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>10 Year Warranty</B><BR> We double the standard API 5 year warranty on this item. 10 year coverage! <BR><BR> *Double Warranty Offer is for qualifying orders purchased on or after July 1st, 2009.

API 512C

The <b>API Model 500-6B Lunchbox</b> is a six position rack designed to accept all API standard 5.25" X 1.5" modules. This 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. <br><br><b>Features:</b> <ul> <li>Holds 6 API standard modules </li><li>48 Volt internal phantom power supply </li><li>Self-Powered, 100 to 250 Volts, 47 to 63 Hz, Switchable </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><b>FREE</b> if you purchase any (4) NEW 500 Series modules.**</li></ul>The Lunchbox comes standard with a +48 volt internal phantom power supply, bussed to pin 15 for interface with the API 512C. <br><br>API makes several modules for the 500-6B, such as the 512C mic preamp, the 525 compressor, the 560 Graphic EQ, and the 550B four band EQ. Combinations of these modules make perfect stereo recording packages (two 512C's and two 550B's) or vocalist's box, (one 512C, two EQ's and one 525 compressor). <br><br><b>Other uses for the versatile Lunchbox include:</b> <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 plus. </li><li>Broadcast and Audio for Video Production. </li><li>Custom Channel Input Strips. </li></ul><b>NOTE: </b>The 560A series 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. If in doubt, feel free to contact the factory.<br><br>**<span class="MainText">Tree Audio Meter Module is not included in the free rack special. Modules must be purchased at online price.</span> <p><B>10 Year Warranty</B><BR> We double the standard API 5 year warranty on this item. 10 year coverage! <BR><BR> *Double Warranty Offer is for qualifying orders purchased on or after July 1st, 2009.</api_warranty></p>

API 500-6B Lunchbox

Using the legendary SPA690 discrete amp blocks, the <span style="font-weight: bold;">Inward Connections OPT1A</span> has the exact same Optocell gain reduction circuitry as the revered TSL-3 Vac-Rac tube limiter in a solid state 500 series format. Fully transformer balanced input and output, along with an all discrete design insure the sort of top quality audio you would expect from Inward Connections. <br><br style="font-weight: bold;"><span style="font-weight: bold;"> Features include<br> </span> <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>SPA690 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></ul> <span style="font-weight: bold;">Specifications</span><br> <ul><li><span style="font-weight: bold;">Gain Reduction</span> up to 40dB</li><li><span style="font-weight: bold;">Input Impedance</span> >100K ohms balance</li><li><span style="font-weight: bold;">Output Impedance</span> 600 ohms balance</li><li><span style="font-weight: bold;">Frequency Response</span> +/- 0.5dB@20Hz to 50KHz</li><li><span style="font-weight: bold;">Output Signal to Noise</span> -95dB or greater</li><li><span style="font-weight: bold;">THD + Noise</span> .01%@1KHz/+4dBu</li><li><span style="font-weight: bold;">Reserve Makeup Gain</span> +15dB</li></ul>

Inward Connections OPT1A

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>Single-ended Class A amplifier <LI>UK made input transformer <LI>Custom designed Jensen output transformer <LI>Stepped gain rotary switch in 5dB steps <LI>Output level pot for trim and mute <LI>LED lit pushbuttons <LI>Special 28kHz button <LI>Custom made Marconi style knobs <LI>High headroom & CMR, Low noise design <LI>140ma current draw total, 70ma per rail

Avedis Audio Electronics MA5 Microphone Pre

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>*Tree Audio Meter Module is not included in the free rack special. Modules must be purchased at online price.

API 500VPR 10 Slot Rack w/PSU

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>Switchable output transformers <LI>Stepped attenuator for gain control <LI>Phase reversible and padable DI <LI>Engraved front panels <LI>75 ma current draw per module </LI></UL>

