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Following in the footsteps of the MicroMain27, the new MicroMain35 brings revolutionary Barefoot three-way technology into an even more compact enclosure. Dual force canceling 7" subwoofers, a 5" midbass driver and 1" dome tweeter are fused seamlessly into a single source. In just a few years Barefoot Sound has built a reputation for groundbreaking technological innovation executed with uncompromising quality and performance. Barefoot monitors are known for delivering a legendary combination of deep sonic clarity and effortless translation. The Micro Main 35 lives up to everything you would expect from a Barefoot. Specifications <ul><li>Description 3-way active monitor with integral subs </li><li>Controls Input level attenuator, Twt/Mid/Sub amplifier mutes, crossover voicing select </li><li>Input Impedance 50k Ohm </li><li>Frequency Response 35Hz - 30kHz (+/- 3 dB), 37Hz - 20kHz (+/- 1.5 dB) </li><li>Bass Response -3dB @ 35Hz, Q = 0.707, Slope = 12 dB/octave </li><li>Cabinet 19 liters total internal volume, Sealed sub enclosure, Sealed midbass enclosure, Machined aluminum front baffle plate </li><li>Crossover Frequencies 100/2500 Hz </li><li>Tweeter 1" soft dome, Rear waveguide chamber </li><li>Power: 50 W </li><li>Midbass 5" poly cone, Sealed rear waveguide enclosure Power: 100 W </li><li>Dual Subwoofers 7" aluminum cones, 3/4" peak-to-peak linear excursion </li><li>Power: 200 W </li><li>AC Power Input Nominal 115 VAC or 230 VAC </li><li>Power Consumption Idle 20W, Maximum: 375W </li><li>Weight Speaker 42 lbs each (19 kg) </li><li>Shipping: 55 lbs each (25 kg) </li><li>Dimensions HxWxD 14.5 x 9.5 x 14.75 inches (368 x 241 x 375 mm)</li></ul>

Barefoot Sound MicroMain35 (Single)

The API 527 compressor is a single channel module based on API's 225L discrete channel compressor. The 527 features comprehensive controls including variable attack, release, ratio, and outut gain controls. The unit also includes API's patented 'Thrust' circuit, first offered on the 2500 Stereo Bus Compressor. A 10 segment LED meter is switchable between gain reduction and output level. "Anyone who has used the 225L compressor found in API consoles has expressed a longing for the same kind of flexibility and control in the 500 Series for some time" said Larry Droppa, President of API. "We're delighted to now offer the 527 to complement our vintage 525 compressor, which has been many engineers' favorite compressor over the years.

API 527

The Helios Type 69 500 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 single rack unit Lexicon PCM92 employs the latest DSP technology and a collection of classic Lexicon algorithms to provide an all-in-one processor for live and studio applications, delivering 28 mono and stereo reverbs, delays, and modulation effects, flexible routing configurations, and a comprehensive library of over 700 factory presets. Lexicon claims that the PCM92 represents the most advanced audio processor in its class. The PCM92’s capabilities over traditional reverbs are made possible by the adding of multimode filters in the audio flow, which allows for exact shaping of the reverb while still maintaining the distinctive Lexicon Sound. All reverbs have an infinite switch that allows the reverb to run forever, which is useful for creating unusual backgrounds and sound effects. The Lexicon Room algorithm provides a more flexible alternative to convolution type reverbs. Reflection patterns can be easily selected, scaled and equalised, all while simultaneously passing audio, and the room size can be instantly changed or reversed. The Room algorithm provides the realism of the actual space with the precise control and manipulation that is made possible by a reverb synthesizer. With two channels of balanced XLR or quarter-inch analog I/O and two channels of XLR AES/EBU digital I/O, along with MIDI, wordclock, and ethernet, the PCM92 integrates easily with any DAW and features 24-bit A/D-D/A conversion and 44.1 to 96 kHz sample rates. To supplement front panel navigation for live applications, the PCM92 can be configured and fully controlled remotely through Harman HiQnet System Architect. The foot switch and foot controller inputs offer additional flexibility for the live performer. The Lexicon PCM92 Stereo Reverb/Effects feature set includes: <ul><li>Lexicon® studio-standard reverbs, delays, and modulation effects</li><li>Comprehensive library of over 700 finely crafted factory presets, including recognizable classics from Lexicon’s immense library of sounds</li><li>Lexicon’s flexible Room algorithm used to generate a vast array of room-related effects for music and post</li><li>Multi-voice pitch shift to enhance vocals</li><li>Mono and stereo versions of all algorithms</li><li>Full system configuration and control with HiQnet System Architect™</li><li>44.1 to 96 kHz sample rate, 32-bit floating point processing</li><li>Two channels balanced analog I/O (XLR and ¼”)</li><li>Two channels XLR digital AES/EBU I/O</li><li>External BNC Wordclock</li><li>MIDI in, out, and thru</li><li>Ethernet connectivity</li><li>Foot controller inputs make it easy to change presets and adjust parameters during live performances</li><li>High-resolution OLED display is easy to read in all light conditions</li></ul>

Lexicon PCM92

Presenting the Grace Design m501, a 500 series module version of the venerable m101 mic preamplifier. Now the signature transparency and detail of our circuit designs is available for your 500 series frame. While the 500 series market has plenty of colored mic preamplifier options, the natural, musical clarity of the m501 makes it a welcome addition to the field. This circuit is for engineers confident with the quality of the source, mic section and placement, and wish to capture it with as little coloration or distortion as possible. The m501 module is a balanced, transformerles preamplifier, with 48V phantom, a 75Hz HPF and a 1/4” HI-Z instrument input. Also standard is our exclusive ribbon mic mode, which raises the mic input impedance, bypasses the input decoupling capacitors and deactivates 48V phantom to protect delicate ribbon mics from damage. Large diaphragm, vintage ribbon or trusty dynamic - the m501 brings out the very best in any microphone and takes the guesswork out of your input chain.

Grace Design m501

The new Slate Pro Audio Dragon is unlike any dynamic audio processor you‘ve heard before. Simply put, the Dragon was created to be the most versatile compressor, limiter, and sound shaping tool that the pro audio industry has ever seen. The Concept The Dragon starts with a classic FET compressor circuit, reminiscent of vintage units from the 60’s and 70’s. But the Slate Pro Audio engineers enhanced the circuitry of the unit with a mastering grade signal path, Jensen input transformer, and a CLASS A output section based around a custom-made output transformer. The result is a compression quality that is so rich and warm, but is also capable of sharp and aggressive tones. But this is only the start of what the Dragon can do. Add Some Character The Dragon includes three ‘character’ settings that change the way the unit sounds and responds. The first setting is BOOM. This setting adds sub bass harmonics in a unique way that when combined with some compression, can make basses sound massive and kick drums pound like you’ve never heard before. The second setting is BITE, which adds a gentle ‘forward’ character that makes the source more defined and clear. BITE is superb on bass, snare, vocals, and guitars. Last, is SHEEN. This character setting adds an airy gloss to the source, reminiscent of classic opto tube compressors. This setting is absolutely stunning on vocals, acoustics, and overheads. Full mixes can gain new clarity and excitement from the sheen setting. All character settings can be used simultaneously! Go Vintage The Dragon's "Vintage" button enables circuitry that emulates a more vintage sound from a classic age of compression. The result is more harmonics, a bit of ‘grit’, and an overall more aggressive sound with tons of attitude that is amazing on electric guitars, bass, and a must-hear on drums. Saturate The Dragon has a three setting saturation selector. This saturation can add warm and rich harmonics or even gritty distortion. On setting 1, it can add just the right of “life” to a dull vocal. On setting 2, it can add presence and warmth to a bass or make guitars sound like they are hitting tape. On setting 3, it can add some rich harmonics to a snare to bring out the sustain and make it come alive in the mix. Wait, There’s MORE The Dragon includes a hi pass filter so you have the option to control the amount of low end that feeds the compressor detection. This is useful when stereo linking two DRAGONS together for transparent mixbuss compression, or for grouped drum compression where you don’t want the drums to ‘pump’. FET Your Mixbuss Classic FET compressors have not been common mixbuss choices due to their excessive color and aggressive nature. However, the Dragon includes a gentle 2:1 setting that sounds amazing on full mixes. With the character, vintage, and saturate options disabled, the signal path is quiet and clean with just the right amount of rich tone. Of course if you need more color or saturation on your buss, it’s just a button or switch away. With settings 2:1, character SHEEN, Saturate 1, and slow attack and fast release, your mix will come alive in an incredible way. Squash It The Dragon is one of the finest drum compressors to ever hit the analog market, and is complete with the famous overcompression “all buttons in” mode called ‘Squash’. This setting is simply stunning on drum room mics, or any other source that you want to explode out of the mix. Due to its extremely hifi signal path, the Dragon’s ‘Squash’ setting can create that larger then life effect without causing a harsh or brittle high end. Mix It Up Last and certainly not least, the Dragon includes a ‘Mix” knob to control the wet/dry ratio of the source. This amazing feature allows you to add some heavy compression, and then back it off gently until it creates the perfect balance for your mix. The ‘Mix’ knob also allows you to parallel compress sources, such as drum busses, without having to mult or buss the drums to additional faders! You’ll find the ‘mix’ knob to be one of the most useful tools in modern analog compression. It works especially well with the saturation and squash features. Overcompressing a vocal and then mixing back the wet signal is the ultimate way to make a vocal pop without losing the subtle nuances. Style The Dragon’s faceplate comes with a beautiful tribal mural designed by world renowned tattoo artist Davey Suicide, and will add a unique beauty to your rack. The striking look matches its remarkable sound. Presets Normally compressors don’t need presets, but with so many options (there is literally thousands of combinations), the Dragon ships with a huge listing of presets made by Steven Slate and some of the world’s top producers, mixers, and even mastering engineers. But once you experience the many possibilities and sounds of the Dragon, you’ll soon enjoy making your own!

