Launched in 1970, the 1073 is the first choice of leading producers and artists, delivering the unique Neve sound on some of the most famous recordings of the past 40 years. The big, punchy sound of the 1073 complements any musical genre – from rock to pop, hip-hop to rap, thrash to classical. <br><br> And now it is available for your Lunchbox^TM<br></p> <p>Designed and manufactured in England, the 1073LB retains the unique sonic characteristics of the original 1073 Classic microphone preamplifier by using the same architecture, matching components and original hand-wound transformers. And it delivers it in a modern and portable form-factor that professional producers and engineers demand.</p><p>With new features like a fine TRIM control, switchable microphone input impedance, signal presence LED, intelligent protected switching of front combi-XLR input connector and Neve's clever Audio Processing Input design, the 1073LB takes your Lunchbox^TM to the next level.<br></p><p>Simply install into an empty slot in your compatible Lunchbox^TM rack, connect your microphone or line level signals and inject that legendary sound into your audio creations.<br></p><p><span style="font-weight: bold;">Highlights</span><br></p><ul><li>Classic transformer microphone preamp amp (Class A design)</li><li>Audio path is <span style="font-weight: bold;">absolutely 100% discrete</span> and the same design as the 1073 Classic module mic/pre circuit<br> </li><li>Neve designed hand-wound transformers</li><li>Both Mic and Line inputs are transformer balanced and earth free</li><li>Gain knob with Signal Presence LED<br></li><li>+5/-10dB level Trim control with integrated phantom power on/off switch</li><li>Phase, Impedance and Front Input selector switches</li><li>Front combi-XLR connector with intelligent switching of phantom power</li><li>Audio Processing Insert design allows processing from adjacent Neve modules in same Lunchbox to be inserted into the 1073LB's pre-output stage</li><li>Microphone Input: Gain -80db to -20dB in 5dB steps</li><li>Line Input: Input impedance 4k ohms bridging, gain -20dB to +10dB in 5dB steps</li><li>Output is transformer balanced and earth free</li><li>Distortion: Not more than 0.07% from 50Hz to 10kHz at +20dBu output</li><li>(80kHz bandwidth)</li><li>Freq Response: ±0.5dB 20Hz to 20kHz, -3dB at 40kHz</li><li style="text-align: left;">Crafted in England by Neve engineers <br></li></ul>Lunchbox^TM is a trademark of Automated Processes, Inc.<br> <br> <span style="font-weight: bold;">Note:</span> The Neve 1073LB will <span style="font-weight: bold;">not work</span> with the A Designs 500HR 2 Slot rack or the Empirical Labs EL500 2 Slot 500 Series Rack due the physical size of the slots in those particular racks not being able to accommodate the dimensions of the module. The module will fit in all other new 500 series racks that we carry.

Neve 1073LB

The <span style="font-weight: bold;">Neve 1073LBEQ</span> provides a Neve 1073 EQ circuit in a single 500-series module.  The 1073 is widely considered the world’s premier mic preamp & EQ module, delivering the unique Neve sound featured on some of the most famous recordings of the past 40 years.<br> <br> The big, punchy sound of the classic Neve 1073 module complements any musical genre, from rock to rap, jazz to classical. Its lush sound with classic Neve signature makes it the consummate mic-pre/EQ module for recording vocals, guitars, and acoustic instruments of all descriptions. With the 1073LBEQ module, the highly sought-after classic EQ sound is now available in a 500-series form-factor.<br> <br style="font-weight: bold;"> <span style="font-weight: bold;">Highlights</span><br> <ul><li>Legendary 3-band EQ design</li><li>When integrated with 1073LB preamp, the combination is 100% discrete and = genuine 1073 mic pre/EQ</li><li>Rotary controls provide accurate adjustment of the 1073 3-band EQ and High Pass Filter</li><li>Signal presence LED illuminates green from a level of -25dB and red from a level of +24dB</li><li>Switch for EQ IN/OUT function, with LED indication</li><li>Electronically balanced classic Neve circuits used in Line Input and Line Output stages for standalone module use. These stages are bypassed and the 1073LBEQ module is 100% discrete when combined with the 1073LB mic preamp</li><li>Audio Processing Insert design allows the audio to/from the 1073LBEQ module to be inserted into the audio path of an existing 1073LB (modules must be fitted in the same rack)</li><li>High frequency concentric knobs perform two functions: HF shelf control and High Pass Filter control</li><li>Fully screened module packaged in Mu-metal case eliminates stray electromagnetic fields from Lunchbox PSU or other module types</li></ul> The 1073LBEQ provides the legendary sound of Neve in a remarkably simple format. A Line level input feeds an electronically balanced EQ circuit with 3-bands of adjustable EQ and a High Pass filter, which can easily be switched in/out. The output is also an electronically balanced Line level output. A signal presence LED and Neve’s clever Audio Processing Insert design is also integrated into the module. <br> <br> The 1073LBEQ can be modified to work as an inserted process with an existing 1073LB mic pre module.  A modification is required inside both units and a cable, which is supplied with the 1073LBEQ module, is needed to connect the LB mic pre to the LB EQ.  The result of this is a <span style="font-weight: bold;">genuine 1073 mic/pre input -> EQ -></span> output audio path when in this mode.  Revolutionary!<br> <br> This mono unit is the perfect solution for studios and audio engineers looking to bring in the very essence of the Neve 1073 EQ sound to their portable racks.<br> <br> <span style="font-weight: bold;">Note:</span> The Neve 1073LBEQ will <span style="font-weight: bold;">not work</span> with the A Designs 500HR 2 Slot rack or the Empirical Labs EL500 2 Slot 500 Series Rack due the physical size of the slots in those particular racks not being able to accommodate the dimensions of the module. The module will fit in all other new 500 series racks that we carry.

Neve 1073LBEQ

The <b>API 512C</b> is a mic/line/instrument preamp designed to provide a low noise, unusually good sounding front end for all types of audio systems. Sonically, it is at the top of the "Mic Preamp List", regardless of price. Offering low noise (-129 EIN) and 65 dB of gain, the 512C includes phantom power, switchable polarity, -20 dB pad and Mic/Line or Instrument selector. Front panel XLR and 1/4 inch connectors combined with rear panel mic access allows for additional flexibility when installed in an API LunchBox, Six Pack, 10 position vertical rack, a 2 position horizontal rack, or an API console.<p></p> <p>What makes the API 512C unique is its long evolution from the original 1967 era 512, the first modular mic pre, to the current full featured 512C, while preserving the original sound character that made it so much a part of the early days of recording. Offering high headroom and a wide variety of inputs and input access ponts, it is ideal for unusual and demanding applications.</p> <p>Imagine a situation where only a few preamps are needed, yet the smallest available console has a proportonally "small" mic preamp, making it useless for the demanding application, or conversely, imagine where you need a large number of preamps, and a console of sufficient inputs and quality would be too large to transport or rack mount. The 512C hits the spot with its quality and famous tone. Expand, combine or downsize at any time without trade-ins or product obsolescence. In addition, the 512C's sound and performance exceeds most "console mic pres" in every respect.</p> <p>The beauty of the entire API 500 Series is its long term flexibility and lasting value when needs change over time. With a range of mounting frame options, the 512C will be a valuable asset to your performance critical applications.</p> <p>The 512C Mic/Line Preamp makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life, and uniformity which are characteristic of API products.<br><br> <b>Features</b> </p><ul> <li> Mic Preamp with 65 dB of gain </li><li>Front and Back Panel Mic Input Access </li><li>Line/Instrument Preamp with 50 dB of gain </li><li>Front and Back Panel Line/Instrument Input </li><li>LED VU meter for monitoring output level </li><li>20 dB pad switch, applies to mic/line/instrument </li><li>48v Phantom switchable power </li><li>Traditional API fully discrete circuit design </li><li>Uses the famous API 2520 Op-Amp</li></ul> <B>2 Year Warranty (labor) 5 Year Warranty (parts)</B><BR> We double the standard API one year warranty (parts and labor) on this item.

API 512C

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

API 500-6B Lunchbox

The Mono is the single channel API 500 series version of the GAMA (Golden Age Microphone Amp), with all the capabilities, features, and quality of the original. The Shadow Hills Mono Gama is centered around our custom discrete op-amp. This no-compromise design exudes hugeness, fidelity, punchiness and depth, across the full frequency range, without becoming veiled or choked. <br><br>The preamplifier input is transformer balanced and utilizes an original Jensen input transformer. We couldn't decide which vintage output transformer we liked best, so we had our favorites perfectly recreated, and included them all. You can change the output transformer by cranking the knob, thus changing the tonal capabilities to compliment to whatever material you are recording. This allows you to audition different settings to find the perfect match for microphone or direct input without patching and un-patching other preamps, and possibly alleviating the need for EQ. Choose between Nickel, Discrete, or Steel settings. Each transformer position is stellar unto itself, but the capability of switching between them is like having three great pre's in one. <br><br>All the standard Mic-pre features are present: phantom power, phase reverse, a twenty dB pad, and direct input. We have also included the ability to pad and reverse the phase of the Direct Input. <br><br>Quality is unmatched. Engraved front panels, a twenty four position Swiss-made attenuator for gain control, custom made knobs, and engraved serial number plates, set the build apart. <br><br><b>Features</b> <ul> <li>Superb sound quality and character </li><li>Switchable output transformers </li><li>Stepped attenuator for gain control </li><li>Phase reversible and paddable DI </li><li>Engraved front panels </li><li>75 ma current draw per module </li></ul>

