an analog-type subtractive synth</li><li>Ability to control FireStudio Mobile’s software mixer to create zero-latency cue mixes.</li><li>Gigabytes of third-party resources, including Native Instruments™ Kore™ Player with custom SoundPack (150 instruments), Native Instruments™ Guitar Rig LE, Toontrack™ EZDrummer Lite, and over 1.4 GB of loops!</li></ul>The Presonus FireStudio Mobile Features: <ul class="listArrow"><li>The first mobile interface with PreSonus’ renowned studio-interface audio quality</li><li>Plug-and-play, high-speed FireWire 400 (IEEE 1394)</li><li>24-bit resolution with 44.1, 48, 88.2, 96 kHz sampling rates</li><li>Record/playback 10 inputs and 6 outputs</li><li>2 XMAX™ PreSonus microphone/instrument preamplifiers with true 48V phantom power for condenser mics</li><li>8 line inputs, 2 line outputs</li><li>Stereo S/PDIF and MIDI input/output — DB9 break-out cable included</li><li>Zero-latency monitoring</li><li>Headphone output with gain control</li><li>Software router/mixer</li><li>Powered via FireWire bus or using included power supply</li><li>Windows- (32- and 64-bit) and Macintosh-compatible</li><li>Universal Control control-panel software</li><li>DICE II Chipset - extremely efficient data transfer</li><li>JetPLL™ – jitter-elimination technology</li><li>Road-rugged construction</li><ul><li>Shockproof, reinforced metal chassis</li><li>Silky-smooth, sealed rotary controls</li><li>Military-grade circuit board</li><li>Chassis-mounted input/output sockets resist strain from jacks</li><li>Full shielding from external interference</li></ul><li>Daisy-chainable with the PreSonus FireStudio family of products</li></ul>

Presonus Firestudio Mobile

The Royer Labs SF-24V vacuum tube stereo ribbon microphone is the pinnacle of our SF-series stereo microphones. The sound pickup is lush, smooth and natural, with outstanding stereo imaging and superb transient response. The tube electronics provide increased midrange reach, unmatched clarity and detail, and an airiness previously unheard of in ribbon mics. Utilizing the same proprietary tube electronics as in our TEC Award winning R-122V ribbon microphones, the SF-24V delivers the ultimate in stereo ribbon miking for the true connoisseur of recorded sound. Features <ul><li>Vacuum tube circuitry provides high output and impedance matching</li><li>True stereophonic (Blumlein and M-S) recording from one coincident microphone</li><li>High SPL capabilities</li><li>No distortion up to maximum SPL rating<</li><li>Extremely low residual noise</li><li>Ribbon elements are not affected by heat or humidity</li><li>Absence of high frequency phase distortion</li><li>Equal sensitivity from front or back of elements</li><li>Consistent frequency response regardless of distance</li><li>High efficiency, matching toroidal transformers</li><li>Very low magnetic leakage</li></ul> The SF-24V’s independent tube circuits provide an output level of -38 dB, suitable for use with any professional preamplifier. With self-noise of lower than 18 dB, the SF-24V’s ultra-quiet operation is suitable for the most demanding classical and acoustic recording applications. Like an SF-12, the SF-24V is actually two matched ribbon microphones, placed one above the other in a coincident pair, each aimed 45 degrees from center in the classic Blumlein configuration. The magnet/pole piece structure of each ribbon transducer delivers a wide, uniform frequency response with no substantial peaks or dips, and the 1.8-micron ribbons produce superb transient response. Frequency response is excellent regardless of the angle of sound striking the ribbons and off-axis coloration is negligible. Applications <ul><li>Orchestra</li><li>String Sections</li><li>Solo Strings</li><li>Brass and Woodwinds</li><li>Acoustic Piano</li><li>Harp</li><li>Choirs</li><li>Drum Overheads</li><li>Percussion Instruments</li><li>Acoustic Guitars</li><li>Large & Small Ensembles</li><li>Ambiance</li><li>Stereo to Mono</li></ul> The SF-24V excels on full orchestra, choir and ensembles, classical piano, drum overheads, virtually all acoustic instruments, small vocal groups, a wide variety of percussion instruments, as a room mic, etc. Like the SF-12, the SF-24V is uncanny for creating “you-are-there” stereo recordings that capture not only the instrument(s) being recorded, but, depending on how the microphone is positioned, varying degrees of the acoustical space. In addition, the increased sensitivity and impedance matching circuitry allows for more consistent results in a variety of recording situations and with a wider selection of mic pre’s. Recording in Mono For mono recording, phase compatibility between the two sides of the SF-24V is excellent, allowing you to combine the two channels perfectly in mono with no phase artifacts. This is particularly useful when capturing a wide sound field in mono; for instance, a singer who tends to move off the “sweet spot” of a mono microphone. Each side of the SF-24V can also be used as an independent mono microphone. The Electronics The SF-24V’s twin head amplifiers consist of low-noise, triode-connected military grade 5840 vacuum tubes. Designed for a wide range of applications, the SF-24V delivers -38 dB output and the drive capabilities only vacuum tube head amplifiers can provide. The circuits are devoid of typical vacuum tube coloration. The SF-24V’s triode-configured cathode follower circuitry enables the microphone to drive long cable runs without sonic degradation or high-frequency loss. This capability is further enhanced by the SF-24V's dedicated power supply, which provides ample current to the vacuum tube electronics. Induced noise is virtually eliminated by the microphone's fully balanced outputs, which are electrically isolated with special purpose Jensen output transformers. The SF-24V has far more level than non-powered ribbon microphones and its impedance matching circuitry places a perfect load on the ribbon element at all times. This allows the use of a wide variety of mic preamps without concern for gain and impedance matches, two critical issues with ribbon microphones. In addition, the microphone’s electronics shield the ribbon elements from any possibility of damage by phantom power, electrical glitches or miswired cables. It is important to note that the SF-24V’s higher sensitivity creates no additional self-noise. All of the SF-24V’s increased level comes from its large, specially wound toroidal transformers, so there is no additional noise associated with the microphone's higher output. The tube system operates at less than unity, adding no noise of its own.