Slate Pro Audio Dragon

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

Lexicon PCM Native Reverb Plugin Bundle

The Great River 32EQ is a new 500-series version of the EQ and filters from the renowned Harrison 32 Series consoles. 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. The 32EQ has the full features of the 32-series EQ <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. 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.” Like all Great River and Harrison products, the 32EQ is designed and built in the USA.

Great River / Harrison 32EQ

The Radial Engineering Workhorse 5000 is best described as a 500 Series module housing on steroids. To be unveiled at the upcoming AES convention in New York City, this three-rackspace unit accommodates up to eight 500 Series modules. Besides providing ±16VDC and 48-volt phantom power for each of its eight module slots and input, direct out and summing connections on 8-channel D-25 sub jacks (for direct-to-DAW or P.A. feeds), each module has ¼-inch and XLR I/O, mono/stereo link switches and a mix/feed switch for internal patch routing of the output to feed the next module or to the master output section. OmniPort connectors on each input provide module designers with custom options, such as integrating “keying” inputs, a footswitch port or a tuner output on a direct box/instrument preamp. Designed to allow on-the-spot mixing or stereo recording, the mix bus section has pan/level pots and mute switches for each module, rotary main out and aux out controls and a headphone monitoring section. The rear panel has XLR and ¼-inch aux and transformer-isolated main outputs, insert jacks for the master outs and bus in/out jacks for connecting additional sources and/or multiple Workhorse units. The Workhorse derives its main power from a custom-designed universal switching supply that delivers more “juice” than most others. Its external power supply eliminates issues with hum due to magnetic coupling between power supply transformer and the plug-in module’s internal transformer. As an extra measure, additional power filtering has been incorporated to eliminate noise. The power supply is also auto-tracked, which means that should a module fail, other modules will be protected against harmful voltage swings that could potentially cause damage. “The Workhorse is one of the most exciting products we have ever developed,” says Radial President Peter Janis. “Not only has it forced us to challenge ourselves with historic compatibility, but it’s forced us to go back to the drawing board and redesign several modules that were essentially set to go. But once you get into a project of this magnitude, you really cannot go backwards. We truly believe that the Workhorse will set a new standard in analog audio interfacing. We plan to openly publish our design specifications to enable other module producers to take full advantage of the feature-set we’ve incorporated into the Workhorse. Ultimately, if it’s easy to use, fun and spurs on creativity, we will have achieved our objectives.” In addition to the Workhorse, Radial has several lunchbox modules near completion. These include the Radial JDV-LB Class-A feed-forward direct box, the Phazer-LB phase adjustment tool, the Radial JDX-LB guitar amp DI emulator, the Komit compressor-limiter, plus a few more surprises! Like all Radial products, the Workhorse is made from 14-gauge steel and finished in a rugged baked enamel finish.

Radial Engineering Workhorse 5000

Digidesign Eleven™ Rack is a revolutionary new guitar recording system designed to solve the challenges guitarists have faced in the studio. Say goodbye to the lackluster guitar amp “models” of yesteryear: Eleven Rack utilizes a unique tone cloning design and one-of-a-kind, custom-designed True-Z input to re-create the experience of playing through a mic’d amp. By combining studio-standard Pro Tools® software with a DSP-accelerated high-resolution interface, Eleven Rack puts professional recording into the hands of every guitar player. Whether you’re tracking in the studio or playing on stage, Eleven Rack delivers fresh, mind-blowing, hyper-realistic guitar amp and effects tones that will inspire your best performances. Eleven Rack in the Studio Eleven Rack combines studio-standard Pro Tools® software with a high-resolution, dual DSP-powered audio interface so you’ll never have to worry about latency when recording with its built-in amp/effects tones — nor will your computer have to carry the processing burden. Eleven Rack also takes re-amping to the next level by recording both dry and processed guitar signals simultaneously, allowing you to re-amplify later without patching a single cable. We even found a way to embed the Eleven Rack amp and effects settings into the audio tracks you record, enabling you to automatically recall those settings from your audio files on any Pro Tools system with Eleven Rack. Eleven Rack On Stage Eleven Rack also rocks onstage as a standalone amp tone and effects signal processor — we pulled out all the stops to make sure it sounds and feels just like playing through the real deal. We also included a classic collection of effects, from must-have stomp-boxes to world-class rackmount studio processors. Eleven Rack has all the I/O flexibility you need to integrate it into your existing rig, and easily incorporate the tones you’ve recorded with into your live setup — closing the gap between studio and stage. Eleven Rack also offers incredibly powerful control options using affordable MIDI controllers and expression pedals, giving you full foot control over everything from vintage wah effects to tempo-driven delays and more. Amazing Guitar Amp Tone and Flexibility <ul><li>Unique True-Z auto-impedance matching guitar input</li><li>Incredible emulations of classic guitar amp tones inspired by Fender®, Vox®, Marshall®, Soldano, and</li><li>Mesa/Boogie® amps*</li><li>Refined collection of sought-after classic stompbox tones inspired by effects from Fender®, Electro-Harmonix®, Ibanez®, ProCo, Univox®, and more*</li><li>Powerful collection of studio-quality rackmount effects processors</li><li>Convolution-based cabinet emulations deliver unprecedented realism in cabinet tones</li><li>Convolution-based microphone emulations inspired by classic dynamic, condenser, and ribbon mic designs</li><li>Integrated FX loop switchable to incorporate existing mono or stereo rack and stompbox effects</li><li>2 dedicated 1/4” outputs designed to connect with amplifiers</li><li>Powerful foot control options using affordable MIDI controllers and expression pedals</li><li>Flexible I/O routing and functionality enables unit to be used in conjunction with nearly any existing rig setup</li><li>Easily incorporate the exact same tones you develop in your studio recordings in a live setting</li><li>Built-in tuner</li><li>Tap-tempo control of time-based effects</li></ul> Guitar amp emulations based on*: <ul><li>’59 Fender® Bassman®</li><li>’59 Fender® Tweed Deluxe</li><li>’64 Fender® Black Face Deluxe Reverb® Normal Channel</li><li>’64 Fender® Black Face Deluxe Reverb® Vibrato Channel</li><li>’66 VOX® AC30 Top Boost</li><li>’67 Fender® Black Face Twin Reverb®</li><li>’69 Marshall® 1959 100 Watt Super Lead Plexiglas Head</li><li>’82 Marshall® JCM800 2203 100-Watt Head</li><li>’85 Mesa/Boogie® Mark IIc+ Drive Channel </li><li>’89 Soldano SLO100 Super Lead Overdrive Head Clean Channel</li><li>’89 Soldano SLO100 Super Lead Overdrive Head Crunch Channel</li><li>’89 Soldano SLO100 Super Lead Overdrive Head Overdrive Channel</li><li>’92 Mesa/Boogie® Dual Rectifier® Head Vintage Channel</li><li>’92 Mesa/Boogie® Dual Rectifier® Head Modern Channel</li><li>Digidesign Custom Vintage Crunch</li><li>Digidesign Custom Modern Overdrive </li></ul>Speaker cabinet emulations based on*: <ul><li>’59 Fender® Bassman® 4x10” with Jensen P10Qs</li><li>’59 Fender® Tweed Deluxe 1x12” with Jensen P12Q</li><li>’64 Fender® Black Face Deluxe Reverb® 1x12” with Jensen P12N</li><li>’66 VOX® AC30 2x12” with Celestion Alnico Blues </li><li>’67 Fender® Black Face Twin Reverb® 2x12” with Jensen C12Ns</li><li>’68 Marshall® 1960A with Celestion G12H “Greenbacks”</li><li>’06 Marshall® 1960AV 4x12” with Celestion Vintage 30s </li></ul>Microphone emulations based on*: <ul><li>Shure SM7 Dynamic Microphone</li><li>Shure SM57 Unidyne III Dynamic Microphone</li><li>Sennheiser MD 409 Dynamic Microphone</li><li>Sennheiser MD 421 Dynamic Microphone </li><li>Neumann U67 Condenser Microphone</li><li>Neumann U87 Condenser Microphone</li><li>AKG C 414 EB Condenser Microphone</li><li>Royer 121 Ribbon Microphone </li></ul>Effects emulations based on*: <ul><li>Spring Reverb (based on the Fender® Deluxe Reverb*)</li><li>Green JRC Overdrive (based on the Ibanez TS-808*)</li><li>Tri-Knob Fuzz (based on the Electro Harmonix Big Muff Pi*)</li><li>Black Op Distortion (based on the ProCo Rat*)</li><li>Shine Wah (based on the VOX® V-846*)</li><li>C1 Chorus/Vibrato (based on the Boss CE-1*)</li><li>Orange Phaser (based on the MXR® Phase 90*)</li><li>EP Tape Echo (based on the Maestro Echoplex EP-3*) </li><li>BBD Delay (based on the Electro Harmonix Deluxe Memory Man*)</li><li>Grey Compressor (based on the Ross Compressor*)</li><li>Vibe Phaser (based on the Univox Uni-Vibe*)</li><li>Black Wah (based on the Thomas Organ CB-95 Crybaby*)</li><li>Flanger</li><li>Roto Speaker</li><li>Volume Pedal</li><li>Eleven SR (Stereo Reverb)</li><li>Graphic EQ</li><li>Tuner </li></ul> Pro Tools LE Software <ul><li>Award-winning Pro Tools LE® 8 recording, editing, and mixing software — now optimized for guitar players</li><li>Powerful Eleven Rack control window for creating/editing Eleven Rack rig settings right from Pro Tools software</li><li>Records both dry and processed signals simultaneously, with recallable rig settings embedded into audio files</li><li>Includes over 70 professional effects, including reverb, delay, chorus, distortion, flanger, phaser, reverse, EQ, and compression</li><li>Powerful virtual instruments for creating backing tracks, including a drum machine, tonewheel organ, piano, synthesizer, and synth/sample workstation</li></ul> Eleven Rack Hardware <ul><li>High-speed USB 2.0 connection</li><li>DSP-accelerated audio interface so you won’t have to worry about latency when recording</li><li>Supports up to 8 simultaneous channels of high-resolution recording up to 24-bit/96 kHz</li><li>Stereo balanced XLR outputs and dedicated 1/4” outputs designed to connect with amplifiers</li><li>XLR mic input with 48V phantom power</li><li>2 x 1/4” line-level inputs for keyboards, drum machines, etc.</li><li>AES/EBU and S/PDIF stereo digital I/O</li><li>Stereo 1/4” headphone jack</li><li>1 x 1 MIDI I/O</li></ul>* Digidesign Eleven Rack is not connected with, or approved or endorsed by, the owners of the AKG, Boss, Celestion, Electro Harmonix, Fender®, Ibanez, Jensen, Maestro, Marshall®, Mesa/Boogie®, MXR®, Neumann, ProCo, Ross, Royer, Sennheiser, Shure, Soldano, Thomas Organ, Univox, and VOX® names. These names are used solely to identify the guitar amplifiers, speaker cabinets, loudspeakers, effects, and microphones emulated by Eleven Rack.

