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What's New

The Nord Drum is a revolutionary 4-channel drum synthesizer. With an amazingly vast sonic palette and astounding level of playability the Nord Drum is guaranteed to change your perception of what’s possible with synthetic, sample-free percussion. Create classic retro-futuristic percussion with analog waveforms or use the harmonically complex waveforms together with different colors of noise for results that both sound and respond stunningly organic. The Nord Drum is designed with the performing musician in mind and its extreme dynamic range and super-fast triggering add to the feeling of playing a real instrument. Four high-sensitivity inputs and MIDI lets you play the Nord Drum with a wide range of Electronic Drum Pads, Acoustic Drum Triggers and MIDI-pads/Sequencers for easy integration into any existing drum-kit or the starting point for something completely new. Features:<ul><li>Four channel Drum Synthesizer Accepts pads or midi</li><li>Create Retro and futuristic Percussion</li><li>Three Variable Source Synth wave form Noise click</li><li>Extreme dynamic range and sensitivity </li></ul>

Nord Drum

The Arturia MiniBRUTE is a revolutionary new analog synthesizer. Featuring a pure analog signal path and a host of unique features, it sets a new standard for what a hardware synthesizer should be. Its 100% analog audio signal path features a VCO wave mixer, the classic Steiner-Parker multimode filter, as well as numerous analog innovations such as the Metalizer, Ultrasaw, and the Brute Factor. Boasting a complete MIDI, CV and USB connectivity, MiniBrute is right at home with your computer or your vintage synths, making it the ideal companion to deliver a pure analog blast anywhere you go. Features: <ul><li>Monophonic synthesizer</li><li>100% Analog Audio Signal Path </li><li>Steiner-Parker Multimode Filter (LP, BP, HP and Notch)</li><li>Voltage Controlled Oscillator with Sub-Osc </li><li>Oscillator Mixer (Sub, Sawtooth, Square, Triangle, White Noise, Audio In)</li><li>LFO1 with 6 waveforms and bi-polar modulation destinations </li><li>LFO2 with 3 vibrato modes </li><li>Brute Factor delivering saturation and rich harmonics </li><li>Ultrasaw generating shimmering sawtooth waveforms</li><li>Metalizer bringing extreme triangle harmonics</li><li>Two ADSR Envelope Generators </li><li>25 note Keyboard with Aftertouch</li><li>Rugged Aluminum Enclosure</li><li>External Analog Audio Input</li><li>CV In/Out controls: Pitch, Gate, Filter, Amp </li><li>MIDI In/Out with 5-Pin DIN connectors</li><li>USB MIDI In/Out </li><li>1/4” Audio Output and 1/4” Headphone Output </li><li>Gate Source Selection: Audio Input, Hold, Keyboard</li><li>Arpeggiator: </li><ul><li>Four Modes of Arpeggiation </li><li>Four Octave Range Control </li><li>Six Time Divisions </li><li>Swing Control</li></ul></ul>

Arturia MiniBRUTE

The Radial PowerTube combines the 48V voltage that supplies phantom power with +/-16V rails, to power a select 12 AX7 tube. The unit is made from 100% discrete electronics, and includes such features as variable input trim, fully variable gain control, presence, low cut, phantom power and a full 10 segment LED bar graph. The PowerTube is equipped with a Jensen transformer, to add further warmth and character to your songs and lunchbox.

Radial Engineering PowerTube

The Radial Firefly begins with two inputs to allow quick changes on stage. This can be done using the front panel switch or with a standard latching remote foot-switch. The instrument signal is immediately routed to a tuner output that is always on. Following the award winning Radial JDV, the Firefly is also equipped with Drag Control load correction. This enables the artist to adjust the load on the magnetic pickup for a much more natural rendering. When bypassed, the load jumps to 4 meg-ohms enabling the Firefly to be used with piezo pickups. The class-A circuit features a select 12AX7 tube drive with both gain and trim controls allowing the user to increase the grit and warmth as needed.

Radial Engineering Firefly

The Mojave Audio MA-101fet is a small diaphragm, solid-state condenser microphone with interchangeable cardioid and omnidirectional capsules. Designed by renowned microphone designer David Royer, the MA101fet combines the features of two of Mojave Audio's popular models - the cardioid and omnidirectional capsules from the MA-100 with the electronics from the MA-201fet. New to the MA-101fet is an internally switchable -15dB pad, increasing the headroom to an ear shattering 135dB SPL. This makes the MA-101fet suitable for everything from capturing the subtle nuances of acoustic instruments to the loudest of electric guitars and drums - great for location recording, too. Featuring hand selected, 3-micron cardioid and omni capsules, a high quality Jensen audio transformer and military-grade FET and custom designed low noise resistors; the MA-101fet is designed to offer excellent performance for a wide variety of applications. Each MA-101fet microphone is carefully tested and evaluated, then packaged in its protective case. Features <ul><li>Interchangeable cardioid and omnidirectional hand-selected 3-micron capsules</li><li>Internally switchable -15dB attenuator</li><li>Jensen audio transformer</li><li>Military-grade FET</li><li>Custom designed low-noise resistors</li><li>Ultra clean signal path</li></ul> Recommended applications <ul><li>Acoustic Instruments</li><li>Location Recording</li><li>High SPL sources, such as Kick Drums and Bass Guitar Amps</li><li>Electric Guitars</li><li>Piano</li><li>Snare Drums, Toms, Drum Overheads</li></ul> Technical Data <ul><li>Capsules: Interchangeable Cardioid and Omnidirectional</li><li>Diaphragm: .8" (20.5 mm) diameter</li><li>Diaphragm thickness: 3-micron</li><li>Frequency Response: 30 Hz - 18 kHz +/- 2.5 dB</li><li>Sensitivity: -39 dB re.1V/pa +/- 1.5 dB</li><li>Maximum SPL: 125 dB pad off, 140dB pad on.</li><li>Distortion: <1% @ 120dB pad off, <1% @ 135dB pad on</li><li>Self Noise: 14 dB nominal, not to exceed 16 dB (A weighted)</li><li>Impedance: 550 ohms, transformer balanced (Jensen)</li><li>Power Requirements: 48VDC phantom power, .68 mA wall current</li></ul>

Mojave Audio MA-101SP

Use the Apogee Symphony 64 Thunderbolt to connect Symphony I/O to any Thunderbolt equipped Mac for true Thunderbolt compatibility and performance. The Symphony | 64 Thunderbolt card will also connect X-Symphony equipped AD-16X, DA-16X, Rosetta 800 and Rosetta 200 converters to Thunderbolt Macs.