Royer Labs SF-24V

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

Rupert Neve Designs Portico 5017

Sonnox Oxford Restore represents a quantum leap beyond previous restoration plug-in technology with its advanced algorithms and novel features that allow fast and extremely effective removal of pops, clicks, crackles, scratches, hum, buzzes and extraneous background noise from virtually any recording. Capable of exceptionally high quality audio repairs, the three plug-ins are intuitive and easy to use, with each interface providing detailed graphical feedback, benefiting the user by saving time which of course is critical in the post-production process. DeClicker <ul><li>Three sections with individual thresholds and controls: DePop, DeClick and DeCrackle</li><li>Event display gives intuitive visual feedback of energy and duration of detected events</li><li>'Exclude Box' to select events that should not be repaired</li><li>Dialogue Mode that allows two separate sets of control settings distinguished by input level</li><li>Excitation displays to aid accurate setting of threshold controls</li><li>Three audition modes, including option to listen to only removed events</li><li>Advanced algorithms for accurate detection and high quality repair</li></ul> DeBuzzer <ul><li>High performance hum and buzz removal using advanced algorithms</li><li>Separate Detect and Remove Sections for intuitive workflow</li><li>Scalable high resolution FFT of input signal shows strongest harmonics and removal filter</li><li>Very accurate setting of fundamental over 3 frequency ranges</li><li>Integrating frequency display shows strength of fundamental</li><li>Tracking mode can be set to Automatic or Fast to follow fundamentals that wander in frequency, or to Freeze for fundamentals that vary in amplitude</li><li>Choice of removal filters: Comb for general purpose narrow removal over many harmonics, or Parametric EQ for a more musical removal over a small set of harmonics</li><li>Two audition modes, including option to listen to the removed buzz</li></ul> DeNoiser <ul><li>High performance noise removal using advanced algorithms</li><li>Separate DeHisser, Detect and Remove Sections for intuitive workflow</li><li>High resolution FFT of input signal showing noise profile</li><li>Efficient DeHisser for preparation before wide-band noise reduction</li><li>Detector noise profile can be set to automatic, freeze or manual</li><li>Noise threshold and reduction are controllable in frequency bands using adjustable bias curve</li><li>Two audition modes, including the option to listen to the removed noise</li><li>Warmth control for sweetening after noise removal</li><li>Make-up gain for true A/B comparisons</li></ul>Platforms Supported Pro Tools (RTAS), Audio Units, VST