Shadow Hills Industries Mono GAMA Mic Pre

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 2-way & 3-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 1980’s-1990’s. Listening tests reveal that the MixCubes™ have a smoother midrange, 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> <b>Driver Design</b><ul> <li>The paper cone, (chosen for its musical character) was custom designed utilizing the latest in FEA modeling and “old-school” speaker design artistry. The finest New Zealand pulp material is blended with mica fibers for rigidity and longevity. </li><li>The cloth surround material is made in Japan and has unique damping characteristics, enabling a predictable compliance over the lifespan of the driver. </li><li>The motor structure is made of certified 1008 low carbon steel by Sumitomo. The magnets are Y- 40 GRADE (MIL-SPEC) yielding a 43oz. High-power/low-distortion motor structure. </li><li>Our proprietary 5.25” Die-cast aluminum frame supports the driver/cone minimizing mechanical transfers. </li><li>The outer mounting face of the aluminum frame is polished for an elegant appearance.</li></ul> <b>Specifications</b> <ul> <li><b>System Type:</b> Active (Self-Powered) shielded full-range stereo pair </li><li><b>Frequency Response:</b> 90Hz-17,000Hz (Accessible musical range) </li><li><b>Spl/Sensitivity: </b> 94db @1w/1 meter </li><li><b>Power: </b>35 watts RMS Class A/B </li><li><b>Cooling: </b> Convection / Heat Sink-Aluminum Fins </li><li><b>Driver: </b> 8 ohm 5.25” Cast Aluminum Frame / Paper Cone </li><li><b>Cabinet: </b> Sealed design /18mm MDF/ with Dacron Acoustical stuffing </li><li><b>Inputs:</b> XLR & TRS +4/Balanced & RCA/-10 Unbalanced </li><li><b>Cabinet Dimensions:</b><ul> <li>165mm X 165mm X 206mm ( 6 ½”x 6 ½”x 8.125”) cabinet depth </li><li>165mm X 165mm X 241mm ( 6 ½”x 6 ½”x 9. 5”) overall depth </li></ul> </li><li><b>Cabinet Weight: </b> 4kg / 8.8 Lbs (each) </li></ul>

Avantone Active MixCubes - Pair

<!--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 next generation of Shorti Patchbays has arrived; this 2x48 audio patchbay is wired to DB25 connectors. This unit features exceptional flexibility with the <B>Audio Accessories, Inc.</B> exclusive Quick-Switch normalling system located on the rear of the panel. The Quick-Switch normalling allows you to set the individual normals on a per jack pair basis. This enables you to full-normal (FN), half-normal (HN) or non-normal (NN) by sliding the switches into the appropriate position. You also have grounding options: isolated, bussed, or grounds vertically strapped (GVS).<P> We have an <a href="http://65.61.32.96/documents/patchbay-template.xls">excel template</a> that most people find useful for labelling the db25 shorti.<BR><BR>

Audio Accessories Shorti Quick-Switch Patchbay to DB25

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

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>10 Year Warranty</B><BR> We double the standard API 5 year warranty on this item. 10 year coverage! <BR><BR> *Double Warranty Offer is for qualifying orders purchased on or after July 1st, 2009.</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"

There are diffusors that cost twice as much, but there's simply no reason for you to spend the extra money. <B>Auralex SpaceArray </B>diffusors work great, look great and they're w-a-y less expensive than anything else on the market that looks so good and works so well. The SpaceArray combines hemispherical acoustical diffusion with a top-quality wood finish. Russ has based his design on a quasi-random series for superior performance without visual patterning and the result, both visual and aural, is quite stunning. <BR><BR> The Space Array is handmade from solid wood. The craftsmanship is exceptional and the musical qualities of the Paulownia wood (used in musical instrument construction) give a very natural feel to the room that is extremely conducive to maximizing creativity. <BR><BR> What Berger and some users have found is that using a high quality, natural wood diffusor—as opposed to diffusors made of certain man-made materials—can give a room a warm sound quality that isn't really quantifiable. Strong yet lightweight, the beautiful 24"x24" solid wood panels are easy to install and can be used in a variety of placement options. <BR><BR> For larger control rooms, try putting a grid of SpaceArrays on the rear wall to provide broadband diffusion to the listening area for a warm sense of being immersed in the sound. If you want to make a control room sound and look the best it possibly can, the SpaceArray is your product.

Auralex SpaceArray (Pair)