Shadow Hills Industries Mono GAMA Mic Pre

<B>Classic Knee Sound</B><BR>Helpful in the pristine but unforgiving digital world. Three audio modes provide user programmable, warm harmonic distortion. Emphasized tube-like 2nd harmonic in clean and Distort 2 mode. In Distort 3 mode the distortion becomes dominated by 3rd harmonic (similar to tape).<BR><BR> The <B>Empirical Labs Distressor</B> is an automatic gain (or volume) control device (AGC in engineering terms) designed for pro audio (music) applications. Basically, it electronically controls the volume of just about any source in a very pleasing, and "musical" manner - adding fullness, intelligibility, and especially in the Distressor's case - excitement. This type of device is often called a "limiter" or "compressor" by audio industry people. Its most probable uses will be in recording studios, live sound situations, movie sound production, and radio broadcast production. <BR><BR> Unlike most analog compressor/limiters the Distressor is a digitally controlled audio device and actually incorporates several products into one by utilizing digital controls to switch totally different circuits in and out. Years of beta testing and redesign went into the Distressor as will be the case with all Empirical Labs products. <BR><BR> Besides offering a wide range of control and unique features, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit. This "warmth" or vintage sound has become an important issue in the last 15 years, as the super clear and linear digital technology does very little (or nothing) to soften "harsh" sounds nor emphasize the bass frequencies in music sources. Older analog tape, vinyl records and tube equipment on the other hand, could not be prevented from coloring the sound, often to the frustration of recording engineers. However, many people have now realized that this coloring can be extremely pleasant and "musical".The current digital technology is often referred to as "cold" and "brittle" among other terms, although we prefer the term "unforgiving" to describe the negative side of the "linearity". The Distressor offers several modes that color the signal, even without compression (or gain control). These extended modes were designed to allow emulation of some very old and some very expensive vintage gain control units (compressors & limiters) and deliver a classic "knee" sound all its own.<BR><BR> <B>Specifications:</B><UL> <LI>Freq. response is 2 Hz to 160 kHz in clean audio mode (+0, -3 dB). Response is shaped in distortion modes (Dist 2, Dist 3). <LI>Dynamic range 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal to noise in distort 3 mode. <LI>Distortion ranges between .02% and 20% depending on distortion mode and release times set on front panel. <LI>DC coupled output - High quality input caps. <LI>Input impedance is 20K Ohms, Output impedance is < 75 ohms <LI>Time constants - Attack range 50uS - 50mS. Release range .05 sec to 3.5 seconds, normal modes and up to 20 seconds in 10:1 opto mode. <LI>Time constants are dependant on ratio. <LI>Metal Chassis - single height 1.75" high, 10" deep, 19" wide.

Empirical Labs Distressor EL8X

The <span style="font-weight: bold;">Shure SM7B</span> dynamic microphone has a smooth, flat, wide-range frequency response appropriate for music and speech in all professional audio applications. It features excellent shielding against electromagnetic hum generated by computer monitors, neon lights, and other electrical devices. The SM7B has been updated from earlier models with an improved bracket design that offers greater stability. In addition to its standard windscreen, it also includes the A7WS windscreen for close-talk applications.<br> <br> SM7B Includes foam windscreen, close-talk windscreen, locking yoke mount.<br> <br style="font-weight: bold;"> <span style="font-weight: bold;">Features</span><br> <ul><li>Flat, wide-range frequency response for exceptionally clean and natural reproduction of both music and speech</li><li>Bass rolloff and mid-range emphasis (presence boost) controls with graphic display of response setting</li><li>Improved rejection of electromagnetic hum, optimized for shielding against broadband interference emitted by computer monitors</li><li>Internal "air suspension" shock isolation virtually eliminates mechanical noise transmission</li><li>Highly effective pop filter eliminates need for any add-on protection against explosive breath sounds, even for close-up vocals or narration</li><li>Now shipping with the A7WS detachable windscreen, designed to reduce plosive sounds and gives a warmer tone for close-talk vocals</li><li>Yoke mounting with captive stand nut for easy mounting and dismounting provides precise control of microphone position</li><li>Classic cardioid polar pattern, uniform with frequency and symmetrical about axis, to provide maximum rejection and minimum coloration of off-axis sound</li><li>Rugged construction and excellent cartridge protection for outstanding reliability</li><li>Replacement cartridge: RPM106</li></ul>

Shure SM7B

<span style="font-weight: bold;">Inward Connections The Brute</span> is one of the most well suited compressor/limiters within the 500 series format to obtain a "high-end" vocal sound.  It will add warmth and presence to your vocal, bringing out a breathy and airy quality while also smoothing out peaks and bringing the vocal up front in your mix. The Brute is also excellent for guitars, bass, and anywhere else a smooth and warm optical limiter can be of use. <br> <br> <span style="font-weight: bold;">Features</span><br> <ul><li>Gain reduction control</li><li>Zero adjust trim</li><li>Output level control</li><li>Hi-Pass filter: 250Hz for detector circuit </li><li>Bypass switch</li><li>LED lighted VU meter</li><li>VU meter output/reduction switch</li><li>Link switch</li><li>VF600 all discrete legendary amp blocks</li><li>Optocell reduction circuitry identical to TSL-3 Tube Limiter</li><li>Balance input and output transformers</li><li>Fits standard 500 series slot configuration mechanically and electrically</li><li>Powder coating in gunmetal gray<br> </li></ul> <span style="font-weight: bold;">Specifications</span><br> <ul><li>Gain Reduction: up to 40dB</li><li>Input Impedance: >100K ohms balance</li><li>Output Impedance: 600 ohms balance</li><li>Frequency Response: +/- 0.5dB@20Hz to 50KHz</li><li>Output Signal to Noise: -95dB or greater</li><li>THD + Noise: .01%@1KHz/+4dBu</li><li>Reserve Makeup Gain: +15dB</li></ul>

Inward Connections The Brute

<b>Find out why the MicroMain27 is the most sought after speaker in pro audio. Call Vintage King and demo today!</b><br><br>The <b>Barefoot Sound MicroMain27</b> is a groundbreaking new monitor that is in a class all its own. It is quickly becoming the premier choice for top mixing and mastering engineers. The speaker is designed to address the demands of modern recording. It breaks down the barriers between nearfield, mastering and main monitors. No need to have multiple pairs of speakers crowding your studio; no need to guess what the mastering engineer is going to hear. The MM27 is compact and powerful, truly a "nearfield on steroids." While exceptionally neutral and designed for critical listening, the MM27 is still very capable of rocking the house. It redefines the definition of a main monitor -- a "Micro Mainª" monitor. The only monitor you may ever need. <br> <p>1" soft dome tweeter, dual 5" midbass drivers and dual 10" subs housed in compact sealed enclosures yield high linearity and outstanding impulse response. With 500 Watts of power in the subwoofer channel alone, the dual 10" drivers cross over seamlessly from the midbass, reaching down to 33Hz and rolling off at 1/4 the rate of ported designs to reveal much more deep bass information. Since the sub motor structures are locked together the opposing forces cancel out and the cabinet remains rock steady even at very high output levels. There is no need for bass management in 5.1 systems because the MicroMain27 is truly a full-range monitor. The speaker can be placed either vertically or horizontally using the included pedestal (9" L x 13/8" W x 21/4 H). <br><i>Hand Crafted in San Francisco, California</i> </p><br><br>*Note* The MM27 will have no problem operating at 100VAC in the 115VAC setting.

Barefoot Sound MicroMain27 - Pair

The <span style="font-weight: bold;">Millennia Media HV-35</span> features a front panel instrument input, DC coupled ribbon mic with 10dB gain boost setting, 80 Hz rolloff filter, 48V phantom, 15 dB Pad and Polarity flip.  The gain control is continuously variable. It will work in any API-compatible 500 Series rack.

Millennia HV-35

After some requests from audio engineers, the <b>Avedis Audio MA5</b> was created for the need of a high quality microphone preamplifier in the characteristic sound of early 70's British consoles. The re-engineering in the creation of the MA5 stemmed from years of experience restoring both American and British modules, deeply rooted in classic transformer-balanced, discrete electronics. Only the best and most suitable components are used throughout, regardless of cost, to attain the best sound. <br><br> Much time was spent on the MA5, not only on the engineering side of the design, but also to extensive sound evaluations in observation of specific settings, gain structures, and key components spanning a time frame of a little over a year. <br><br> We have always believed that even with some of the best audio test analyzers we own and use, our ears' sensitivity, coupled with good judgement of sound through experience, is still unparalleled. In the end, it is our ears we are trying to satisfy. <br><br> <b>Features</b><ul><li>Standard 500 series modular size 1.5" x 5.25" </li><li>Single-ended Class A amplifier </li><li>UK made input transformer </li><li>Custom designed Jensen output transformer </li><li>Stepped gain rotary switch in 5dB steps </li><li>Output level pot for trim and mute </li><li>LED lit pushbuttons </li><li>Special 28kHz button </li><li>Custom made Marconi style knobs </li><li>High headroom & CMR, Low noise design </li><li>140ma current draw total, 70ma per rail </li></ul>

Avedis Audio Electronics MA5 Microphone Pre

<p>The <span style="font-weight: bold;">BAE </span>(formerly Brent Averill Enterprises)<strong> 312A </strong>"500 Series" mic preamps, made using the new Avedis 1122™ opamps, are punchy, have great bass and have a clear, extended top end.  The sound is in your face and they don't compress transients.  The low end is tight with good attack. They are excellent for drums and percussion.  These pres are very cost effective. Many people buy racks of 6 or 11 to cover the entire drum kit. <br><br><strong>Features:</strong></p> <ul> <li>Modules plug into API™ compatable lunchboxes and racks </li> <li>Made using Avedis™ 1122 opamps </li> <li>Can be phantom powered if your rack has a 48v power supply built in Pin compatible with API™ 550A equalizers </li> <li>Switches have gold contacts for long life </li> <li>Supplied with Jensen input and output transformers at no additional cost </li> <li>High impedance direct input for guitar and synthesizer </li> </ul>

BAE 312A Module

The <b>API Model 500VPR</b> is powered externally by a tri-polar power supply (included) and is designed to accept API standard format 5.25" X 1.5" modules. The 500VPR is internally wired for PIN 2 hot, and comes with the API L200PS. The input/output jacks are both XLRs. The 500VPR can hold up to ten API modules. API makes several modules to fit this rack, including the 550A, 550B, 560, 525, and 512C. Like all API products, the 500VPR rack enjoys API's standard 5 year warranty. <br><br><b>Features</b> <br> <ul> <li>Holds 10 API Standard Format 5.25" X 1.5" Modules </li><li>XLR Jacks for Inputs and Outputs </li><li>Pre Wired Rack </li><li>Externally Powered </li><li>19" Rack Mount, 3U Tall </li><li>Rugged Chassis </li><li>Perfect for Outboard EQ / Mic Pre Modules </li><li><b>FREE</b> if you purchase any (8) NEW 500 Series modules.*</li></ul> <p>The 500V can be ordered with an optional 48 volt phantom power supply, bussed to pin 15 for the API 512C to access. It must be noted that the older API 560A series equalizers used pin 15 for a "direct output" and must be disabled on the 560A circuit board edge connector by cutting a trace. This will eliminate 48 volts from damaging the 560A series equalizers.</p> <p>API makes several modules to fit this rack, including the 550B, 560, 525, and 512C. These modules are designed to help expand existing limited input console configurations, allowing a facility an option to a larger console.</p> <ul> <li>Multitrack Recording of Acoustic and Electronic Audio Sources. </li><li>Sound Reinforcement Systems and Recording Live to Multitrack formats. </li><li>Multiple facility projects where portability is a concern. </li><li>Broadcast and Audio for Video Production. </li><li>Custom Channel Input Strips. </li><li>ADAT Type Portable Recording Setups. </li></ul>