Sonnox Oxford Restore - Native

Trilian is the total solution for Bass from Spectrasonics With its comprehensive design, the Spectrasonics Trilian brings many different types of Bass together into one extraordinary-sounding virtual instrument. Trilian is designed from the ground up to be the most versatile bass virtual instrument available today with a new level of expressive, real-time performance for acoustic and electric basses – plus cutting-edge synth bass tones with powerful editing and extraordinary sound quality. Trilian is the successor to Spectrasonics’ award-winning Trilogy bass instrument, offering deeper control of musical expression and much greater flexibility of sound shaping. Trilian’s 34GB library is 10-times the size of Trilogy and features all new acoustic, electric and synth basses. Powered by next generation STEAM Engine technology, Trilian is the first instrument to feature core library integration with Spectrasonics flagship Omnisphere® synth – allowing Trilian’s sounds to be used within the Omnisphere environment for further sound design and keyboard/bass splits. “At Spectrasonics, we’ve always loved Bass sounds.” notes Eric Persing, Founder and Creative Director. “When we started 15 years ago, our very first product was the best-selling Bass Legends sample library. Then in 2002, we introduced Trilogy – the world’s first Bass Virtual Instrument. Now we are very pleased to release Trilian, which represents a whole new generation of our Bass development. Trilian is built on the STEAM Engine that powers Omnisphere, which has allowed us to create the most expressive and flexible Bass module we’ve ever made.” Performance The new acoustic and electric basses in Trilian are sampled at an extremely high level of detail. The combination of the software’s intuitive, automatic selection of legato and release articulations as the user plays - and the extensive ‘Round-Robin’ variations introduced for natural sounding bass lines with repeated notes - create a more dynamic and subtle playing experience. Newly developed multisampled dynamic slides let notes realistically slide from one to another. Each of the new basses feature multi-channel mixing between phase-locked microphone/amplifier and direct outputs of each bass. Bass Instruments Over sixty different 4, 5, 6 and 8 string Electric basses are presented in fingered, picked, fretless, slapped, tapped, and muted technique variations – providing a huge variety of sounds for any musical genre. Highlights of the new Electric Basses include a Music Man™ 5-string Studio Bass, Chapman Stick®, Lakland™ Rock P-Bass, Clean Fender® Jazz Bass, a Hardcore Rock Bass, a Retro 1960’s Epiphone® Viola Bass and much more. Trilian’s stunning new Acoustic Bass is the most detailed instrument Spectrasonics has ever released, with 4 audio channels and over 21,000 samples to create this single instrument! All this combined with Trilian’s high-resolution streaming of the sounds puts a depth of realism into performances that is truly inspiring. Sound Creation For Synth sounds, Trilian features newly-developed 4-Pole “Juicy” and “Power” Filter algorithms with oscillating resonance that are ideal for electronic bass. Hundreds of synth soundsources were created using over 30 of the most exotic and coveted hardware synthesizers – from the original Moog® Taurus Pedals to the latest boutique analog modular synthesizers. A multitude of extremely powerful editing controls are available for sound design – including the “FlexMod” modulation system, Dual Filters with more than 19 filter types, 6 multistage looping envelopes, 6 full-featured LFOs, dual morphing modulation, modulatable FX racks and much more. Trilian’s FX racks include all of the renowned FX processors from Omnisphere and Stylus RMX – including a wide variety of amp and speaker models, distortions, dynamics processors, equalizers, chorus, phasers, flangers, delays, reverbs, unique specialty FX and more. Legacy As Spectrasonics' next-generation bass instrument, Trilian includes enhanced, remastered versions of Trilogy’s core library – taking it to a new level of sound and expression. As a special bonus, Spectrasonics’ original “Bass Legends” multisamples have also been remastered and included in the Trilian library, featuring Marcus Miller, John Patitucci, and Abraham Laboriel (bass sounds which some hardware synth users may remember from popular Roland Xpansion boards and the classic MBD-1 rack bass module). Integration Trilian is the first virtual instrument to feature core library integration with Spectrasonics award-winning, flagship Omnisphere synthesizer. Trilian’s complete sound library can be opened within Omnisphere for further synthesis and expanded performance possibilities. Trilian’s Arpeggiator features the “Groove Lock” technology Spectrasonics pioneered in Omnisphere and Stylus RMX’s Time Designer – which means that with a simple drag and drop action, the feel of bass patterns created with Trilian’s Arpeggiator can be perfectly synchronized between all three of Spectrasonics instruments. Interface The new Custom Controls interface on the Main page of each patch brings out the most useful and interesting sound modification controls for that specific patch, and a single control can even modify numerous parameters to create unique FX. The Custom Controls are all MIDI Learnable, Automatable and users can create their own configurations of Custom Controls. Compatability Trilian is cross-platform compatible with Apple Macintosh OS X 10.4.9 and higher as a native Universal Binary for Intel-Macs and Macintosh G5, and also with Microsoft Windows 7/Vista and XP SP2 and later. 32-bit Audio Units, VST, and RTAS plug-in formats are supported for compatibility with all major host software. Trilian is currently available with 64-bit native support on Windows, and 64-bit native Mac OSX support is in development.

Spectrasonics Trilian Total Bass Module

This SPL Frontliner channel strip combines Preamp, De-Esser, Compressor, EQ and Tube Output for a fully featured recording channel. But often the particular stages would also be a great addition to an engineers mixing tools arsenal – and that is why SPL has spent dedicated I/Os to each section of this unit. Each stage can be used separately and for example be routed via a patchbay to insert the whole toolbox into a studio environment. The Frontliner features a hybrid, Class A preamp design with discrete solid state stage and a tube section with switchable drive settings.