The <B>Helios Type 69 Mic Pre/EQ Module Born Again! </B><BR>Re-manufactured classic 3 band eq-pre. Discrete. Switchable lo/mid. Fixed top. Hi-pass. Unlike anything you have ever used (especially if you are stuck in API-Neve land) you will find the Type 69 a unique departure. These hand built units have a Sowter input transformer based on the highly desirable Lustraphone(Olympic) transformer models. The mids are so funky and sweet---- guitars and snare drum's from heaven; woody and sweet! 700 to 2k to die for! Lo's are Pultec-ish. Hi's are sweet and musical. Extremely open Mic-Pre!In mic shootout's, these are as open as the king daddy Telefunken V76m. Transform your life. <BR> <BR>The Legendary Helios Electronics Ltd has resurrected with much anticipation and patience, the Olympic Type69 Series EQ as used by the Beatles, Rolling Stones, Bob Marley, Led Zepplin and so on. Helios became known as the musician's choice of recording consoles. <BR><BR>Brought in line with modern expectations, these units are built to military specifications with supervision of gear fanatic and music producer Tony Arnold. Endorsed by the late Dick Swettenham, of the original Helios Electronics Ltd, to maintain and service all of the original consoles, Tony later purchased the original company, including all of its circuits and parts. <BR><BR>The Olympic Series is a classic 3-band EQ-Pre module, available in a dual mono 1U rack mount or a mono vertical module. The modern circuit is similar to the original, aside from one vast improvement, the build quality and reliability. The openness and clarity has been upheld with the addition of EQ frequency selections. Tony Arnold explains, "We asked many of the original users of the Helios Desks what they felt was missing, and could we make any improvements. Most wanted the 30 Hz added to the Lo-EQ. In order to meet todays CD standards, some wanted a tight high frequency around 16 k, which has been added without changing the original Helios sound whatsoever."

Helios Type 69 Mic Pre/EQ Module

<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

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

Add warmth and euphonic tube character to your tracks with the venerable <b>Inward Connections Vac Rac TSL-3.</b> Famous amongst professionals for making a vocal sit in a mix without the need for vocal rides, it imparts a wonderful character without sounding "tubby." The elegant way in which it controls transients makes it a must have in the studio for vocals, bass, and buss duties.<br><br><b>Features per channel:</b> <br> <ul> <li>Gain make-up level </li><li>Gain reduction control </li><li>Bypass switch </li><li>Output/Gain reduction switch mode </li><li>Zero adjust trim</li><li>Master Link Switch<br></li><li>Large 3"x3" VU meter </li><li>Illuminated VU meters <br></li><li>Tubes used in both input channels: Input stage - 6072A, Output stage - 12BH7A </li><li>Power Supply: Pure Class A high voltage tube design using 6BM8 </li><li>Unit dimensions: 3 rack space. 5.25" Height, 19" Width, 11.5" Depth </li><li>Rugged steel chassis design </li><li>Classic vintage look</li></ul><span style="font-weight: bold;"> Specifications:</span><ul> <li>Gain Reduction: up to 40db </li><li>Input Impedance: >100k ohms </li><li>Frequency Response: +/- 0.5 dB @ 20Hz to 20KHz </li><li>Output Signal to Noise Ratio: -85dB </li><li>THD + Noise:<ul> <li>.015% @ 20Hz (0dB ref.) </li><li>.085% @ 20KHz (0dB ref.) </li><li>.15% @ 20Hz to 20KHz (+30dB ref.) </li></ul> </li><li>Maximum Input Level: +20dB </li><li>Maximum Output Level: <ul> <li>+20dBm @ 600 ohms </li><li>+34dBv @ 10K</li></ul> </li><li>Output Impedance: 600 ohms transformerless unbalanced output</li></ul>

Inward Connections TSL-3 Vac Rac

The <span style="font-weight: bold;">Little Labs VOG</span> analog bass resonance tool is the latest creation from Little Labs, and is Little Labs first entry in the popular API 500-Series module format.<br><br>The VOG was originally designed to capture the chest resonance of vocalists or voice over artists, enabling them to still have a proximity type effect without having to be so close to the mic, hence the name, VOG, or Voice of God. However, when I heard it on kick drum and bass, it became clear this would be the go to device to make these instruments sound huge.<br><br>The VOG lets users sweep a sharp peak resonance from 20 to 300 Hz, while anything below the peak is rolled off at a steep -24dB per octave. This lets users focus on the low end they want, while eliminating low-end mush and unnecessary woofer excursion.<br><br>A subharmonic can be the focus, or the fundamental, or upper harmonics. On a kick drum, for example, the overall effect of turning VOGs frequency knob sounds like someone is tightening or loosening the drumhead. In a mix, VOG allows users to place the bass spectrum instruments so they do not interfere or get in the way of each other.