API 500VPR 10 Slot Rack w/PSU

<!--StartFragment --><B>The Portico™ 5033 Five Band EQ and high performance line driver is a new equalizer with the performance, features and musicality expected from Rupert Neve, the designer.</B> <BR>  <BR> <!--StartFragment -->The 5033 features Mr. Rupert Neve’s custom input and output transformer designs, five bands of EQ based on his traditional curves, -/+12dB input level adjustment, five filter bypasses and comes available in either horizontal or vertical formats. <P>At the input and output of the 5033 lie custom designed Rupert Neve transformers, which are much of the heart of the sound of Mr Rupert Neve’s classics. The EQ section can be completely bypassed and the unit can be used as a very high quality line driver utilizing these transformers, which can help to add sonic “sweetness” to a source.</P> <P><!--StartFragment --><FONT size=2><B>Low Frequency and High Frequency Shelving Filters</B></FONT></P> <P>For opposite ends of the audio spectrum there are two separate shelving filters, which are both engaged or disengaged using the same LED pushbutton. Each shelving filter allows for a boost or cut of up to 12 db, providing steeply rising or falling curve shapes. When these curves are boosted or cut aggressively, they enable the second and even third harmonic to be varied in relation to their fundamental, allowing the natural sound of a musical instrument to be varied. When used less aggressively, one can attenuate bands of frequencies above or below the “turnover” point to their desired levels. These sections each provide EQ curves that approximate to 6 dB/ and give a true “Flat” response when this section is engaged but not boosted or attenuated.</P> <H3><FONT size=2>Low Frequency (LF) Shelving Filter</FONT></H3> <P>Continuously variable from 30Hz to 300 Hz, allowing for a wide range of applications, from filtering out low rumbles caused by air conditioning units to taming an instrument with too much low end or even adding a little bit of “oomph” to a thin mix, proving to be an indispensable asset in the signal chain.</P> <H3><FONT size=2>High Frequency (HF) Shelving Filter</FONT></H3> <P>continuously variable from 2.5 kHz to 25 kHz, giving this section of the EQ a valuable range of operation. Whether you want to really bring out the presence and breath of your vocals or simply add some “air” to your overall mix, the HF shelving filter will give you that bit of sparkle you’re looking for.</P> <H3><FONT size=2>Mid Range Parametric Filters</FONT></H3> <P>To cover the crucial mid-range, the 5033 comes with three bands of parametric EQ, each separately engaged and having a true “flat” response when each section is engaged but not boosted or attenuated. Each section is capable of boosting or attenuating up to 12 dB, and includes a variable “Q” control. “Q” controls range from “Q” = 0.6 to “Q” = 3, allowing you to vary the bandwidth of the attenuation or boost, whether a broad range of frequencies to gently give a sonic section a slight boost or dip or using the filter with a very narrow range of frequencies, acting almost as an audio “chisel” to hone in on certain offending frequencies.</P> <H3><FONT size=2>The Low Mid Frequency (LMF)</FONT></H3> <P>Section is variable from 50 Hz to 400 Hz. The Mid Frequency (MF) Section is variable from 330 Hz to 2.5 kHz. The High Mid Frequency (HMF) Section is variable from 2 kHz to 16 kHz. Each section has been carefully designed to overlap neighboring ranges, allowing for a very fine range of possible adjustments.</P>

Rupert Neve Designs Portico 5033 5 Band EQ - Vertical

The <b>ProAc Studio 100 </b>is consistently selected by top recording engineers for near-field monitoring in major studios - ample testimony to its overall sound quality and neutrality at monitor reference levels. <p>Few compact loudspeakers offer such a clean uncolored performance and remarkable transparency. With virtually flat frequency response and negligible distortion, the Studio 100 is one of the most accomplished compact performers on the market today.</p> <p>The bass unit is unique. Manufactured exclusively for ProAc, it has a particularly linear motor assembly, superb magnet and chassis construction and a special center pole plug. When precisely tuned in the cabinet, this driver gives an incredibly natural bass quality and definition, combined with generous power handling.</p> <p>The tweeter is a featherlight one-inch soft dome unit, once again specially manufactured for ProAc. Made from a new impregnated fabric, the dome itself is exceptionally light in construction giving the Studio 100 a distinctively uncolored and transparent high frequency.</p> <p>The high quality crossover network marries the two drive units seamlessly giving a spacious sound stage with almost tangible imagery. Only the finest components are used and the speaker is wired throughout with our own high-quality multi-strand wire. The cabinet itself is made from a composite material with walls of differing thicknesses and a new and more efficient heavy damping material ensures that the cabinets are practically inert.</p> <p><br>Although the Studio 100 can be shelf-mounted, high mass stands with good rigidity are preferable for optimum results. The full potential of these thoroughbred designs will only be realised through the use of the highest quality partnering equipment.</p><p><span style="font-weight: bold;">Specifications</span><br></p><ul><li>Nominal Impedance: 8 ohms</li><li>Recommended Amplifiers: 30 to 150 watts</li><li>Frequency Response: 35hz to 30Khz</li><li>Sensitivity: 88db linear for 1 watt at 1 meter</li><li>Bass/Midrange Driver: 6 1/2" treated cone with special center pole plug.</li><li>Tweeter: 1" (25mm) soft fabric dome with ferrofluid and rear loading. Mirror image offset.</li><li>Crossover: Finest components on dedicated circuit board. Multi-strand oxygen-free copper cable throughout. Split for optional bi-wiring and bi-amping.</li><li>Dimensions: 16" (406mm) high x 8" (203mm) wide x 10" (254mm) deep</li><li>Weight: 24 lbs (11kg) /cabinet</li><li>Mode: Stand-mounted</li><li>Grille: Acoustically transparent crimplene</li><li>Finish: Available in the following real wood veneers: Black Ash, Mahogany.</li></ul><p><br><span style="font-weight: bold;">ProAc Studio 100 Users</span><br></p><ul><li>Bose Automotive Group</li><li>Jack White</li><li>Rich Costey</li><li>John O'Mahony<br></li><li>Brendan Benson</li><li>Michael Marquart</li><li>Peter Frampton</li><li>University of Michigan</li><li>Michael A Sapone</li><li>Bob Ludwig (Gateway Mastering)</li><li>Greg Calbi (Sterling Sound)</li><li>Tony Maserati</li><li>Rick Rubin</li><li>Joe Gastwirt</li><li>311</li><li>Neil Diamond</li><li>John Scofield</li><li>Bill Frisell</li><li>David Sanborn</li><li>Genesis/The Farm</li><li>Jean Marie Horvat</li><li>Kevin Killen</li><li>Michael Brauer</li><li>Ron Saint Germain</li><li>Husky Huskolds</li><li>Troy Germano Studios</li><li>Ryan Hewitt</li><li>Craig Street</li><li>Bob Ezrin</li><li>Mike Campbell</li><li>EastWest Studios</li><li>Blackbird Studios</li><li>Ryan Freeland</li><li>Richard Dodd</li><li>Ben Fowler</li><li>Neil Dorfsman</li><li>Metallica  </li><li>Red Hot Chili Peppers</li><li>Avatar</li><li>Right Track</li><li>Looking Glass</li><li>Bear Tracks</li><li>Hit Factory Miami</li><li>Chung King</li><li>Village Recorder</li></ul>

ProAc Studio 100 Pair Color-     - Select - Black Ash Mahogany

The original Helios Type 69 mic pre/EQ, designed by Dick Swettenham, was "The Sound of Olympic Studios", the legendary recording studio used by Led Zeppelin, The Rolling Stones, The Who, The Faces, Humble Pie and Bad Company to name a few.<br> <br> The <span style="font-weight: bold;">Helios Type 69-500</span> holds true to the original Dick Swettenham design, but with a number of modern updates such as 5db steps on the mic preamp gain switch as opposed to the original 10db steps, additional 16khz EQ frequency selection for today's high-bandwidth digital recordings, and a balanced output for easy interfacing with any digital converter.

Helios Type 69-500

The <span style="font-weight: bold;">Sennheiser MD 421 II</span> continues the tradition of the MD 421 which has been one of Sennheiser's most popular dynamic mics for over 35 years. The large diaphragm, dynamic element handles high sound pressure levels, making it a natural for recording guitars and drums. The MD 421's full-bodied cardioid pattern, and five-position bass control make it an excellent choice for most instruments, as well as group vocals, or radio broadcast announcers. One listen and you'll know why it's a classic.<br><br><span style="font-weight: bold;">Features</span><br><ul><li>Glass composite housing and hardened stainless steel basket—rugged and durable </li><li>Five position bass roll-off switch—compensates for proximity effect </li><li>Effective feedback rejection </li><li>Clear sound reproduction </li><li>Easy handling due to pronounced directivity </li><li>Acoustic components enclosed in inner chasis—reduced sensitivity to dust and humidity </li><li>Internal bass tubes—accurate low end response </li><li>Handles exceptionally high sound pressure</li></ul>

Sennheiser MD 421 II

The <span style="font-weight: bold;">Focal Twin6 Be</span> is an active, 3 way, professional near-field/midfield speaker (3 built-in amplifiers - 2x150 +100W rms), comprised of two 6.5 inch (16.5cm) “W” cone sandwich composite drivers, loaded by two large section laminar bass ports and a Focal inverted dome pure Beryllium tweeter.<br><br>Both 6.5” drivers handle low frequencies but only one of the two (selectable) is passing lo-mid frequencies.<br><br><span style="font-weight: bold;">About Focal Professional Studio Monitors</span><br><br><span style="font-weight: bold;">Listen to your music, not to your speakers</span><br>These few words embody the philosophy of the Focal Professional Division. It is crucial for engineers, be it in music production, post-production or broadcast, to be able to completely trust what they are hearing. Our products are designed from the ground up to be professional tools that reproduce the reality of sound without enhancements or degradations.<br><br><span style="font-weight: bold;">Specific tools for specific needs</span><br><br><span style="font-weight: bold;">A speaker that “reveals”</span><br>A tracking engineer needs to be able to capture the exact tone of the instrument he’s recording with his microphones; he needs to discern the slightest shift in microphone position, EQ, or compression on his monitors. A mixing engineer needs to be able to place various instruments and vocals in his mix with precision. The smallest details need to come out clearly on his monitors, i.e., reverbs and spaces, and they need to be reproduced at their proper levels without any artificial alteration of the soundstage.<br><br><span style="font-weight: bold;">A speaker that “translates”</span><br>The mixing engineer also needs to be able to make sure that his mix sounds as good on other speaker systems in other environments. Usually, when a mix is done, the engineer will make a copy of it and go listen to it in a car or on a boom box, just to make sure that everything sounds the same everywhere. In essence, the engineer wants to make sure his mix translates well everywhere it gets listened to. A completely transparent speaker, that doesn’t impart a “color” to the sound, is the best way to insure perfect mix translation.<br><br><span style="font-weight: bold;">Our Speakers “reveal” and “translate” better than others. Why?</span><br>Focal Professional Division designs its products from the ground up to fulfill the specific needs of professional sound engineers: to reproduce sound as naturally and precisely as possible. The truth, and nothing but the truth. Our R&D labs have put all their knowledge and savvy into action to combat any coloration or distortion that could appear throughout all areas of the speaker. Even the slightest coloration can hinder the integrity of the signal’s reproduction. It’s easy to understand how a self vibrating speaker enclosure can blur the original signal, and the same goes for the drivers, the integrated amplifier, the padding, the finish, etc, etc.<br><br>We scrutinize each of these elements with the same care to achieve our goal of absolute transparency.