Digidesign Eleven Rack

Designed to integrate seamlessly with any audio application software. The Red Leaf TS Control-32 puts you in direct control of your DAW’s software by translating your touch into mouse clicks, slides, draws and fader movements. Plug and play! No drivers or special software to load. Rest easy! Mix with your touch inputs without fatigue. Mix standing up or sitting down. Control any software! Compatible with PC and Mac OS... Protools, Logic, Nuendo, etc. Plays well with others! Use TSC-32 along with your existing monitor, mouse and keyboard. Speed your work flow! Fully customizable on-screen touchable hotkey shortcuts. The patent pending TS Control-32 is designed to replace the digital audio workstation’s video monitor and allow the operator to perform all the necessary functions needed to mix audio in any software program directly on the screen. Features/Benefits <ul><li>32” Wide Format Touch Screen Display Control Surface – custom sizes available up to 67”</li><li>Up to 1920x1080 resolutions supported – standard VGA input</li><li>Integrates seamlessly with any DAW software program or operating system</li><li>Ultra Wide viewing angles – use standing up or sitting down just like a standard console mixer</li><li>Improves workflow and ergonomics – relieves mouse induced carpal tunnel syndrome</li><li>Accurate touch over the whole screen - one time 4-point calibration, no-drift</li><li>No special drivers to load, HID compliant Plug and Play connection</li><li>Eliminate your mouse and keyboard, or use them along side the controller</li><li>Rugged, virtually un-breakable tempered glass</li><li>No overlay to damage – preserves full clarity of display image</li><li>Optical imaging technology responds to finger or stylus input</li><li>User definable on-screen floating Hotkey/Shortcut keys with virtual keyboard</li><li>Optional integrated control room monitor volume and speaker switching capabilities</li></ul> Touch Screen Specifications <ul><li>Touch technology: Optical Imaging (no special surface coatings)</li><li>Touch method: Finger, gloved hand or any other pointer. Stylus minimum radius 2 mm</li><li>Touch activation force: No pressure required</li><li>Touch accuracy: ± 2 mm (for 40” screen) over 90% of the touch sensitive area, USB reported touch resolution 32767 x 32767</li><li>Touch durability: Unlimited</li><li>Touch response time: 9 ms to 22 ms depending on configuration, typical response time 14 ms</li><li>Environment Operating temperature: 0°C to 55° Storage temperature: -25°C to 85°C</li><li>Operating humidity: 10% to 90% RH, non-condensating Storage humidity: 10% to 90% RH, non-condensating</li><li>Power supply 2nd gen: USB from powered hub, enumeration requests 350 mA</li><li>Power supply 1st gen: 12v AC adaptor</li><li>Calibration Four-point driverless calibration (requires no software), automatic landscape/portrait orientation detection.</li><li>Mac OSX and Linux applications need to use the external calibration button to initiate calibration</li><li>ESD Per EN 61000-4-2 1995: Level 4, contact discharge 8 kV, air discharge 15 kV on USB connector pins</li><li>EMC EN55022, EN55024, CISPR 22, CISPR 24</li><li>Interface USB 1.1 (full speed), HID compliant, plug-and-play compatible</li><li>Operating systems Windows XP, 2000, Vista, Mac OSX, Linux (requires drivers)</li><li>Connection options Standard: USB Series A plug and Neltron 4-way connector on separate flying leads. Includes a small external</li><li>Software: No software required, works with Windows native HID mouse driver</li><li>Touch+ software provides additional utilities</li><li>Warranty 1 year parts and labor</li></ul> Video Display Specifications <ul><li>LCD Panel</li><li>31.5" viewable wide color LCD TV</li><li>Aspect Ratio: 16:9 Wide Screen </li><li>Brightness: 500 cd/m2 </li><li>Contrast: 2500:1</li><li>Response Time: 6 ms </li><li>Viewing Angle: 178 L/R, 178 Up/Down</li><li>Backlight Lamp life: > 50,000 hrs</li></ul> Video Functions <ul><li>De-interlace: 3D </li><li>Noise Reducing Core Technology : 3D Digital Comb Filter, Digital Noise Reduction</li><li>Aspect ratio: Normal, Wide, Zoom</li><li>Gamma: Fixed Gamma</li><li>Lamp adjustment: Yes</li><li>Picture mode: Custom / Standard / Mild / Vivid /</li><li>Video adjustment: Contrast / Brightness / Sharpness / Saturation / Tint</li><li>Color temp. adjust: Cool / Normal / Warm</li><li>Picture Enhancement: Enhanced Color Management</li></ul> Connections Port <ul><li>HDMI 1</li><li>VGA</li></ul> VGA Input Support <ul><li>Native resolution: 1920 x 1080</li><li>VGA Max. resolution: 1920 x 1080</li></ul> Power <ul><li>Power Source Input: 90-264AVC, 50/60Hz, 2.4A max </li><li>Power Consumption: 180W </li></ul> <a href="http://www.soundonsound.com/news?NewsID=11855" target="blank">Press Release</a>

Red Leaf Technology TS Control-32

Using the legendary SPA690 discrete amp blocks, the Inward Connections OPT1A 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. Features include <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> Specifications <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 OPT1A