SPL Frontliner

The center of your scalable studio Built from the same SuperAnalogue™ DNA as the AWS 900+, Duality and Matrix consoles, Solid State Logic is proud to deliver the X-Desk. Meeting the demand for a world class, compact SSL mixing desk, X-Desk combines a 16 channel SSL SuperAnalogue™ summing mixer with a compact analogue audio hub for your studio. Small enough to be easily transported, X-Desk fulfills all the essentials of the audio mixing process, with typical SSL attention to detail and depth, including smooth 100mm faders, comprehensive artist & studio monitoring with Dim & Cut buttons, Stereo and Mono Aux sends, channel and Master Bus Inserts and accurate bar graph level metering. For easy integration into your existing studio, X-Desk can be used as an elegant and and ergonomically refined desktop mixer with removable rack ears for standard 19" rack mounting (7U space required). Like all Solid State Logic SuperAnalogue™ products, it is extremely robust, hand-built in the UK with an all metal chassis and high quality controls and components. Up to eight X-Desks or X-Desk & X-Rack combinations can be cascaded via D-Sub connection to expand up to 160 inputs on mixdown. X-Desk brings benchmark audio performance to the compact mixer format. Key Features <ul><li>SuperAnalogue™ – analogue purity at the highest level</li><li>8x dual input Mono Line channels : 16 channel mixdown</li><li>8x Insert Send/Returns on channels</li><li>Stereo CUE and 2 Mono Auxiliary Sends</li><li>Cascade with X-Rack and other X-Desks for bigger systems</li><li>Talkback – for artist communication</li><li>Dim & Cut buttons</li><li>Independent Main and Alternate stereo monitor outputs</li><li>SSL Stereo Mix Bus with External summing and Inserts</li><li>2x Stereo Returns with Level, Pan and Bus assignment</li><li>iJack front panel input for portable playback devices</li><li>High quality internal PSU</li><li>D-Sub Channel I/O connection for studio integration</li><li>19" Rack mount ears included</li></ul>

SSL X-Desk SuperAnalogue Mixer

The Telefunken AR-51 is designed in the tradition of the classic mics of the past, utilizing the same circuit design as the classic Telefunken ELA M 251E. The AR-51 employs new cost-efficient manufacturing methods to meet a price point suitable to any recording studio, from major World Class facilities to voiceover rooms and home project studios. The new R-F-T AR-51 utilizes only premium components, including a vintage New Old Stock (NOS) tube that has been rigidly tested for noise and microphonics, as in the ELA M 251E. The AR-51 also features a globally-sourced power supply and capsule, both rigorously tested prior to installation. As with all products in the R-F-T range of Telefunken Elektroakustik microphones, the circuit board has been designed for superior current handling, permitting the amplifier to have full access to the necessary "power on demand" for handling low frequency and transient information. Modifications have been made to the amplifier circuit to optimize the performance of the capsule and a signal path that includes the same European manufactured output transformer found in every ELA M 251 E built since 1960. At the Telefunken Elektroakustic studios in South Windsor, CT, audio engineers have successfully tested a wide range of applications for this new large diaphragm microphone. The microphone is especially suitable for recording acoustic and electric guitars, piano, percussion, for drum overheads and close miked drums, as well as for both male and female vocals. The perfect complement to the company's acclaimed AK-47, the AR-51 is a significant addition to any studio's microphone locker.

Telefunken Elektroakustik AR-51

The True Systems PT2-500 is an API™ 500 series compatible module that incorporates our new-technology Type 2 circuit design. Our Type 2 design provides the traditional ultra-resolution musicality of our original design preamps, but adds serious analog depth and warmth. In short: It sounds BIG! The new DI circuit calms piezo transducers and provides a THRU jack for easier re-amping and multi-effects. 70dB of gain, high-headroom, low-noise, amazing sonics. If you haven’t heard TRUE preamps before, you might want to start here! Features <ul><li>API™ 500 series format</li><li>Ultra-resolution combined with serious analog depth and warmth</li><li>70dB of gain (dual range), exceptional headroom, low noise</li><li>IN and THRU jacks for signal splitting applications</li><li>Insensitive to ground noise and EMI</li></ul>

True Systems PT2-500

The name says it all - Waves Vocal Rider is designed to match your vocal tracks to the rest of the mix and then keep the relative volume throughout the song. All you do is instantiate it on your vocal track, bus a summed instrumental mix to the side-chain, and hit play. The plug-in fader then takes over, keeping the relative volume of the vocals and the rest of the mix constant. And, unlike compression, Vocal Rider doesn't crush the dynamic range or color the vocal track at all. Features <ul><li>Intelligent adjustment of the vocal track based on the dynamics of the music </li><li> Saves time doing the kind of automation you would have to do manually </li><li> Writes automatic volume riding to the track as automation for fine tuning </li></ul>

Waves Vocal Rider - TDM

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