Focal Twin6 Be (Single)

Both the <span style="font-weight: bold;">API 3124+</span> and the 3124M+ are designed with the professional engineer in mind, giving the highest possible quality 4 channel mic preamp and with the 3124M+, an audio mixer, while keeping the size and price at a reasonable level. Several 3124M+ mixers can be linked to increase the number of bussed channels. Both models are equally at home in the control room, the studio, and news or recording truck, at the house console, on the stage, direct-to-DAT, or at the artist's disposal for the source of his music. <p>The model 3124+ utilizes the same microphone preamp circuit that is used in all API consoles. It uses the RE-115 K mic input transformer and the same output transformer that is used in all API equalizers. All four mic inputs of the 3124+ and the 3124M+ are powered by an internal 48 volt phantom power supply, front panel switchable for each channel. Also provided is a front panel 20 dB pad switch that effects both the Mic and Line in.</p> <p>The model 3124+ can provide up to 65 dB of gain to an output clip level of +30 dBm. The Hi-Z front panel input goes directly to the op-amp, allowing a low level input such as a guitar or bass to be amplified without a matching transformer or direct box. This Hi-Z input can take input levels as high as +22, making it perfect for keyboards and other high level devices. The rear output is an XLR connector.</p> <p>The model 3124M+ is a 3124+ with the addition of a complete stereo mixer. In conjunction with the gain control of the 3124+, the 3124M+ adds a stereo panner with a level control, and a post "fader" aux send. The stereo panners and the aux sends are bussed to master output controls and then to the rear panel jacks. A stereo AUX return is provided to return effects or cascade additional mixers for more inputs. The unique aux return pot acts like a panner to balance the left/right signal, yet staying stereo. It can also be used as a mono return. A standard 3124+ can be further expanded to an "m" at the factory. Several options for the "M" include a discrete unbalanced stereo output or a discrete balanced stereo output.</p> <p><B>2 Year Warranty (labor) 5 Year Warranty (parts)</B><BR> We double the standard API one year warranty (parts and labor) on this item.</p>

API 3124+

A reincarnation of the high output, low distortion tapes of the past but with even higher coating thickness and improved magnetic properties for the ULTIMATE PERFORMANCE.

ATR Magnetics Studio Master Tape - 1"

The <span style="font-weight: bold;">Great River 32EQ</span> is a new 500-series version of the EQ and filters from the renowned Harrison 32 Series consoles.<br> <br> The 32EQ incorporates the original specifications and with support directly from the original designers at Harrison Consoles it is guaranteed that the prized characteristics of the original were maintained in the new design.<br> <br style="font-weight: bold;"> <span style="font-weight: bold;">The 32EQ has the full features of the 32-series EQ</span><br> <ul><li>Low, Low-Mid, Hi-Mid, and High EQ bands with Gain and Frequency controls</li><li>Low and High Band “peaking” switches</li><li>EQ in/out switch</li><li>Harrison’s renowned High- and Low-pass filters with sweepable frequency</li><li>Filter in/out switch</li></ul> An internal jumper provides selection of the “vintage” feedback design, or a non-feedback option. The Harrison 32-Series console was the world’s first 32-bus “inline” recording consoles. They became a staple among recording studios and were the basis for many console designs (Harrison and otherwise) that followed. Countless hit records were produced on Harrison consoles during the birth of modern pop productions, including Abba, Sade, Queen, Janet Jackson and Michael Jackson. The 32C console was used by Bruce Swedien in the recording and mixing of Michael Jackson’s Thriller, the best-selling album of all time.<br> <br> Gary Thielman said, “For many years, Harrison has had requests for our prized analog products in a smaller form-factor. During that time, we kept hearing great things about Dan Kennedy and Great River Electronics. Their products are superbly made and they are as fanatically supportive towards their customers as we are to our own. We realized that we had an opportunity to launch a product that the world has been requesting, while continuing forward with our passion which is building large-format consoles.”<br> <br> Like all Great River and Harrison products, the 32EQ is designed and built in the USA.

Great River / Harrison 32EQ

<span style="font-weight: bold;">Apogee Symphony I/O, The Highest End</span><br> Symphony I/O builds upon the award-winning design approaches of Apogee’s X-Series* and Rosetta Series converters*, the Big Ben master clock and the Trak2 mic preamps. It also refines and updates these proven designs with fewer but more advanced components while optimizing their performance with efficient power distribution. These enhancements allow audio to travel through less circuitry, offering lower converter latency, more accurate clocking and even more transparency and clarity in your recordings.<br> <br> <span style="font-weight: bold;"> Apogee Symphony I/O Overview</span><br> <ul><li>Best sounding Apogee interface ever with updated and optimized circuitry</li><li>Audio Interface Mode (AIM): Easily configure Symphony I/O for these modes: </li><ul><li>Symphony (connect to Symphony PCIe card or Symphony Mobile Express/34 card for ultra low latency use with Logic or any Core Audio application)</li><li>Pro Tools HD (connect directly to Pro Tools PCIe card)</li><li>USB (connect to high-speed USB 2.0 port)</li><li>StandAlone (I/O inputs routed directly to I/O outputs)</li></ul><li>Total I/O flexibility and scalability with 5 available Modules including an 8 Analog I/O with Optical and 8 channel Mic preamp module</li><li>Up to 32 channels of simultaneous analog and digital I/O per unit</li><li>Future-proof modular architecture</li><li>PCI, USB and Ethernet connectivity for emerging formats</li><li>Best cost per channel value of any high-end audio interface available</li></ul><span style="font-weight: bold;">Analog design, the cornerstone of Apogee quality</span><br> Apogee's engineers do not merely rely on specs and data sheets when selecting converter components, they listen. Each component is auditioned and carefully selected to best reflect the characteristics of the Apogee sound. Symphony I/O’s audio path design is elegant and efficient, incorporating the most advanced opamps that offer better performance than multiple parts used in previous designs.<br> <br> This design improvement minimizes the audio path circuitry and maximizes sound quality. And in the tradition of the X-Series and Rosetta series, the entire audio path is DC coupled, resulting in ultra flat frequency response and extremely low phase error.<br> <br style="font-weight: bold;"> <span style="font-weight: bold;">Total Flexibility: Symphony I/O is built to grow with your studio</span><br> Symphony I/O is an audio hardware platform, designed to deliver the most advanced recording technology available and the flexibility, scalability, and longevity required to power the modern studio. Modular I/O design, total software control, and direct connection to all popular DAWs make Symphony I/O a long-term sound investment.<br> <br> <span style="font-weight: bold;">What makes Symphony I/O a great choice for your studio now and for years to come:</span><br> <ul><li>Flexible design architecture with a base unit and two I/O module slots</li><li>Up to 32 channels of I/O per unit</li><li>Future proof connectivity with PCI, USB, Ethernet and all popular digital formats</li><li>Compatibility with Logic, Pro Tools HD, Pro Tools LE and any Core Audio driven application</li><li>Total software control of Symphony I/O with Maestro</li></ul> <span style="font-weight: bold;">AIM for Complete Compatibility</span><br> With a simple adjustment using the front panel encoder knobs, AIM transforms Symphony I/O into an interface optimized for the mode that’s been selected.<br> <br> <span style="font-weight: bold;">Modes</span><br> <ul><li>Symphony PCI</li><li>Pro Tools HD PCI</li><li>USB Audio</li><li>StandAlone</li></ul> <span style="font-weight: bold;">Symphony I/O’s Audio Interface Modes (AIM)</span><br> With a 2 step adjustment using a single front panel encoder knob, AIM transforms Symphony I/O into an interface optimized for the most popular audio workstation environments. This feature allows users of Logic and Pro Tools HD for example, to easily switch back and forth between the two DAWs with the click of a knob and swap of a cable. If USB is your preferred mode, connecting to Core Audio compatible apps like Digital Performer and Cubase is just as easy. And StandAlone mode calibrates Symphony I/O for simple and direct routing ideal for a variety of uses and applications including Pro Tools LE or Pro Tools M-Powered.<br> <br> <span style="font-weight: bold;">Simply Switch</span><br> Move between Symphony/Logic and Pro Tools HD on one workstation with ease and without compromise<br> <br> Step up to a world that embraces Logic, Mac Based workstations and Pro Tools HD. Whatever platform you choose to work with the audio quality will Sound Amazing.<br> <br> The Symphony I/O PC-32 connector connects directly to a Symphony 64 card or a Pro Tools HD card. When using Logic Audio Mac Based System, latency is below 1.6ms (in the real world that’d the time it takes a sound wave to travel a few 4 inches from the speaker cone to your ear)

Apogee Symphony I/O System

<b>Chandler GERMANIUM Tone Control</b><i>.</i> The Tone Control uses active AND passive EQ circuits in combination with the GERMANIUM amplifier developed for the GERMANIUM Pre and incorporates the versatile Feedback and Drive controls as well. All bands use inductors for the fattest smoothest tone possible. The passive low frequency section is selectable between "Pultec/Lang" interactive curves and more standard low frequency with pass filter for maximum flexibility while the Treble and Presence bands are active and designed to sound like your favorite British eq’s from yesteryear. The Tone Control continues the GERMANIUM tradition of undeniable sound with maximum flexibility at a reasonable price. Fans of the Pre are sure to love it! <p>Chandler PSU-1 is needed to power unit.</p>