Since its introduction in 1998, the Pendulum OCL-2 Compressor/Limiter has become a modern classic. In fact, the OCL-2 changed the way users think about opto compression! Our custom opto cell provides fast, invisible compression without the artifacts and sluggish response inherent in vintage designs. The NEW Pendulum OCL-500 has the same compression circuit as the OCL-2, but uses a transformerless class A solid-state gain makeup circuit in place of the tube stage. The result is clean, transparent compression that can be used to shape the dynamics of any source while preserving its tone. Like the OCL-2, the OCL-500 has a wide variety of time constants and dynamic control to optimize the compression characteristics, including a sidechain hi-pass filter. Features <ul><li>OCL-2 compression profile with our proprietary opto cell </li><li>Six time constants with fast, rms, multi-slope and average </li><li>Class A solid - state (no tubes) </li><li>Sidechain hi-pass filter </li><li>Single-space 500 series rack format</li></ul> OCL-500 Specifications <ul><li>Format: API® 500 series standard, fully compatible </li><li>Input Impedance: 20K-ohm, balanced </li><li>Output Impedance: less than 50 ohm </li><li>Max. Output Level: +27dBu, balanced </li><li>Threshold: off to 20dB of gain reduction at +4dBu </li><li>Ratio: 1.5:1 to 15: 1, soft knee </li><li>Output: Off to +20dB of makeup gain </li><li>Max. Gain Reduction: 27 dB </li><li>Frequency Response: +/- 1 dB from 10Hz to 95kHz </li><li>Noise Level: better than 78dB below +4dBu, 0-30kHz </li><li>Total Harmonic Distortion: less than 0.01% with no compression </li></ul>

Pendulum OCL-500

The Wunder Audio CM7 Fet Microphone A phantom powered version of the original U47 was released in 1969 known as the U47 Fet. The circuit was quite desirable, using transistors creating a very robust sound. The Fet mic has since obtained a legendary status being the most preferred mic in obtaining larger-than-life Kick and Bass tracks as well as thick and full vocals. The U47 Fet is now becoming as sought after as the U47. “The R & D for the CM7 FET relied on studying the original U47 closely,” says Wunder Audio’s Mike Castoro. “Employing the exact replica of the original grille is one of the key aspects of achieving the correct performance. We’ve been BETA testing this mic for a year now and are very happy with the progress and end result.” The Wunder Audio CM7 Fet Microphone comes with a new K47 dual membrane capsule, wooden microphone box, historic shock mount and 1-year warranty.

Wunder Audio CM7 Fet

Primacoustic London 12A Broadway studio kits have been developed for typical rooms with dimensions that are common in both residential and commercial construction. These easy-to-use kits contain everything you need to address room problems such as primary reflections, flutter echo, standing waves and excessive bass. Room designs follow a variant of the LEDE concept (live-end, dead-end) whereby the source or transmit section of the room has greater dampening while the receive section is sparsely treated in effort to retain natural room ambiance. Primacoustic London 12A Kit Consists of: <ul><li>2x Broadband Panels</li><li>8x Control Columns</li><li>12x Scatter Blocks</li><li>28x Surface Impalers</li><li>8x Corner Impalers</li><li>Wall anchors/screws (100)</li><li>Drill Bit for anchors</li></ul> Each Broadway kit includes a selection of acoustic panels, the corresponding mounting hardware and instructions for easy installation. Broadway panels are made from high density 6lb per-cubit-foot fiberglass panels for upwards to five (5) times greater absorption than offered by typical low cost 1.3lb foam alternatives. This means that you get more absorption with less panels on the wall while assuring a more even absorption curve throughout the frequency range. Broadway panels are completely encapsulated with micromesh on both front and rear surfaces and the sides are resin hardened to create sharp looking architectural lines. The panels are then covered in a durable fabric and offered in choice of three esthetically neutral colors that will easily adapt to the most demanding interior designer needs. For those that have extra artistic flare, the panels may be covered with any breathable fabric without compromising the acoustical performance. Broadway panels have been tested to meet stringent Class-1 fire safety requirements making them suitable for use in public places. Panel mounting is of paramount importance, especially when you decide to relocate the panels to another room or change your work space. Primacoustic Broadway kits come complete with easy-to-mount impalers that screw onto the wall surface on which the panels hang. Unlike foam that is "permanently" mounted using invasive glue, Broadway panels can be removed without having the wall surface completely redressed by a drywall specialist when you decide to make a change. Clean up is simply a matter of filling the holes and repainting. And you can still use your Broadway panels afterwards! Broadway kits present a high performance solution that is attractive, affordable and easy to manage!

Primacoustic London 12a Broadway Room Kit - Grey

The Evol Fucifier is a distortion synthesizer & sound shaper, designed to give you many colors with which to create and shape your palette of sounds. Everything in the signal chain, from the discrete Mic Pre, the Vintage Germanium Preamp, the Analog Filter, and the inductors in the Equalizer to the output transformer, is designed to be overdriven, saturated, overloaded or distorted in a pleasing way. Mix & match the Vintage Germanium Preamp for a little warmth or overdrive, the Tape Saturation overdrive for a little compression and limiting or a bit of signal saturation, the Analog Filter/Crossover (which in itself sounds great overdriven, and can be driven into self oscillation), the Dual Band Distortion which allows you to mix many different types of distortion, and the vintage-style inductor based equalizer to shape the overall tone and color of the sound. Features <ul> <li>Branded real wood front panel, custom finished by hand</li> <li>Color coded, lighted acrylic, audio responsive gain meter knobs to see at a glance where your various gain stage levels are</li> <li>Discrete mic preamp</li> <li>Low noise, high quality balanced line input</li> <li>Gain control of mic, instrument & dry mix gain in addition to control of overall input gain</li> <li>True relay bypass of each effect section using lighted indicator ring metal push buttons</li> <li>The Vintage Germanium Preamp section uses specially matched NOS vintage germanium transistors for added warmth and a great overdrive sound</li> <li>The Analog Filter Section Features: <ul> <li>Variable freq & resonance</li> <li>LFO with variable amplitude and speed, an envelope detector and expression pedal control which can all be used separately or in conjunction to control filter frequency</li> <li>Selectable high pass, band pass, or band pass + high pass filter response modes for the high freq distortion section</li> <li>Separate low pass & high pass outputs on the back panel for processing each band separately with external gear</ul></li> <LI>Dual Band Distortion allows control over:<ul> <LI>Drive, distortion amount, distortion type (6 modes), clipping symmetry & low freq/high freq blend control to blend the two distortion sections in varying degrees</li></ul> <LI>Inductor Based EQ with 5 bands of boost/cut: low, mid, high bands plus a low shelf & high shelf</li> <LI>Speaker output to plug a speaker cabinet into your Fucifier for use as an amp sim or even an amp!</li> <LI>Wet/Dry signal blend control</li> <LI>Transformer coupled, discrete Class A output section</li> <LI>Internal regulated AC power supply (no wall warts!)</li> <LI>2 space, 19" rack mount enclosure</li>