Little Labs VOG Analog Bass Resonance Tool

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

The <b>Retro Instruments Retro 176 Limiting Amplifier </b>has the largest feature set in any variable-mu design. <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>10 Year Warranty</B><BR> We double the standard API 5 year warranty on this item. 10 year coverage! <BR><BR> *Double Warranty Offer is for qualifying orders purchased on or after July 1st, 2009.</api_warranty>

API 550B

MondoTraps and Corner MondoTraps offer more low frequency absorption than any other bass trap product we know of. They absorb twice as much as MiniTraps below 100 Hz, and proportionally more above 100 Hz too. When very high performance at low frequencies matters more than anything else, MondoTraps are the obvious choice.<BR> <BR>Corner MondoTraps are very similar to regular MondoTraps except they have beveled sides to fit more nicely into a corner to hide the edges. Even though the panel is a full four inches thick, the rear portion telescopes into the corner so it appears only one inch thick. This is a cosmetic difference only. The drawing at right shows the top view of a Corner MondoTrap so you can see the shape.<BR> <BR>Standard MondoTraps and Corner MondoTraps are 2 feet wide by 4'-9" tall by 4-1/4 inches thick, and weigh 28 pounds. [Metric: 61 x 145 x 11 cm, 13 kg]<BR> <BR>We also offer a shorter but deeper version 2 by 4 feet by 6 inches thick [Metric: 61 x 122 x 15 cm, 10 kg] for places where a full-height MondoTrap won't fit. Note: this shorter version is not available in the corner style with beveled edges.<BR> <BR>The optional stand shown at lets you avoid permanent wall mounting, or easily move them around as needed. Corner MondoTraps mount just like regular MondoTraps, but for stand mounting they fit best with Wall Stands rather than our regular stands as shown here. Note that MondoTraps are not suitable for mounting on microphone stands because of their large size and weight.

Real Traps MondoTrap

The <span style="font-weight: bold;">Electrodyne 501</span> is a two stage discrete transistor, transformer coupled preamp with active DI, using classic (1969? / 1970?) design technology. Each amp stage is individually optimized for peak performance using Electrodyne factory engineering notes and selected high performance components identical to the originals. The transformers are made by Electrodyne’s original manufacturer to exacting factory specifications. The active DI circuit presents an almost immeasurable load to sensitive musical instrument outputs allowing incredibly accurate capture of the instruments true tone. The output of the DI circuit is designed to directly connect and interact with the mic input transformer to allow maximum tone options. <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

Sleek and stylish, the new 24-channel <B>Digidesign® C|24™ </B>control surface gives you full hands-on control of Pro Tools® recording and mixing, a complete array of high-quality analog inputs, and a 5.1 analog monitor section to use with your Pro Tools I/O. C|24 incorporates the latest advancements in Pro Tools software, making it an incredibly powerful — and affordable — control surface option for Pro Tools users. <BR><BR> <B> Total Hands-On Control </B><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; motion-sensitive rotary encoder and LED ring; dedicated Mute, Solo, and channel select illuminated switches; and dedicated Input, Record, EQ, Dynamics, Insert, Send, and Automation switches. Forget the time-consuming tedium of recording and mixing with a mouse; with C|24, you can ride volume across multiple faders, mute multiple tracks all at once, insert and control plug-ins right from the control surface, and automate your mix maneuvers without pointing and clicking. The bright, easy-to-read, dual-row LED scribble strips provide instant visual feedback for channel names, plug-in parameters, sends, panning, and other editing functions. <BR><BR> <B>High-Quality Analog Inputs and Monitoring </B><BR> C|24 isn’t just about controlling tracks; it offers high-quality analog inputs and outputs too. Connect mics, instruments, and line-level devices directly to the 16 high-quality, low-noise mic/line/DI preamps, which feature high-pass filters and variable input gain. The control surface also features an 8 x 2 stereo line submixer, which can be routed directly to the professional, integrated 5.1 surround analog monitor section, which offers trimmable inputs and outputs. Plus, the built-in talkback mic and remote talk-back and listen-back inputs make it easy to set up two-way communication for your recording sessions. <BR><BR> <B>Beautiful, Streamlined Design </B><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 features an intelligent switch layout with bold graphics, making the layout easy to memorize and navigate, and a comfortable front bolster. And the low-profile meterbridge allows for better placement of your computer monitor and speakers.

Digidesign ICON 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

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><b>Features </b> <ul><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 8) polar curve shape accurately maintained in both horizontal & 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></ul>

Coles 4038 Stereo Matched Pair

The <B>Adam Audio A7 </B>matches the A.R.T. tweeter with a state of the art 6.5“ woofer that introduces a new cone material combining high rigidity and high internal damping with low weight, resulting in an extremely accurate monitor with all the clarity, detail and spectacular imaging traditionally associated with the ADAM name. <BR><BR> The A7 is powered by two 50W RMS amps (one per driver). The front panel sports both a power switch and volume control. The rear panel houses controls for tweeter level and two shelving filters for high and low frequencies. The unit also features both balanced (XLR) and unbalanced (RCA) input connectors, allowing it to be used in almost any audio application.

ADAM A7 (single)