Chandler Germanium Tone Control EQ

Launched in 1970, the <b>Neve 1073</b> is the first choice of leading producers and artists, delivering the unique Neve sound on some of the most famous recordings of the past 30 years. The big, punchy sound of the 1073 compliments any musical genre - from rock to pop, hip-hop to rap, thrash to classical. <br><br>Handcrafted and completely hand-wired by Neve’s dedicated professionals in Burnley, England, the modern-day 1073 is produced to the exact specifications of the original modules. Considerable resources have been devoted to the acquisition of the original components to ensure the sound remains true. <br><br>Looking for an outside opinion? Lynn Fuston at EQ Magazine performed an in-depth review of the modern-day 1073 versus a vintage model. We think you’ll find his conclusions quite comforting. <br><br>The Class A design 1073 microphone preamplifier features 3 bands of EQ, with one fixed high frequency band, two switchable bands with cut and boost capability, and a high pass filter. All Neve channel amplifiers are designed to accept signals from a wide range of microphone and line sources. <br><br>The Neve 1073 mic pre and EQ combination adds warmth and depth to recordings, brings out subtle ambience, maintains spatial positioning, and more effectively captures a precise image. That’s why the 1073 mic preamp is considered by many to be the very essence of the Neve sound. <br><br><b>Highlights</b><ul><li>Classic transformer microphone preamp amp (Class A design)</li><li>3 EQ bands</li><li>Hand-built and hand-wired to original 1970s design</li><li>HP filter</li><li>Neve designed hand-wound transformers </li><li>Both inputs are transformer balanced and earth free</li><li>Microphone Input: Gain +80db to +20dB in 5dB steps.</li><li>Line Input: Input impedance 10k ohms, gain +20dB to -10dB in 5dB steps.</li><li>Output: Maximum output is >+26dBu into 600 ohms.</li><li>Output is transformer balanced and earth free</li><li>Distortion: Not more than 0.07% from 50Hz to 10kHz at +20dBu output</li><li>(80kHz bandwidth) into 600 ohms.</li><li>Freq Response: +/-0.5dB 20Hz to 20kHz, -3dB at 40kHz. EQ Out.</li></ul>The 1073 can be purchased as single or multiple units. Each 1073 module has been designed to perfectly retrofit into the 80 Series Neve Classic consoles as part of a channel strip or can be mounted in a custom rack. The available rack sizes are 3U (which accommodates 2 modules horizontally) or 5U (which accommodates 8 modules vertically). <br><br><b>Neve "Classic" Outboard - Genuine Neve product hand built in UK using all of the original components, nothing new in 30 years</b>

Neve 1073 CH

Whether you are a sound engineer orchestrating delicate mix or mastering sessions, an audiophile searching for superior sound, or simply monitoring a DAW at 192kHz, <span style="font-weight: bold;">Antelope Zodiac+</span> is especially designed to cross-link these worlds and allow you to enter a new realm of detail and satisfaction with your musical creation or listening experience.<br> <br> Zodiac+ wipes the virtual dust from your monitor speakers, widening the picture and adding more details, revealing extra dimension in the spectrum of music.<br> <br> <span style="font-weight: bold;">Professional features</span><br> Added flexibility for the professional user makes for a distinctly powerful device: AES Input, fine trimmers on the balanced outputs, mono button, mute select (soft & full), transparent analog inputs, BNC word clock input, 192kHz USB.<br> <br style="font-weight: bold;"> <span style="font-weight: bold;">De-Jittered Audio Output</span><br> Digital outputs on AES/EBU and S/PDIF offer all the benefits of Antelope’s 64-bit Acoustically Focused Clocking, so external devices gain significant sonic advantages when connected to Zodiac+.<br> <br style="font-weight: bold;"> <span style="font-weight: bold;">Source Switching</span><br> With a number of different inputs available, you can monitor many sources such as CD, Laptop, DAW or Mixers and Keyboards. Balanced and unbalanced inputs at both +4db and -10db allows tremendous flexibility, while auto detection of connected devices means source selection is simple and convenient.<br> <br style="font-weight: bold;"> <span style="font-weight: bold;">Oven Controlled Clock</span><br> Often overlooked, the quality of the clock is extremely important when high quality audio is desired. The clock is housed in a shielded container where the temperature is kept constant, therefore bringing significant benefits to the detail, dynamics and stereo placement of the audio.<br> <br style="font-weight: bold;"> <span style="font-weight: bold;">64-Bit Technology</span><br> Sophisticated 64-bit algorithms allow precise control over our Acoustically Focused Clocking (AFC) and Jitter Management; two critical components to improve audio via clocking. The incoming digital signal is brought to life with this unique 64-bit technology, resulting in smooth and detailed audio whatever the method of digital connectivity.<br> <br> <span style="font-weight: bold;">Antelope Performance USB</span><br> Custom implementation of the USB chip leads to extreme audio performance and comprehensive support for your system. There are user selectable modes tailored to suit both Mac and PC; and with a data transfer rate of 480Mbits flawless audio is achieved with native drivers.<br> <br style="font-weight: bold;"> <span style="font-weight: bold;">Smooth Headphones</span><br> Ultra Linear, Dual Stage Headphone Amps deliver smooth sound at both high and low levels. Custom designed for accurate monitoring with a wide range of headphone impedance's. Controlled by a dedicated volume knob.<br> <br> <span style="font-weight: bold;">Cutting-edge design</span><br> To preserve the full bit resolution of the DAC, volume adjustment is entirely in the analog domain. Separate analog and digital power supplies eliminate digital cross-talk. This is further enhanced by keeping analog and digital circuits on separate PCB’s. These gold plated boards utilize large internal ground plains, canceling noise and voltage shifts.<br> <br> <span style="font-weight: bold;">Nuts and Bolts</span><br> All component decisions for Zodiac+ are based on a passion to produce something very special - technically, musically and aesthetically. Built with many solid aluminum parts and also very cute on the eye, it will be your pride and joy just like it is our passion.<br> <br style="font-weight: bold;"> <span style="font-weight: bold;">Features</span><br> <ul><li>Custom USB chip streams audio up to 192kHz</li><li>Antelope Oven Clock for supreme stability</li><li>64-bit Acoustically Focused Clocking (AFC)</li><li>129dB Dynamic Range</li><li>THD+N: 0.0004%</li><li>Ultra Linear, Dual Stage Headphone Amps</li><li>De-jittered, re-clocked Digital Audio Outputs</li><li>Precision Trim Pots for Balanced Analog Outs</li><li>Accurate Level Display for Main Volume</li><li>Mute (soft dim & full mute)</li><li>Mono summing function</li></ul> <span style="font-weight: bold;">Connections</span><br> <ul><li>AES/EBU Digital Input</li><li>2x S/PDIF coaxial Inputs</li><li>2x Optical TOSLINK inputs</li><li>USB on mini B type connector</li><li>Word Clock Input on BNC</li><li>Balanced Analog Outputs on XLR</li><li>Unbalanced Analog Outputs on RCA</li><li>Balanced Analog Inputs on 1/4” TRS</li><li>Unbalanced Analog Inputs on RCA</li><li>Digital Outputs on AES/EBU and S/PDIF</li></ul>

Antelope Audio Zodiac+

The <b>Retro Instruments Retro 176 Limiting Amplifier </b>has the largest feature set of its class. <ul> <li>Precision Knob scales for easy recallability </li><li>Continuously variable attack and release time </li><li>Four settings of compression ratio from soft compression to limiting (2:1, 4:1, 8:1, 12:1) </li><li>Wide-Range Sidechain Highpass Filter </li><li>Vocal Asymmetry Tool </li><li>Hard-wire Bypass Switch </li><li>Interstage Transformer Bypass Switch </li><li>High Quality VU Meter switchable between Input, Output and Gain Reduction </li><li>XLR input and output connections </li><li>IEC power connector </li><li>115/230V AC Mains </li><li>Integral tube balance test </li><li>Easy stereo strapping of two or more units </li><li>Selected NOS tubes and components</li></ul><b>Specifications for the Retro 176 include: </b> <ul> <li>20 dB of available gain reduction </li><li>Signal to noise ratio of greater than 76dB </li><li>Flat frequency response within 0.5dB from 20-20,000Hz and Harmonic Distortion of less than 1% from 0-15dB gain reduction </li></ul>Retro products are built in the USA and include a Limited Lifetime Warranty. <br> 

Retro Instruments 176

<span style="font-weight: bold;">Primacoustic Broadway Broadband Absorbers </span>present an attractive, 'easy to install' solution for acoustic treatment where you want maximum control over primary reflections, and need to eliminate flutter echo and reduce standing waves.<br><br>Made from high density 6 pound per cubic foot high density fiberglass, these larger 24"x48" absorptive panels have an increased panel surface to maximize absorption. This makes them particularly effective in larger installations and in rooms where the reverberant field and echo is excessive. Broadband Absorbers can be 'butted-up' for complete wall coverage and maximum absorption or spread in an array to leave a sense of 'air' or natural ambiance.<br><ul><li>High density absorptive panels</li><li>Effectively controls primary reflections</li><li>Easy to install on practically any surface</li><li>Attractive 'Roman Pillar' design in choice of colors</li></ul>The large panel design also lends itself to other installations: To control bass in studio and home theatre, thicker 2" and 3" Broadband Absorbers are combined with Corner or Offset Impalers to create an air cavity in behind the panel. For general office noise, thinner 1" panels are easily flush mounted on the wall surfaces using Surface impalers to attenuate the reverberant field. These same panels offer an effective 'upgrade' for drop ceilings as the 2 foot x 4 foot panel size ideally suits standard T-bare grid layouts. This can be particularly effective in commercial installations such as noisy offices, call centers and for boardrooms that need added sound control.<br><br>Broadway Broadband Absorbers come in choice of 3 thicknesses and 3 colors and may be ordered with our without a beveled edge. Broadband Absorbers are used in the Stratus Cloud and variants are found in the FullTrap, MaxTrap and G-Trap systems, making them our most popular and flexible panel.