Evol Fucifier

When The Beatles recorded "All You Need Is Love", the man behind the board was Eddie Kramer. When Jimi Hendrix recorded "Purple Haze", the man behind the board was Eddie Kramer. When Led Zeppelin recorded "Whole Lotta Love", the man behind the board was Eddie Kramer. When you’re ready to make some music history of your own, get Eddie Kramer behind the board. Featuring <ul><li>Complete all-in-one processing chains</li><li>Mono-to-stereo and stereo components</li><li>Optimized control ranges</li><li>24bit/96kHz resolution</li><li>Supports RTAS, Audio Suite, VST, AU</li><li>PC and Mac compatible</li></ul> Waves Eddie Kramer Collection Plugins <ul><li>Kramer Vocal Channel</li><li>Kramer Bass Channel</li><li>Kramer Drum Channel</li><li>Kramer Guitar Channel</li><li>Kramer Effects Channel</li></ul> Eddie Kramer on the Vocal Channel "When mixing, there’s always a fight going on between the vocal and the rest of the track. For me, what makes a good mix is when all the elements combine seamlessly, complimenting one other. When we designed the Vocal Channel plug-in, we did it in such a way that the user can position the vocals within the mix, and then blend it back into the track, without it popping out, in such a way that it retains all its original clarity and presence." Vocal Channel features 2 flavors: <ul><li>Vocals 1, designed for classic rock vocals with a lot of dynamic range and intensity.</li><li>Vocals 2, for gentler vocal performances that stay at smoother, steadier levels.</li></ul> Controls <ul><li>Type toggles between the 2 vocal types: Vocal 1, Vocal 2</li><li>Sensitivity controls input levels.</li><li>Sensitivity LED indicates the presence of proper levels.</li><li>Bass controls low frequencies.</li><li>Treble controls high frequencies.</li><li>Compress controls amount of compression applied to the signal.</li><li>Output controls the output level.</li><li>FX controls the amount of signal sent to the effect.</li><li>Dly sets the delay time. (Vocal 1 only)</li><li>Dly Mix controls the amount of audible delay. (Vocal 1 only)</li><li>Verb Mix controls the relative level of the reverb.</li><li>Meter Switch toggles meter monitoring between input and output modes.</li><li>Meter displays input or output.</li></ul> Eddie Kramer on the Bass Channel "The idea behind the Eddie Kramer Bass Channel was to create a fat bass sound with a lot of presence, that cuts through without being overbearing. In general, the low-mid frequencies are accentuated, so it really pops on radio mixes. That way, you can always hear it clearly, even at low volumes on small speakers. The Bass Channel comes in two flavors: Bass1, which is less compressed, for a more dynamic sound that has room to breathe, and Bass2, a more aggressive sound with increased compression." Controls <ul><li>Type toggles between the 2 bass types: Bass1, Bass2.</li><li>Sensitivity controls input levels.</li><li>Sensitivity LED indicates the presence of proper levels.</li><li>Bass controls low frequencies.</li><li>Treble controls high frequencies.</li><li>Compress controls the compressor intensity.</li><li>Output controls the output level.</li><li>Meter Switch toggles meter monitoring between input and output modes.</li><li>Meter displays input or output.</li></ul> Eddie Kramer on the Drum Channel "The Drum Channel plug-in really captures the essence of my drum sounds. Whether you’re trying to achieve a huge Zep-like sound with loads of atmosphere, or are going for something more dry and down-to-earth like the Stones, or need a heavily-compressed, squashed, Hendrix-type sound, this is the plug-in that will get you there, quickly and easily. Since there are individual modes for bass drums, snares, and so on, you can really mix things up by creating your own hybrid drum kits, using your favorite elements from each." Controls <ul><li>Type toggles between the 6 drum types: BD, SNR, HH, Toms, OH, Room.</li><li>Sensitivity controls input levels.</li><li>Sensitivity LED indicates the presence of proper levels.</li><li>Compress controls dynamics.</li><li>Gate controls the gate threshold (available in BD only).</li><li>Treble controls high frequencies.</li><li>Bass controls low frequencies.</li><li>FX controls the effects send gain.</li><li>Output controls the output level.</li><li>Meter Switch toggles meter monitoring between input and output modes.</li><li>Meter displays input or output.</li></ul> Eddie Kramer on the Guitar Channel "The Guitar Channel plug-in features settings for lead guitars and two types of rhythm guitars. When it comes to lead guitar, I want it to become a living, breathing organism, creating a palpable sense of excitement within in the mix. By combining the right amounts of EQ, compression, delay, reverb, and a touch of flange, these 5 elements, working together, make it come alive. For rhythm guitar, I try to get it “in your face” as much as possible, without over-processing the sound with EQ. By adjusting the amount of compression, and not overdoing the amount of space, I make sure that the guitar stays up front, where it belongs." Controls <ul><li>Guitar TypeType toggles between the 3 guitar types: Rhythm 1, Rhythm 2, Lead</li><li>Sensitivity controls input levels.</li><li>Sensitivity LED indicates the presence of proper levels.</li><li>Compress controls guitar dynamics.</li><li>Treble controls high frequency range.</li><li>Mid controls midrange frequencies.</li><li>Output controls the output level.</li><li>FX controls the effects send gain.</li><li>Depth controls the flange effect depth.</li><li>Flange Mix controls flange effect mix. (Lead only)</li><li>Verb Mix controls the relative level of the reverb.</li><li>Dly sets the delay time.</li><li>Dly Mix controls the amount of audible delay.</li><li>Meter Switch toggles meter monitoring between input and output modes.</li><li>Meter displays input or output.</li></ul> Eddie Kramer on the Effects Channel "For the Effects Channel plug-in, I set out to recreate some of the basic elements that I use whenever I’m painting a sonic picture. Over the years, these elements have evolved to suit a variety of sources and styles, from whispering vocals to screaming guitars and beyond. <ul><li>H-Slap is a shorter delay that emulates tape at 15 inches per second, with some EMT plate reverb at a medium setting.</li><li>Z-Slap is a longer delay (7 ½ inches per second) with a bit of feedback and a longer setting on the EMT plate.</li></ul> Between the two, you’ll easily find the ideal setting for almost anything you can throw at it." Controls <ul><li>Type toggles between the 2 effect types: H-Slap, Z-Slap.</li><li>Sensitivity controls input levels.</li><li>Sensitivity LED indicates the presence of proper levels.</li><li>Dly controls the time of the slap delay.</li><li>Dly Mix controls the mix or direct send to the slap delay.</li><li>Size controls the size and time of the reverb effect.</li><li>Brightness controls the High Frequency range of the reverb effect.</li><li>Verb Mix controls the amount of reverb mixed with the signal.</li><li>Output controls the output level.</li><li>Meter Switch toggles meter monitoring between input and output modes.</li><li>Meter displays input or output.</li></ul>

Waves Eddie Kramer Collection - Native

After some requests from audio engineers, the Avedis Audio MA5 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. 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. 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. Features:<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 D.W. Fearn VT-7 has an all Class-A vacuum tube audio path, like all our products. The gain reduction elements utilize circuitry that duplicates the sound and characteristics of the finest classic vacuum tube compressors, without depending on tubes that are no longer manufactured. The control circuitry is modern solid-state analog. The two channels may be used independently or linked together for stereo. A built in sidechain high-pass filter may be selected to reduce the compression on bass-heavy material. Controls (each channel):<UL> <LI>Threshold <LI>Gain <LI>Attack <LI>Release <LI>Harder/Softer <LI>Link</UL> The VU meters may be switched between indicating gain reduction or output level. The VT-7 has a highly-transparent sound, although it can be used more aggressively when needed. Artifacts of the compression process are substantially lower than in most other compressors. Like all DW Fearn products, the VT-7 is designed to process high-quality audio and make it sound even better. The VT-7 is equally adept in tracking as well as as a bus compressor. Even jazz and classical tracks can be sent through the VT-7 for some mild gain control without obvious effect other than a significant improvement in the overall sound of the mix. Performance<UL> <LI>(no gain reduction, unity gain) <LI>Frequency Response: 20Hz - 20kHz +/- 0.5dB -3dB at 5Hz and 65kHz <LI>THD: less than 0.07% <LI>Signal to Noise Radio: better than 80dB

D.W. Fearn VT-7 Dual Channel Tube Compression Amplifier

The Apogee AD-16X and the DA-16X, Apogee’s latest and most advanced conversion systems, take the legendary quality of Apogee a huge step forward. Features such as a redesigned power supply, standard 192kHz sampling rates, the C777 clocking technology found in Big Ben, and optional Pro Tools HD and FireWire expansion cards, make the AD & DA-16X the most powerful and flexible conversion combination ever. And, not only does the X-Series hardware offer unequaled, groundbreaking technology but it makes it available at a fraction of the cost associated with previous, premium Apogee gear. Advanced High-Definition Conversion The most critical component in the digital recording environment is proper, high-quality conversion and since the dawn of digital recording the most desired converters have been made by Apogee. With up to 192k standard sample rates, the AD & DA-16X combine Apogee’s legendary conversion quality with the very latest in high-definition digital to provide unrivaled flexibility and quality. Redesigned Power Supply Enabling optimum conversion requires a state of the art power supply. The fully redesigned power system of the AD & DA-16X incorporates a specially designed Synchronous Switching power supply that works in conjunction with Apogee’s very stable low jitter clock and filtering technology to provide superior heat and noise performance and an improved transient response over our previous linear power supply. This creates a power system that delivers total efficiency and provides an ideal environment for premium conversion. Redesigned Analog Section Incorporated in the AD & DA-16X are the very latest developments in Apogee’s groundbreaking analog circuit design. Through sophisticated implementation and optimal configuration, the selection of premium, contemporary opamps allows the X-Series to deliver conversion performance never before heard, while maintaining the signature Apogee sound: Clear, transparent, focused and punchy. C777 Clocking used by Big Ben The AD & DA 16-X use Apogee’s C777 clocking technology. Famous for keeping Big Ben on time, the C777 utilizes an entirely digital process that Apogee has developed with the most advanced Direct Digital Synthesis (DDS) technology and DSP-based digital filtering. With a stable, crystal based digital PLL handling the clocking, AD-16X and DA-16X are able to intelligently manipulate incoming signals and adapt to them accordingly. The result? The most aggressive jitter reduction ever and an astonishing and noticeable difference in sound quality. Connect Directly to Pro Tools HD or any FireWire Enabled Computer Like their cousin the Rosetta 800, the AD & DA-16X offer an expansion card slot that greatly increases connectivity possibilities. Add an optional X-Series HD card and connect AD & DA-16X directly to your computer via your HD Core Card. Using Logic, Nuendo or any of the many native DAW’s? Add an X-FireWire card to your X-Series hardware and enjoy a direct, extremely low latency connection that supports FireWire 800 standards and has backwards compatibility with 400 standards. And, if you are buying multiple units, you can daisy chain up to a whopping 120 channels with incredibly low latency. SoftLimit: Maximize Levels, Minimize Overs One of the greatest difficulties in digital recording is getting an adequate level without clipping and unwanted distortion. Soft Limit is an analog peak limiter that enables the capture of an additional 4-6 dB of level without going into an ‘over’ condition. Short of purchasing a very expensive stand-alone compressor/limiter, there is currently no product on the market that handles this process better than SoftLimit. UV22HR: Dither Down with 24-bit Detail UV22HR is Apogee´s industry standard technology for reducing the word-length of a high-resolution digital signal to 16 bits for the CD mastering. UV22HR is also being employed to produce dramatically improved internet and computer audio content without increased file sizes or data rates. It is estimated that 8 out of 10 hit records are mastered using Apogee’s UV22HR technology. High Performance Output The DA-16X uses Apogee’s newly developed electronically balanced line drivers. Originally designed for the Mini-DAC, these line drivers are able to simulate true transformer behavior. The circuitry is an ultra low output impedance, high current driver, capable of running levels up to 26 dBu to the most complex or low impedance loads. Recording studios utilizing vintage audio-equipment will find this particularly valuable. Ultimately, the output performance of the DA-16X achieves perfect symmetry when used in balanced mode (even with an unsymmetrical load) and no increased distortion when used unbalanced.

Apogee DA-16X

Find out why the MicroMain27 is the most sought after speaker in pro audio. Call Vintage King and demo today! The Barefoot Sound MicroMain27 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 Main™" monitor. The only monitor you may ever need. 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). Hand Crafted in San Francisco, California Specifications <ul> <li>Description 3-way active monitor with integral subs </li><li>Controls Input level attenuator, Twt/Mid/Sub amplifier mutes, crossover voicing select </li><li>Input Impedance 50k Ohm </li><li>Frequency Response 38 Hz - 20 kHz (+/- 1.5 dB) </li><li>Bass Response -3 dB @ 33 Hz Q = 0.707 Slope: 12 dB/octave </li><li>Cabinet 32 liters total internal volume, Sealed sub enclosure, Individual sealed midbass enclosures, Machined aluminum front baffle plate </li><li>Crossover Frequencies 110/2500 Hz </li><li>Tweeter 1" soft dome, Rear waveguide chamber Power: 60 W </li><li>Dual Midbasses 5" poly cones, Sealed rear waveguide enclosures Power: 250 W </li><li>Dual Subwoofers 10" aluminum cones, 1" peak-to-peak linear excursion Power: 500 W </li><li>AC Power Input Nominal 115 VAC or 230 VAC selectable </li><li>Power Consumption Idle: 30W, Maximum: 675W </li><li>Weight Speaker: 71 lbs each (32 kg) </li><li>Shipping: 79 lbs each (36 kg) </li><li>Dimensions HxWxD 20.5 x 9.5 x 15.25 inches (521 x 241 x 387 mm) </li></ul> <a href="http://www.farmelo.com/BarefootReview.html" target="blank">Check out this review</a>

Barefoot Sound MicroMain27 (Single)

Both the API 3124+ 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. 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. 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. 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. 10 Year Warranty We double the standard API 5 year warranty on this item. 10 year coverage! *Double Warranty Offer is for qualifying orders purchased on or after July 1st, 2009.

API 3124+

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. 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. 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. 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. Features: <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 Standard Audio Level-Or is an API © 500-Series rack compatible JFET limiter / distortion processor. The design was inspired by the Shure Level-Loc PA limiter, popular for its trashy, ultra compressed sound. The extended features of the Level-Or allows it to achieve what the Level-Loc does and much, much more. In "Level" mode, the Level-Or acts very much like the Level-Loc. An additional, faster release time has been added for even more flexibility and a broader range of compressed sounds. In "Crunch" mode, the Level-Or sets itself apart from anything else like it. By sweeping the input level over the range provided, a huge palette of sounds can be reached from slight harmonic enhancement, to aggressive crunch, to buzz-saw like distortion, to complete and utter destruction of the original source material. Between these two available modes, there is a huge array of sounds that can be produced from this unit. Simple drum loops can be taken from boring to unique and drum room mics can be crushed or distorted to taste adding size and character to the overall sound. Bass, guitar, and keyboard sounds can be manipulated, taking on completely new and different sounds than the original source material. *Note: Due to the nature of the design of this unit, it is very aggressive sounding; with noticeable pumping, distortion, and some noise. We consider this a good thing! Features <UL> <LI>Transformer balanced input <LI>Electronically balanced, line level output stage capable of driving balanced loads as low as 600 ohms. <LI>Two modes of operation: <LI>Level – Sound of unit is dominated by JFET limiter <LI>Crunch – Sound of unit is dominated by harmonic distortion from the discrete transistor-based, Class A amplification stages <LI>Additional release time added that is twice as fast as original release <LI>Output level control to enable the input of the Level-Or to be driven hard without clipping the device that the Level-Or is driving (DAW input, Tape Machine, Console Line Amplifier, etc). <LI>¼" line input on front panel

Standard Audio Level-Or

High-quality closed-back 55-ohm around-the-ear studio headphones with switchable headband mute control. Equipped with detachable cable with locking mini-XLR connector and screw-on 1/4-inch adapter. Comes with leatherette and velour ear pads, 10-ft straight and 16-ft coiled cables.

AKG K271 MKII Studio Headphones

Following in the rich tradition of English 60s and 70s console design, Chandler Limited enters the 500 race furiously with its new Little Devil Equalizers and Compressors. With all discrete circuits, transformer balanced everything, and the American hand made quality you expect from Chandler the Devils combine Chandler’s best designs with the hottest designs from the past. Chandler Little Devil Compressor Features: <UL> <LI>All controls are marked +/- 1 to 6 in the playful DEVIL spirit of the concept <LI>FET Compressor using concepts from both the Chandler Germanium Compressor and the 2264 Comp <LI>Input Control <LI>Curve selection with zener and germanium diode knees <LI>Gain Make Up <LI>Ratio in three positions <LI>Attack <LI>Side chain filter -30, 60, 90, 150, 300hz <LI>THD selection <LI>Release <LI>Hardwire bypass <LI>Will run without problem on any 500 series rack and PSU...from crappy to kick butt! </UL>

Chandler Limited Little Devil Compressor

The BAE 1023 is a 10-series micpre/eq module based on the famous 1073. lt is totally handwired using the same Carnhill (St Ives) transformers and inductors as the vintage modules. It has the exact same mic/line preamp as the 1073 but with significantly more frequencies in the mid and hi sections: <ul> <li>Mid: 160Hz, 270, 360, 510, 700, 1K6, 3K2, 4K8, 7K2, 8K2, 10K. </li><li>Hi:10K, 12K, 16K, 20K, 24K. </li></ul>Available in Black or Classic Blue

BAE 1023 Mic Pre/EQ Module - Classic Blue

No other hardware required ... At last Apogee makes the direct connection to Pro Tools | HD systems a reality. The Apogee X-Series-HD option card allows for direct connectivity between Pro Tools HD™ systems and the AD&DA-16X, Rosetta 800 and Rosetta 200. The result is an incredibly powerful combination of Digidesign's™’ industry leading software and a new generation of superior Apogee conversion and clocking hardware that provides a workstation that will excite Apogee and Pro Tools™ fans alike. Features: <UL> <LI>Primary HD port for connecting directly to HD Core or Accel cards. <LI>Expansion port for daisy-chaining multiple Apogee devices (AD-16X, DA-16X, Rosetta 800 & Rosetta 200) <LI>Compatible with the latest versions of ProTools <LI>May be used along side similar interfaces (such as Digidesign 96 I/O, 192 I/O, Prism Dream ADA-8) </LI></UL>

Apogee X-HD Digi Expansion Card

The API 512C 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. 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. 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. 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. 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. Features <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> 10 Year Warranty We double the standard API 5 year warranty on this item. 10 year coverage! *Double Warranty Offer is for qualifying orders purchased on or after July 1st, 2009.

API 512C

Features and Specifications: <UL> <LI>Easy access and visibility of rack gear. <LI>Low enough to store under many existing consoles. <LI>Acoustical considerations are designed into this (and all) of our products. <LI>Generous (air and sound) pass-through holes with fabric-covered removeable panels. <LI>3" casters for easy rolling (braking front casters). <LI>Full width front handle for easy maneuverability. <LI>Side cover panel options. <LI>12 rack units</LI></UL>

Sterling Modular "Face Up" Rack

The Helios Type 69 Mic Pre/EQ Module Born Again! 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. 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. 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. 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

The Weiss DAC2 is a high performance stereo Firewire based digital to analog and digital to digital converter for usage either standalone or in conjunction with a PC or MAC computer. The DAC2 supports the following conversions: <ul><li>Firewire to analog</li><li>AES/EBU to analog</li><li>Firewire to AES/EBU</li><li>AES/EBU to Firewire</li></ul>Features of the DAC2: <ul><li>Inputs: Digital Audio inputs on Firewire (two connectors), XLR, RCA and Toslink.</li><li>Outputs: Stereo analog output on XLR and RCA. Digital Audio output on Firewire, XLR and RCA.</li><li>Sampling Rates, Wordlength: 44.1, 48, 88.2, 96, 176.4, 192 kHz at up to 24 Bits.</li><li>Software: Drivers for Windows™ and OSX™ operating systems.</li><li>Power Supply: A non-switching power supply is used. The mains voltage can be set to 100..120V or 200..240V.</li></ul>

Weiss DAC2 D/A Converter

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 - 1/4"