Primacoustic B2448 BV2 Broadway Broadband Panels - Beige

The <span style="font-weight: bold;">Lexicon PCM Native Reverb Plugin Bundle</span> 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. <br><br> <span style="font-weight: bold;">Features at a Glance</span><br><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><br>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.<br><br>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

The <b>API 550 discrete 4-band EQ</b> played a major part in the history of music recording in the USA during the 60's and 70's. Originally conceived for use in API's consoles, this latest 550 "B" version is a continuation of the original 1967 550 through the 550A with one additional filter band and several new frequencies. Incorporating API's exclusive circuitry and proprietary components (such as the legendary API 2520 op-amp), the 550B artfully blends the past with the present. So many hit records still depend on the unique 550 sound, that the 550B will be an invaluable tool you will turn to again and again. The API 550B—unlike any other you will ever use. <p>Many EQs today offer a huge assortment of complex features, but the API 550B provides exactly the right number of controls to the professional engineer. Deceptively simple at first glance, the 550B's four EQ bands are overlapped significantly to aid in dual roles as problem solver and sweetening device. Each band offers 7 switchable filter frequencies spanning 4 to 5 octaves, selected through experience by a "who's who" list of the industry's most proficient engineers. This re-issue design has been taken from the original blueprints and spec control drawings from the API archives.</p> <p>Making use of "API Proportional-Q", a design introduced by API in the 60's, the 550B intuitively widens the filter bandwidth at minimal settings and narrows it at higher settings—without the need for additional bandwidth controls. This feature minimizes the "phase-shift" sound found in many equalizers. The reciprocal nature of the 550B enables the user to "undo" what has been done previously.</p> <p>The benefits of the API 550B are most obvious to those who work with EQ on a continuous basis. The 550B's ability to affect or reverse tonal modifications is perhaps the most important feature. If major tonal restructuring is required, the extraordinary headroom made possible with API's 2520 op-amp offers predictable and gentle "analog" performance under duress. With a surprisingly wide range of tonal variations, you can do no better than the API 550B.</p> <p><b>Features</b> </p> <ul> <li>4 bands of famous-sounding equalization </li><li>Each band offers 7 API-selected frequency centers </li><li>Reciprocal and repeatable filtering </li><li>12 dB of boost/cut per band </li><li>EQ bands 1 and 4 offer shelf/peak switching </li><li>"Proportional Q" narrows filter Q at extremes </li><li>Traditional API fully discrete circuit design </li><li>High headroom: +30 dB clip level </li><li>Re-issue of 1967 API 550 EQ with an extra band</li></ul> <B>2 Year Warranty (labor) 5 Year Warranty (parts)</B><BR> We double the standard API one year warranty (parts and labor) on this item.</api_warranty>

API 550B

The <span style="font-weight: bold;">Electrodyne 501</span> 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.<br> <br> 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. <br> <br> 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.<br><br><span style="font-weight: bold;">Specifications</span><br><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

<p><strong>Avid C|24</strong> is a stylish mid-sized, non-expandable control surface that not only provides tactile control of Pro Tools software recording, editing, and mixing functions, it offers 16 high-quality analog preamps and an improved analog 5.1 surround monitor section that provide superb sound for your professional music and post-production projects.<br><br><strong>Total Hands-On Control</strong><br>C|24 provides direct hands-on access to recording, editing, routing, and mixing functions in Pro Tools software. The control surface features 24 bankable channel strips, each with a touch-sensitive, motorized fader; high-quality rotary encoder and LED ring; dedicated Mute, Solo, and channel select illuminated buttons; and dedicated Input, Record, EQ, Dynamics, Insert, Send, and Automation buttons. It also features many more Edit commands, windows management controls, and dedicated buttons than Control|24, plus a Soft Keys section that allows future features to be added as Pro Tools software evolves.<br><br><strong>Superb Mic Preamps and Analog Submixer</strong><br>C|24 isn’t just about controlling tracks; you can connect mics, instruments, and line-level devices directly to the control surface’s audio inputs (via DB25 connections). C|24 features 16 super high-quality, low-noise preamps, each with a high-pass filter and variable input gain, that outperform those on Control|24 in every way, including gain, frequency response, signal-to-noise ratio, and more. It also houses an 8-channel stereo line submixer, which can be routed directly to the integrated monitor section, making it easy to mix signals from outboard instruments and gear.<br><br><strong>Professional 5.1 Analog Monitor Section</strong><br>The monitoring section in C|24 has been completely redesigned and improved, providing many features found on Avid’s coveted ICON integrated console systems. It features a professional, integrated 5.1 surround analog monitor section; 5.1, LCRS, and stereo presets for easy integration with Pro Tools; output metering for stereo and surround-sound operation; trimmable inputs and outputs; talkback latching and Auto Talkback modes; and more. And the built-in talkback mic and remote talkback and listenback inputs make it easy to set up two-way communication for your recording sessions.<br><br><strong>Efficient Console Ergonomics and Integration</strong><br>C|24 is designed to provide you with high workflow efficiency, and offers more dedicated controls and features, though it retains many of the same proven workflows, making upgrading to C|24 an easy transition. Flip mode makes it easy to switch encoder functions to the faders, while dedicated Bank Select and Nudge buttons enable easier Pro Tools mixer navigation. C|24 also offers an updated transport section for machine control integration; Windows Configurations and Memory Locations modes for creating, editing, and recalling these settings; an LED timecode display that shows absolute time, SMPTE, Feet/Frames, and Bars/Beats; and a jog/shuttle wheel for scrubbing, editing, bank-nudging, and navigation.</p> <p><strong>Beautiful, Streamlined Design</strong><br>Sporting a sleek, industrial design with a stylish, dark graphite color scheme, C|24 fits right in with traditional and modern music and post-production studios. The control surface occupies a small footprint, offers an ergonomic design with a comfortable front bolster, and allows for better placement of your computer monitor and speakers thanks to its low-profile meterbridge. The control surface also features an intelligent switch design with bold graphics, making the layout easy to memorize and navigate. And the bright, easy-to-read, 55 x 2 LED scribble strips provide a 6-character, dual row display per channel for instant verification of channel names, plug-in parameters, sends, panning, and other editing functions.</p>

Avid C|24

The <B>Purple Audio MC77</B> supercedes the MC76 re-engineered 1176 type FET Limiter. The MC77 recreates the audio circuitry of the revision E 1176, using modern components matched to the original. <BR><BR>One significant component is the input attenuator. The input attenuator that was custom made for the original revisions A-F 1176 and for the Purple MC76 by Clarostat was discontinued in 2002. It was a J series T-pad attenuator with two 600Ω "build out" resistors to keep a constant 600Ω load on the source and primary of the input transformer. Clarostat changed carbon manufacturers and the new carbon manufacturer was unwilling or unable to make the part. Purple temporarily stopped making the MC76 to find a solution. We tried several three deck Clarostat 70 series pots in different configurations to achieve the same loading and to match the taper. We found a solution that matched the original; both the originals and replacement parts are drawn in the schematic that you can download below. At the same time, we looked at feedback gathered from the hundreds of satisfied MC76 users. Based on that feedback, we incorporated useful new features into the revised unit, which was designated the MC77. <BR><BR><B>NEW features in the MC77:</B> <UL> <LI>True Bypass via sealed relay with front panel switch <LI>Improved stereo linking with front panel switch <LI>Sidechain insert loop or key input with front panel switch <LI>Buffered VU meter can monitor input or output level at +4dBu <LI>LED meter lights that don't burn out as incandescents do <LI>Heavy gauge black stainless steel enclosure <LI>115v/230v operation switchable from rear panel (serial# 600) </LI></UL><B>Features inherited from the MC76:</B> <UL> <LI>Discrete Transistor Audio Path Electronics <LI>Single Element Class A Output Amplifier <LI>Transformer Balanced XLR Inputs and Outputs <LI>Zener Shunt Regulated Audio Power Supply <LI>Compression Ratios - 4:1, 8:1, 12:1 and 20:1 <LI>Fast Attack Time - 20 microseconds to 800 microseconds <LI>Release Time - 50 milliseconds to 1.1 second <LI>Gain of 45dB (full gain with no limiting) <LI>Ruggedized Design - PCB stiffener, chassis mount transformers <LI>Purple Anodized Aluminum Front Panel <LI>3 year warranty</LI></UL>

Purple Audio MC77

The <b>Avantone Active MixCubes™</b> are designed to be high resolution, full-range powered mini-reference monitors for fixed or remote locations. <br><br> The secondary engineering facet was to create a timeless design that compliments a single full range transducer. <br><br> <b>Performance objective</b> <br> Studios primarily use two-way and three-way large monitors designed to represent a wide range reference viewpoint at higher listening levels. <br><br> However, in the newly developing age of high-definition audio, there is still a need to hear what your mix will sound like when played back over small “bass-challenged” systems such as televisions, clock radios, computers, car stereos, iPod docking stations, etc. <br><br> It is important to make mixing judgments based partially on listening to reference monitors that will not impart tonal anomalies caused by crossovers or inferior full range drivers. Particular attention is always paid to the critical mid-range vocal/guitar/keyboard areas. This is where having a full-range monitor without a crossover is truly revealing. <br><br> More than twelve months of R&D, comparative listening & tweaking went into the voicing of the AVANTONE MixCubes™. <br><br> The result is a very smooth sounding, full range upgrade from those old familiar 5C Sound Cubes™ engineers were so fond of in the 1980s and1990s. Listening tests reveal that the MixCubes™ have a smoother mid range, more accurate, transparent top end response with extended bass while maintaining the basic characteristics of those original little cubes.<br><br> <b>Cabinet Design</b><ul><li>Constructed of non-layered, high rigidity MDF board due to its natural low-resonance characteristics </li><li>All cabinet edges are radiused </li><li>Elegant Polyurethane high gloss “Butter-Cream” finish </li><li>7mm thick neoprene pad embedded into the base of the cabinet serves as a skid-resistant acoustic isolator </li><li>For creative mounting situations, we recessed an industry standard 5/8”-27 mic stand mount into the base</li></ul><span style="font-weight: bold;">Specifications</span><br> <ul><li>System Type: Active (Self-powered) shielded full-range stereo pair  </li><li>Frequency Response: 90Hz - 17,000Hz (useful musical range)</li><li>Driver Impedance: Nominal 8 ohms</li><li>Max SPL: 104db @ 1 meter = 1%THD (PINK NOISE)</li><li>Amplifier Type: Class A/B</li><li>Amplifier Power: 60 watts RMS@ .005% THD (1KHz)   </li><li>Amp Frequency Response: 22Hz-50KHz +0dB/- 3dB (90Hz-50KHz +/-0dB)</li><li>Noise: S/N -113 dB</li><li>Sensitivity: 0dBu (.775VRMS) input at maximum volume (+6dB) = 104dB SPL</li><li>Driver: Proprietary design 5.25" cast aluminum frame / paper cone / shielded</li><li>Cabinet: Sealed / 18mm MDF / Dacron acoustical stuffing</li><li>Inputs: XLR & TRS (COMBO JACK) +4/Balanced and -10 unbalanced</li><li>Weight: 7 lb 5 oz (per speaker)</li><li>Dimensions: 6 1/2" x 6 1/2" x 6 1/2"</li></ul>