The Prism Sound Orpheus is a FireWire interface for personal recording and sound production, for professional musicians, songwriters, engineers and producers. Orpheus is ideal for music and sound recording, production & monitoring, stem-based mastering and analogue summing. Orpheus provides Prism Sound's renowned performance and sound quality in a dedicated FireWire unit compatible with Windows XP & Vista and MAC OS X 10.4x (Intel & PPC). Orpheus has line, microphone and instrument inputs, good foldback and stereo or surround monitoring capabilities, ADAT and SPDIF digital I/O plus support for external MIDI devices. Microphone inputs include MS matrix processing and high-performance digital sampling-rate conversion (SRC) is available for digital inputs or outputs. Orpheus signal path Eight analogue input channels and up to 10 digital input channels are available (SPDIF on RCA/coax plus ADAT optical) as DAW inputs through the host's audio driver. Similarly, eight analogue output channels, up to 10 digital output channels and stereo headphone outputs can play 22 different channels. For low-latency foldback or monitoring to headphones or main outputs, each output pair (1-2, 3-4 etc) can be driven with an individual local mix of any selection of inputs through the controller applet. All inputs are electronically balanced with automatic unbalanced operation. Outputs are electronically balanced with 'bootstrapping', i.e. level is maintained if one leg is grounded. Orpheus in brief <ul> <li>No-compromise, full Prism Sound audio quality </li><li>Dedicated FireWire interface </li><li>ASIO and WDM drivers provided for Windows XP and VISTA </li><li>Directly compatible with CORE AUDIO on Mac OS X 10.4+ (Intel & PPC) </li><li>Eight "Prism Sound" AD and DA channels, plus SPDIF, ADAT & headphones </li><li>Four high-end integrated mic preamps (typ.-130dBu EIN), switchable phantom </li><li>MS Matrix processing on mic inputs </li><li>Two instrument inputs </li><li>Prism Sound "Overkillers" on every channel to control transient overloads </li><li>Fully-floating (isolated) balanced architecture for optimum noise rejection </li><li>Mono or stereo input configurations </li><li>Outputs arranged as stereo pairs, each with individual mixer </li><li>Low-latency "console-quality" 8-bus digital mixer for foldback monitoring </li><li>Fader, pan, cut, solo on every mixer channel </li><li>Dual headphone outputs each with its own front-panel volume control </li><li>Front-panel master volume control, assignable to selected channels </li><li>Configurable for stereo, 5.1 or 7.1 or surround monitoring </li><li>Built-in sample rate conversion (SRC) on DIO channels </li><li>Prism Sound 4-curve SNS noise shaping on digital outputs </li><li>State-of-the-art clock generation with proprietary hybrid 2-stage DPLL MIDI in/out ports</li></ul> No-compromise, full Prism Sound audio quality Orpheus makes no compromises on audio quality. It is the result of years of research and development into digital audio conversion and extensive dialogue with Prism Sound's customers. Orpheus The Orpheus design brief was: Get Prism Sound quality conversion and mic preamps into a 1U box at a more accessible price point. Sound quality just wasn't negotiable. Orpheus has the same no-compromise analogue front and back ends, with the same fully-balanced-throughout architecture, the same isolation barriers protecting the analogue from digital and computer interference. Orpheus draws on Prism Sound's years of experience in developing digital audio products, including its range of audio test equipment, adopted by a wide variety of clients across the audio industry from pro-audio to consumer electronics. This experience means that Orpheus is well-behaved both as a computer peripheral and an audio processor. Reliability is vitally important in professional recording. Prism Sound has always made extensive use of precise software calibration techniques in its converters - pots and tweaks are always unreliable, so there are none. The design team has gone to great lengths to minimise noise and interference, in particular hum. All of the analogue circuits have galvanic isolation, while the unit's electronically balanced I/O allows it to handle common mode interference sources as well as enabling trouble-free connection to unbalanced equipment. It is often said that THD+N figures do not always correlate well with the perception of sound quality and this is true - partly because the traditional measures of THD+N or SINAD expressed as RMS figures are rather a broad measure. With this in mind, we have taken great care to make sure that not only is the Orpheus noise and distortion spectrum beyond reproach, but the RMS distortion result measures up to the state of the art. Standards compliant FireWire interface Increasing standardisation is leading to more choice for those wishing to "mix and match" editing and production software with various audio interfaces. Prism Sound has taken on board the increasing importance of native processing power for professional users and the fact that software products for standard PC and Mac platforms have been greatly enhanced in recent years. Prism Sound is probably best known for A/D and D/A converters, not least the ADA-8XR, which already provides a solution for those needing a FireWire interface. However, the flexibility and versatility of the ADA-8XR comes with a higher price tag, reflecting the fact that no other interface provides such exceptional audio performance or can work directly into Pro Tools Core/Processing cards, as well as running a concurrent DSD processor or FireWire interface. The solution was to create a unit that is dedicated as a FireWire interface and is compatible with Windows PC and Apple Mac computers. Orpheus is easy to connect to your computer and to your outboard gear. For Windows XP or Vista users ASIO and WDM drivers are provided, while for Mac OS X 10.4 or later, Orpheus interfaces directly to Core Audio. For both Mac and PC platforms, there is a controller application to configure the unit and control its built-in mixer and other functions. Aside from the monitor and headphone level controls, everything else is operated solely from the Orpheus controller application. The controller software opens on-screen as a separate panel alongside your existing editing software. Orpheus Flexible Inputs and Outputs Our customers told us that, along with FireWire connectivity, many professional users wanted a highly integrated solution with instrument and microphone inputs, and line outputs that could be used for stereo or multi-channel monitoring and/or foldback to performers. Orpheus offers eight analogue recording channels, eight monitoring outputs, stereo digital input and output on a phono connector plus concurrent optical digital I/O ports that can interface to S/PDIF or ADAT data formats, giving Orpheus a maximum capability of 18 concurrent input and output channels plus stereo headphones. Orpheus' eight analogue inputs support various capabilities. Orpheus has four really good mic amps with software-controlled gain in 1dB steps, individually-switchable phantom power - and very low noise and distortion. These inputs are auto-sensing, and support microphone and line input, with digitally-controlled mic gain in excess of 60dB. Two of these inputs also support direct injection (DI) instrument connections with quarter-inch jacks on the front panel. RIAA Equalization can be selected in the controller applet on channels 1 & 2 so that turntables can be connected for archiving or sampling applications. By selecting the input type (Mic or DI) , low- or high-impedance cartridges can be loaded with suitable termination impedances. All inputs have individually-selectable Prism Sound "Overkillers" built in, just as on the higher-priced ADA-8XR, to catch those fast transients. The Overkiller threshold automatically follows the operating line-up level selection (+4dBu or -10dBV). Overkillers are ideal for percussive sounds, particularly drums, where headroom can be a problem. The co-axial digital I/O port can be switched in the Orpheus controller applet between S/PDIF and AES3 formats. This control changes the operating voltage and the Channel Status format and is complemented by two in-line adapter leads that provide external XLR connections for AES3 devices. Other connections include MIDI in and out and wordclock sync I/O. Orpheus can also operate in a stand-alone mode using its ADAT or co-axial digital I/O connections. Once set up using the Orpheus controller applet, the unit can be disconnected from the host computer and used independently. Orpheus will retain its settings when powered down so even if it is switched off, Orpheus can be re-powered and stand-alone operation can continue with the automatically-stored settings. Digital Mixer Our customers also identified a need for a unit that could provide low latency foldback to performers, particularly when tracking and overdubbing. In answer to this need, Orpheus has a powerful built-in digital mixer that can be configured from the host computer to provide foldback feeds to performers, each with their own stereo mix of workstation playback and any of the inputs. The question of latency in computer interfaces, especially USB and FireWire boxes, is an important one. Obviously there are situations where the round-trip latency needs to be really short, like in overdubbing. The problem is that even if the latency on the interface and in the driver is as short as it could ever be, a native DAW is busy with plug-ins and other software and buffer times are probably set long. The only answer is to provide local foldback mixing in the interface. This is not new, and other products feature it, but most local mixers in competitive products are just too basic. Orpheus provides 'console quality' local mixing - every output has its own independent mixer, with channel strips for all inputs and workstation feeds, complete with fader, pan/balance pot, solo and mute buttons, and full metering. Strips can be stereo or mono, and the mixes are dithered with filtered coefficients, just as in a top-end digital mixer. There is a very small residual delay through the A/D and D/A conversion process in the foldback path, mostly from filters used for decimation and interpolation. However, with the low-latency Prism Sound DSP mixer, the worst-case delay through the A/D and D/A path is only 0.5ms and is significantly less at higher sampling rates. This is generally reckoned to be small enough not to be problematic. Although the unit's outputs will mainly be used for monitoring or foldback, the fact that they are of such high quality makes them suitable for a range of other applications such as insertion points, analogue summing or stem-based mastering. Orpheus Flexible Monitoring Professional users demand more sophisticated monitoring capabilities and are getting used to surround sound with HDTV and DVD, so it is becoming important to support surround monitoring setups. As well as wanting great analogue recording channels, the DAW user also needs top-quality monitoring. The eight analogue outputs on Orpheus allow monitor setups from multi-stereo up to 7.1 surround. Orpheus has a real volume knob which can be assigned to any or all of the analogue or digital outputs for use as a control room monitor control. There are two headphone amps, suitable for all types of headphones, each with its own independent volume control. As well as having its own workstation feed and mixer, the headphones can also be quickly switched across the other output pairs, which is handy for setting up. Sample Rate Conversion and Noise Shaping The digital output is equipped with the four Prism Sound SNS noise-shaping curves and includes Prism Sound's renowned synchronous sample-rate conversion, allowing outputs to various external devices at other sampling rates. The sample-rate converter can be used at the outputs as well as the inputs, so as well as dealing with unsynchronized or wrong-rate digital inputs, Orpheus can also generate, say, a live 44.1kHz output from a 96kHz session. Since Orpheus also includes the full suite of the famous Prism Sound 'SNS' noise shapers, you can also reduce to 16-bits at mastering-house quality. Unsurpassed Jitter Rejection In the 1990s Prism Sound pioneered testing of sampling and interface jitter and as a result our digital audio products deliver unsurpassed jitter rejection. Prism Sound digital audio products lock up fast and re-generate ultra-stable clock outputs. Another aspect of the traditional Prism Sound converter that is retained was the clocking - it's just as important as analogue-path considerations sound-wise. So whether it's providing a high-quality master clock for the rest of the room, or dealing with a jittery clock from outside, Orpheus is as rock-steady as its forbears. Support Over the years, Prism Sound's reputation for audio quality has been matched by its reputation for after-sales support and technical advice. Orpheus has the benefit of that support and customers have access to one of the best technical teams in the business. The Last Word We believe that Orpheus delivers exactly what our personal studio customers have asked for - all the performance of a Prism Sound product in a dedicated FireWire unit that handles line, microphone and instrument inputs with good foldback and monitoring capabilities, yet at a more accessible price tag. We are confident that customers using the new Orpheus converter will agree that it sounds as good as it looks. <a class="bluelinks" href="http://www.prismsound.com/m_r_downloads/Orpheus_Operation_Manual_A4.pdf">Download Product Manual</a>

Prism Sound Orpheus

The Retro Sta-Level is a replica of the legendary 1956 Gates Sta-Level. The Sta-Level dominated the sound of hit radio in the 1960's. Now these super musical sounding compressors have found their way into today's hits. The Retro Gold Edition celebrates fifty years of the products existence. The Sta-Level uses the coveted 6386 tube in a classic G.E. circuit design. Alternatively, the Gold Edition Sta-Level uses a pair of commonly available 6BJ6 tubes (stock). The customer has the choice to use their own 6386 they provide or the 6BJ6 provided with the purchase of the unit. The choice is yours and the sound is undeniably true to the original either way. The original 6386 compressor developed by G.E., utilized a novel program controlled release circuit. The Sta-Level implementation creates density and consistency while minimizing typical compressor side-effects at up to 40dB of gain reduction! The program path is transformer balanced throughout to cancel control-induced distortion. Push pull circuitry with 6V6 output stage provides wide voltage swing for gain control and line output. The result is that the Sta-Level brings a uniquely familiar intimacy, air and warmth to your tracks. Revisions to the original design include; Tube balance can be instantly aligned without test equipment; Uses 6386 tube or a pair of 6BJ6 tubes; Two or more Sta-Levels can be coupled together for stereo, surround or sidechain operation; XLR transformer balanced input and output; IEC Power Connector; Hand matched audiophile-grade coupling capacitors; High quality, custom wound transformers used throughout; Internal component safety cover. Specifications <ul><li>Gain Reduction Threshold: Continuously adjustable from +24dBm to -20dBm</li><li>Available Gain Reduction: 40dB</li><li>Total System Gain: 35dB (with standard input and output pads)</li><li>Distortion: 1 percent or less from 0-30 dB gain reduction</li><li>Frequency Response: ± .25dB from 20-20,000 Hz</li><li>Noise: -70dB or better referenced to gain reduction threshold</li><li>Output Level: Continuously adjustable from -40 dBm to +18 dBm</li><li>Input Impedance: Accepts low impedance active or transformer balanced 0-600 Ohms</li><li>Output Impedance: 600 Ohm transformer balanced, terminated and resistive pad coupled</li><li>Tube Complement: 2-6BJ6), 1-12AT7, 2-6V6GT, 1-6AL5, 1-OB2, 1-5Y3</li><li>Power Requirements: Three prong IEC - Switchable 115-230 VAC - 50/60 Hz</li><li>Mounting Requirements: 3U metal rack 5.25" high, 19" wide, 8" deep </li></ul>

Retro Instruments Sta-Level

Add warmth and euphonic tube character to your tracks with the venerable Inward Connections Vac Rac TSL-3. 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. Features per channel: <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 </li><li>Large 3"x3" VU meter </li><li>Illuminated VU meters </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> Specifications:<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 Purple Audio MC77 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. 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. NEW features in the MC77: <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>Features inherited from the MC76: <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 Brent Averill 312A "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. BAE 312A Module Features:<UL> <LI>Modules plug into API™ compatable lunchboxes and racks <LI>Made using Avedis™ 1122 opamps <LI>Can be phantom powered if your rack has a 48v power supply built in Pin compatible with API™ 550A equalizers <LI>Switches have gold contacts for long life <LI>Supplied with Jensen input and output transformers at no additional cost <LI>High impedance direct input for guitar and synthesizer

BAE 312A Module

Shadow Hills Optograph This Single channel discrete optical compressor, in the API 500 series form factor, takes its cues and much of its design from the optical stage of its behemoth Big Brother, the Shadow Hills Mastering Compressor. The Optograph's front end is balanced by an original Jensen input transformer. The output utilizes our specially recreated Nickel transformer. The essence of the compressor's character comes from our custom electroluminescent cell and discrete op-amp combination. The high quality circuit is pristine enough for bus compression, and yet has a unique character reminiscent of an antique world class compressor, that has just now been discovered. It's also perfect for squeezing drum busses and massaging vocals. It's the perfect glue for tracking and mixing anything that needs to sound more finished, more like a record. Just like The Mastering Compressor, the Optograph's threshold and make up gain are controlled by discrete attenuators, made from custom twenty-four position Elma switches. The tactile feel and quality of these controls are unrivaled. They are of the highest quality and will last forever. Built into the side chain, are a very powerful series of filters: 90 hertz, 150 hertz, 250 hertz, and band pass. By engaging a specific filter, you choose at which point the onset of compression occurs. First position, nothing below ninety triggers compression. Second position, nothing below one-fifty. Third, nothing below two-fifty. The fourth position is a musical bandpass filter. In this position, compression is triggered by the program's mid-range frequency content, ignoring the highest and lowest frequencies. The filters are amazingly useful for shifting the focus of what should be more compressed and creating compression curves on purpose. Another unique feature for sculpting the overall sonic character is the Transformer Desaturate mode. In this mode we cancel out any distortion and frequency non-linearity’s caused by the output transformer. The result is a pure, almost transformer-less sound, whilst still receiving the benefits, of limiting transients that can only come from magnetics. There is also a VU meter for the display of gain reduction. The Optograph is enclosed in a twelve gauge steel chassis, has an engraved front panel and custom made knobs. Features: <UL> <LI>Pristine sound quality and unique character <LI>Switchable sidechain filters <LI>Transformer Desaturate <LI>Detented switches <LI>Engraved front panels </LI></UL>

Shadow Hills Industries Mono Optograph 500

The LaChapell Audio Model 583E features the same amplifier stage found on the 583S including the Jensen JT-115k input transformer coupled with an ultra-clean transformer-less three-band EQ section with fully sweeping frequency controls and cut/boost settings of +/- 8dB. The EQ can run as an integrated EQ serving the preamplifier or separate as its own autonomous module where both units run independently. Features <ul> <li>True Vacuum Tube Amplifier. </li><li>Jensen Microphone Input Transformer. </li><li>Nickel/Alloy Output Transformer. </li><li>Accessible Tube Section. </li><li>Integrated OR Independent 3-band EQ. </li><li>Fully “sweepable” EQ Frequencies. </li><li>Extremely Low THD+N Performance </li><li>Transformer-less EQ Section </li><li>Premium Components</li></ul>

LaChapell Audio 583e

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Neve 1073 API Audio 527 Barefoot MicroMain 35 Radial Workhorse 5000 Telefunken AR-51 Rupert Neve Portico II Focal Monitors	What's New? Hear the Gear Recycle Your Gear Client Gallery Producers Corner Buyer's Guide	How about recycling your used gear for something different or just a change? When speaking to a sales representative, make sure to indicate that you are interested in trading your gear for a new purchase or please send an email to info@vintageking.com.	Barefoot Sound Shadow Hills Industries Neve Classic Series Evol Fucifier Slate Pro Audio	Inward Connections Tonelux ProAc Helios