Avantone Active MixCubes - Pair

As used by the Beatles, BBC. These babies sound soooooo fat on drums, you will need to roll off some bottom end! Stick one over the kit about 3 feet above the snare, about an inch higher than the drummers high stick point, add some compression and you will be in heaven. Very natural sounding. Cymbals will sound silky. The snare will sound like it has depth and the kit will sound like you are right next to it. Add a touch of 12k and roll off some bottom end and you are cruisin! Next, try in front of any Electric guitar cab/amp and be equally impressed. Put in front of a vox and capture the size, but trim off some of the annoying edge. Smooth wide frequency response that handles high-end transients without harshness. Classic figure-eight pattern with proximity boost.Excellent off-axis frequency response for superior stereo imaging. Good shock and wind resistance with a long-life ribbon element.<br><br>The <span style="font-weight: bold;">Coles 4038 Studio Ribbon Microphone</span> is a British Broadcasting (BBC) design for broadcasting and recording applications. It is used where a clear smooth wide range frequency response, absence of transient distortion and relatively high sensitivity is essential.<br><br>The 4038 is a proven performer, and is in use around the world by broadcasting networks such as the BBC as well as top engineers and studios on hit recordings.<br><br>Frequency response of the 4038 is exceptionally flat from 30 to 20,000 Hz and throughout this range the shape of the bi-directional (figure of eight) polar response is maintained substantially constant both in the horizontal and vertical planes, giving a natural sonic quality with smooth frequency response.<br><br><span style="font-weight: bold;">Features  </span><br> <ul><li>Pressure gradient transducer ribbon microphone    </li><li>Substantially flat frequency response from 30 to 15,000 c/s</li><li>Extremely low (non-linear) distortion</li><li>Exceptionally low hum pick-up</li><li>Bi-directional (figure of eight) polar curve shape accurately maintained in both horizontal and vertical planes</li><li>Excellent transient response</li><li>Natural clear balanced response to sound signal</li><li>Body shape to enhance acoustic performance</li><li>Clear natural high fidelity sound reproduction</li><li>Smooth sonic textured response</li><li>All microphones factory tested in free field conditions</li></ul> <span style="font-weight: bold;">Specifications</span><br><ul><li><span style="font-weight: bold;">Ribbon:</span> Low mass damped ribbon to control transient response</li><li><span style="font-weight: bold;">Polar Response:</span> Bi-directional</li><li><span style="font-weight: bold;">Magnetic Fields:</span> By use of hum neutralizing wiring and magnetic shielding of the toroidal ribbon to line transformer 30 to 40 dB reduction is achieved in response to stray disturbing magnetic fields</li><li><span style="font-weight: bold;">Frequency Response:</span> 30 Hz to 15,000 Hz</li><li><span style="font-weight: bold;">Impedance:</span> 300 ohm</li><li><span style="font-weight: bold;">Sensitivity:</span> -65 dB W.R.T. IV/Pa</li><li><span style="font-weight: bold;">Distortion:</span> Less than 1% at 125 dB SPL</li><li><span style="font-weight: bold;">Connection:</span> By means of 4069 3 pin jack plug. Pin 1 positive - Pin 2 negative - Pin 3 screen</li><li><span style="font-weight: bold;">Body Housing:</span> Made of heavy gauge perforated brass backed by finely woven Monel mesh. Rotating hinge connection allows microphone to tilt through 90° and turned in any direction when either suspended or free standing</li><li><span style="font-weight: bold;">Dimensions:</span> 7¼" (197 mm) x 3¼" (83 mm) x (61 mm).</li><li><span style="font-weight: bold;">Weight:</span> 2 lb. 6 oz. (1.08 Kg).</li><li><span style="font-weight: bold;">Finish:</span> Black stove enamel textured paint</li></ul><span style="font-weight: bold;">Packaging<br> </span> <ul><li>Each microphone comes in a foam lined rigid plastic carrying case with 4069 jack plug, and soft cloth protective bag, for safe keeping</li></ul>

Coles 4038 Stereo Matched Pair

The <b>Burl B2 Bomber ADC</b> is the most significant piece of audio gear in your studio, and you don’t even own it yet. You’ve spent a fortune on great mics, great mic pres, and a kick ass DAW, but unfortunately you are missing one key component; an ADC with an audio path worthy of your recordings. <br><br> Open up your best mic pre and look inside. You will see high quality components like tubes, large transformers and high quality capacitors. Open up your ADC and you will find cheap 10 cent capacitors and run-of-the-mill 25 cent op-amps, even when you’ve spent a lot of money on your interface. Most DAW hardware interfaces are designed for inter-connectivity with little attention to the analog audio path, or even the conversion, let alone the tone. <br><br> The B2 Bomber is designed for great specifications, but more importantly, it is designed to give you the ultimate in recording tone. For years now people have been trying to figure out why their digital recordings don’t have the warmth and feel of analog tape recordings. We try using tube mic pres and great compressors, but there is still something missing. There is still that blurriness, that graininess and lack of depth that comes with digital recordings. <br><br> BURL Audio has solved this problem by designing an analog audio path that is complimentary to your mic pre and to the analog to digital process. By using a revolutionary hybrid circuit with a proprietary transformer, the BURL AUDIO BX1, and a discrete class-A, zero feedback, zero capacitor signal path, we have achieved dynamic and tonal balance. <br><br> Using a B2 Bomber in the studio is like taking the governor off of your recordings. And, the B2 is not just for tracking. Mix down and mastering were the main focus of the B2's layout and design. With 30 segment peak amplitude and RMS metering, the B2 lets you know exactly how hot you are running your signal which is critical for mastering. The attenuator settings on the front easily allow you to change input headroom giving you the ability to hit the front end hotter or colder depending on what the material calls for. And don’t be afraid to run the B2 Bomber hot, it only sounds better. Couple that with an extremely low jitter clock source, and you have the B2 Bomber ADC, the most significant piece of gear in your studio. <ul><li>44.1k Hz to 192k Hz, 24 bit, 2 channel ADC </li><li>Proprietary, high definition, BURL Audio BX1 transformer input </li><li>All class A, discrete transistors signal path with zero feedback, zero caps </li><li>Audiophile quality 6 position attenuator with standard headroom settings </li><li>High definition metering with simultaneous RMS and peak indication </li><li>Two AES and one SPDIF output with dual AES wire support </li><li>BNC word clock input with two outputs of extremely low jitter clock </li><li>Frequency response at 48kHz sample rate is 12Hz to 22kHz, +/- 0.1dB </li><li>Frequency response at 96kHz sample rate is 15Hz to 46kHz, +/- 0.1dB </li><li>Frequency response at 192kHz sample rate is 18Hz to 94kHz, +/- 0.1dB </li><li>120dB Dynamic Range (A- weighted), 117dB (no weighting) </li><li>-100dB THD+N (+4dBU = -15dBFs) </li><li>-94 dB THD+N (+18dBU = -1dBFs) </li><li>Rugged, Made in USA design</li></ul>

Burl Audio B2 Bomber ADC

The new <b>AKG C 214</b> is designed as a cost-effective alternative to the high-end, industry-leading C 414 family. It captures sound combining one side of the legendary C 414 dual-capsule system and AKG’s patented Back-Plate Technology which results in an outstanding performance close to the famous C 414 B-XLS. <br><br> Like the C 414 models, the C 214 is capable of handling the rigors of high-pressure sound such as amplified guitars, with a sensitivity perfect for voice and orchestral instruments as well. Additionally, the microphone offers a 20 dB Attenuation pad, 13 dB noise floor, and a low cut switch—all in an elegant but rugged package. Besides, the C 214 will also work on low phantom power voltages from 12 up to 48 volts. <br><br> Additional features include an integrated suspension, a double mesh grill high RF immunity without affecting acoustics. The circuitry in the C 214 provides maximum SPL capability with minimum noise and the gold-plated XLR-type output connector offers loss-free signals. <br><br> The C 214 comes complete with carrying case, windscreen, and spider suspension mount included. <br><br> <b>The AKG C 214 Features:</b> <ul> <li> AKG’s Legendary 1” Edge-Terminated Large Diaphragm Sound´ <li> Outstanding Dynamic Range (up to 156 dB SPL, Ultra-Low Noise) <li> Roadworthy Design <li> Integrated Suspension to reduce mechanical Noise <li> Switchable 20 dB Attenuation Pad and Low Cut Switch <li> Rugged double mesh Grill for high RF immunity but unaffected Acoustics <li> All-metal Die-cast body with shock- and scratch-resistant Finish <li> Spider-type Shock Mount included <li> Metal Carrying Case included <li> Designed, Engineered and Built in Vienna, Austria </ul>

AKG C 214

The <span style="font-weight: bold;">SE Electronics Reflexion Filter</span> is basically a portable device for recording live sound sources with reduced room ambience. It is an advanced composite wall which is positioned behind any microphone by means of a variable position stand clamp assembly which ships with the product. The main function is to help obtain a ‘dry’ vocal or instrument recording. This is especially useful in studios without proper acoustic treatment, but can also be used to help record takes in control rooms, where the performer also has to operate the recording device, or in rehearsal studios to reduce ambient noise.<br><br>The Reflexion Filter has 6 main layers. Firstly, a strong layer of punched Aluminium which allows sound waves to pass through it, diffused, to a layer of absorptive wool. The sound waves then hit a layer of Aluminium foil which helps dissipate energy and break up the lower frequency wave-forms, and from here they hit an air space kept open by rods passing through the various layers. The air gap acts as an acoustic barrier. The sound waves then pass to a further layer of wool and then through an outer, punched, Aluminium wall which further serve to absorb then diffuse the remaining acoustic energy.<br><br>The main absorber has 4 formed pieces of state-of-the-art specialist acoustic absorptive material attached to its face via the extended separation rods, which further serve to absorb and then diffuse the sound waves as they pass to the main filter.<br><br>The stand assembly comprises a mic stand clamp fitting, which attaches by means of a vertical joint to the horizontal bar assembly onto which both the Reflexion Filter, and any standard fitting shock mount can be fixed. The microphone (in its shock mount) can then be moved both vertically and horizontally along the bar, and the Reflexion Filter itself can be moved vertically to obtain the optimum working position.<br><br><span style="font-weight: bold;">How does it work?</span><br>The various layers both absorb and diffuse the sound waves hitting them, so progressively less of the original source acoustic energy passes through each layer. This reduces the amount of energy hitting un-treated walls and other surfaces so there is less of the original source reflected back as unwanted room ambience to the mic. The Reflexion Filter also helps prevent any reflected sound reaching the back and sides of the mic. Its shape and size have been carefully tested to maximize absorption while keeping ‘coloration’ down to only around 1dB, and leaving the microphone’s polar pattern unaffected.<br><br><span style="font-weight: bold;">The Results</span><br>'Independent test results from the Tongji University Audio Lab in Shanghai show audio image colouration with and without the sE Reflexion Filter. The tests (carried out by China's leading Acoustic Engineering University completely independently) clearly show extremely low levels of coloration when using a microphone with the Reflexion Filter while recording (20Hz to 20KHz).<br><br>This was one of the greatest challenges in designing the RF. Other companies have now started to try and copy our designs (without breaking the patents which are what make the Reflexion Filter actually work!), but fail to achieve such good results because the designs are too simplistic.<br><br>The RF comprises several layers of Aluminium and patented acoustic fibreboard separated by acoustically isolating air gaps... and therefore manages to remove large amounts of room ambience with a very compact design. The whole idea was to make the unit as effective as possible, but in the smallest space... otherwise what would be the point... you may as well treat a wall behind the mic.<br><br>The shape of the RF is also critical to the design as it randomises any Reflections back from the surface of the filter. Products which are semicircular (without the flat diffuser panels the RF has) will concentrate any inconsistently reflected frequencies onto the mic... the worst possible scenario.<br><br>Another very poor design though is a simple 'V' shape behind the mic. This creates one of the worst coloration problems you can manage to achieve when recording audio. Think about problems of Bass Accumulation in room corners... the bass is accentuated worst in 90 degree corners, so any baffle placed behind a mic which is this shape creates huge coloration problems in bass frequencies. This also adversely affects higher harmonic frequencies because of the massive energy in bass frequencies exciting these higher harmonics. A simple flat panel on a wall positioned behind the mic is a much better solution, as it does not create coloration, but still limits at least some of the early reflections in the room.<br><br>All in all, it’s a very clever and desirable piece of kit. It allows you to record vocals, guitars etc with a ‘drier’ sound without having to have an acoustically treated room. It’s portable. It uses state of the art materials. It works… and it’s a fraction of the price of acoustically treating your studio environment!

sE Electronics Reflexion Filter Pro

For recording and mixing engineers, the greatest challenge will always be to capture and transform disparate 2-D elements into an engrossing 3-D vision that elicits the same raw emotions and compelling vibrance as the live performance. In designing the <span style="font-weight: bold;">Rupert Neve Portico II Channel Strip</span>, every possible attention has been paid towards not only producing the most accurate, sweet sounding audio topologies, but also enabling engineers to boldly shape or fine tune tracks to the limit of their imaginations.<br> <br> A self-powered 2U channel module comprised of a fully- featured mic preamplifier, 4-band EQ, compressor-limiter, “texture”control and level metering, The Portico II Channel includes a bevy of new features including: Variable Silk / Silk+ Texture control, a fully tunable “de-esser”, multiple VCA filtering and detection options, a transient-optimized swept HPF and parallel compression blending. With its simple yet powerful topologies and extensive feature set, every element of the Portico II: Channel is geared towards empowering recording artists to realize these visions.<br> <br> <span style="font-weight: bold;">Input Section</span><br> Input signals may be derived from any of three sources; Microphone, Line or DI. The Microphone input has a 10K Ω non-reactive input resistance that handles a full 26dBu signal without the need for a pad. A primary Gain control provides 66dB of gain in 6dB increments for easy recall with a +/- 6dB Trim for fine adjustment. A transient-optimized HPF continuously covering the range from 20-250Hz is included. In addition the usual 48V Phantom Power switch, Phase Inversion, Signal Present indicator and a Mute switch are included. The pre-amp is a TLA non-reactive design that precludes the loading of microphones with limited driving capability and which maintains a 2 dB noise figure over a wide range.<br> <br> Inserting a plug into the DI input, selects a 3M Ω Discrete FET DI circuit that includes the transformer-coupled pristine topography that optimizes both the microphone and DI inputs, allowing low impedance microphones and high impedance sources like electric guitars and basses to deliver their optimum performance. Primary Gain and Trim controls are fully operational. A “Thru” jack on the front panel that duplicates the unaffected source signal allows the use of an external amplifier if required. A “Line” switch selects the independent Line XLR non-reactive input circuit that includes the HPF and Level trim controls.<br> <br> <span style="font-weight: bold;">Texture</span><br> One of the key developments in the Portico II is the new Texture section. Building on the “Silk” mode found in the Portico Series mic pre-amplifiers, Texture is designed to adjust the actual amount of harmonic music content from the source material, in effect, providing countless tonal options in one device. The texture section features distinct modes, controlled by a potentiometer from barely audible to dramatic!. With that said, we have placed great care insuring that the musical integrity of source material itself will not be compromised by these harmonic controls (these are not to be confused with controls from other manufactures that may “incinerate”, “demolish” or “destroy” source material), and we believe they can be confidently modified to fit the personality of any song, instrument or engineer.<br> <br> Like the original Portico, Silk mode works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble Mr. Rupert Neve’s vintage designs. “Silk +” mode pushes this technique still further, achieving a more harmonically rich sound.<br> <br> Like the original Portico, Silk mode works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble vintage designs by Mr. Rupert Neve. Velvet mode pushes this technique further, by increasing saturation on the output transformer to achieve a more colored sound. With that said, we have placed great care insuring that the musical integrity of source material itself will not be compromised by these harmonic controls (these are not to be confused with controls that may “incinerate”, “demolish” or “destroy” source material), and we believe they can be confidently modified to fit the personality of any song, instrument or engineer.<br> <br> <span style="font-weight: bold;">Equalizer</span><br> The EQ topologies in the 4-Band Equalizer of the Portico II combine the best-loved sound of several classic designs, but are also capable of extremely fine surgical adjustments as well as dramatic boosts or cuts. By default, the EQ section follows the mic preamplifier and HPF, and precedes the compressor, but this sequence may be reversed by engaging the Post Comp switch<br> <br> The Low Shelf has an independent engage switch, Classic Peak/ Accelerated Shelf selection, with +/- 12dB level adjustment, and selectable turnover frequencies of 35, 60, 100, and 220 Hz. The Fully Parametric LMF and HMF bands have a joint engage switch, providing +/- 12dB level adjustment, continuously variable “Q” from 0.7 to 5 and continuously variable frequency ranges from 70 to 1.4KHz and 700Hz to 14KHz. In addition to its standard capabilities, the HMF band can also be used to precisely tune a new De-Esser circuit.<br> <br> The De-Esser can be varied from off to full effect, and uses the Frequency, and “Q” controls to tame harsh sibilance in vocals and instruments with an independent high-mid limiter. Even when the De-Esser is on, the EQ level may still be used. The High Frequency shelf has independent engage switch, Classic Peak/ Accelerated Shelf selection, +/- 12dB level adjustment, and selectable turnover frequencies of 4.7, 6.8, 12, and 25kHz. When two Portico II Channels are used side by side, the EQ section can also excel at stereo material.<br> <br> <span style="font-weight: bold;">Compressor</span><br> A further array of tools are used to craft dynamic response. The Portico II’s compressor section is exceptionally flexible. Like the Portico 5043, the compressor a choice of Forward Feed / Return Feed modes, either providing a transparent modern response, or a smoother more musical vintage response. Along with FF/FB modes, there are also 1:1 to 40:1 ratio controls and threshold from -30dBu to +20dBu, together with Attack from 20 to 75ms (.1 ms in fast mode), Release from 100ms to 2.5s, and Make up gain from 0 to 20dB with a Stereo Link.<br> <br> The Portico II compressor however incorporates a number of new ways to tame or enhance dynamics. HPF to SC inserts the High Pass Filter into the side chain to deal with intense low frequencies that may skew the response of the VCA with certain songs and instruments. The “Fast” switch alters the compressor’s attack to react to transients with a roughly .1ms response time. When “fast” is disengaged, the compressor responds to the RMS signal in conjunction with the attack and release settings.<br> <br> “Blend” works by creating a parallel mix between the compressed and dry signals. By mixing the compressed and dry signals, it is possible to increase the volume of quieter elements in the source material (for instance, delicate snare brushing on a track with much louder hits), while maintaining a natural dynamic feel for the louder elements.<br> <br> To further control the side chain, there is also an insert “send” and “return” that may be paired with an external EQ or other filters for additional manipulation. The “return” may also be used as a “Key” input for ducking one signal under another. (for instance, a voice-over keying the compressor to duck a background music track). By connecting the “link” jack on the back of the Portico II to another Portico II link jack and engaging the Link buttons, the compressor section may be used for stereo material.

Rupert Neve Designs Portico II Channel Strip

The newly designed legend, <span style="font-weight: bold;">AKG K 271 MK II </span>combines the benefits of AKG’s circumaural design for extreme comfort and a closed-back design for maximum isolation from ambient noise. Thanks to its XXL transducers, the K 271 MK II sounds clean, smooth and very rich.<br><br>The K 271 MK II is the perfect choice for any application where sonic bleed could cause problems such as broadcast work.<br><br>Another important feature of the K 271 MK II is the addition of a switch in the headband that mutes the audio just as soon as the headphones are taken off. <br><br><span style="font-weight: bold;">Features</span><br><ul><li>Professional circumaural hi-fi stereo studio headphones</li><li>Self-adjusting headband for optimum fit</li><li>Patented Varimotion speakers</li><li>High noise attenuation</li><li>For onstage and studio use</li><li>Automute feature mutes headphones when they are taken off</li><li>Leatherette and additional velvet ear pads</li><li>Single-sided, detachable 3 m cable and additional 5 m coiled cable</li></ul>

AKG K271 MKII Studio Headphones