Apogee Symphony 64 Thunderbolt

The SPL Neos is the first summing and monitoring console based on our proprietary 120-volt technology. The basic concept behind it was to combine essential summing capabilities, including faders and panorama controls, with a complete and practical monitoring section — all in a compact design. Accordingly, it fulfills the highest expectations regarding sound quality in mixing and monitoring situations. Thus, the Neos was conceived with sound engineers that set great importance on artistic and musical production in mind and whose workflow does not rely primarily on undo and preset options. Nevertheless, the compact Neos can integrate seamlessly in computer-based environments providing the characteristic high-quality sound and handling of analog devices. Concept <ul><li>24 channel summing console with faders and panorama controls</li><li>Ideal for DAW-based studios with emphasis on audio quality</li></ul>Features <ul><li>Input path with 100-mm ALPS faders, Pan controls, Mono, Cut, Solo, and “To Monitor Only” push buttons, signal LEDs</li><li>Master path with 100-mm ALPS faders, Inserts, Bend function (Limiting)</li><li>Comprehensive monitoring section with Volume control, Tape Mix (DAW return), as well as Mute, Dim and Mono push buttons</li><li>Input: three eight-channel DB25 connectors (balanced, TASCAM standard); balanced XLR connectors: Slave, Insert Return, Tape Return</li><li>Output connectors (balanced XLR): Recording Out, Monitor A and Monitor B, </li><li>Output connectors (unbalanced XLR): Alternative Out, Insert Send, Metering</li></ul>Special Features <ul><li>Ultimate Mix and Monitoring Quality</li><li>Compact design: 19"/7U</li><li>Cascadable</li><li>Hand made in Germany</li></ul>Special Technical Features <ul><li>Unique 120-volt operating voltage. In comparison with common production mixers, the Neos mixing and monitoring console uses four times as much operating voltage. A higher voltage results in better performance: over 30 dB of headroom at the input, more than 122 dB of dynamic range, 92 dB signal-to-noise ratio over all channels.</li><li>At the core of the 120-volt technology are our handmade, discrete op-amps with 116 dB signal-to-noise ratio and 34 dB of headroom. The 150 dB dynamic range covers a frequency range of up to 200 kHz. These key figures are way beyond the demands of current PCM digital formats with 24 bit/192 kHz sample rates and DSD digital formats with 1 bit and 256 fs. It is not expected for digital technology to evolve so much in the foreseeable future as to make the Neos a bottleneck in the signal processing path.</li><li>All selected components for each unit are matched at the pre-production stage</li><li>Important switching functions are performed via sealed relays</li><li>Oversized signal traces, generous PCB layout for greater trace separation, star ground scheme, linear power supply</li></ul>Specifications: <blockquote>Inputs & Outputs <ul><li>Electronically balanced instrumentation amplifiers </li><li>Sockets: Inputs DB25/TASCAM, XLR; Outputs: XLR </li><li>Input Impedance: 10 k Ohm balanced; 20 kOhm unbalanced </li><li>Output Impedance: 75 Ohm balanced; 75 Ohm unbalanced </li><li>Nominal Input Level: +4 dBu </li><li>Maximum Input Level: › +30 dBu (30 dBu = limit of measuring equipment) </li><li>Maximum Output Level: › 24 dBu </li></ul>Measurements <ul><li>Frequency Range (-3 dB): 10 Hz to › 200 kHz </li><li>Phase 1kHz: 0°, 10kHz: -4,5°, 20kHz: -8.30° </li><li>Common Mode Rejection Ratio: › 60 dB</li><li>(Rec. Out, Insert Send, Monitor A/B) </li><li>Total Harmonic Distortion </li><li>10Hz Rec. Out: 0.0011%, Insert Send: 0.0011%, Monitor A/B: 0.0016%</li><li>100Hz Rec. Out: 0,00060%, Insert Send: 0.0009%, Monitor A/B: 0.0016%</li><li>1000Hz Rec. Out: 0.00090%, Insert Send: 0.0013%, Monitor A/B: 0.0020%</li><li>5000Hz Rec. Out: 0.0032%, Insert Send: 0.003%, Monitor A/B: 0.004%</li><li>10kHz Rec. Out: 0.0028%, Insert Send: 0.0018%, Monitor A/B: 0.0027%</li><li>22kHz Rec. Out: 0.00054%, Insert Send: 0.00050%, Monitor A/B: 0.0005%</li><li>(Generator output 24dBu, inputs terminated with 40 dBu) </li><li>Signal to Noise Ratio (all channels)</li><li>Rec. Out: 92 dBu, Insert Send 92 dBu, Monitor A/B: 88dB</li><li>(A-weighted, 22 Hz - 22 kHz, inputs terminated with 40 dBu) </li><li>Dynamic range: › 122 dB </li></ul>Power Supply <ul><li>Linear power supply with toroidal transformer </li><li>Operational Voltage : +/- 60Volts (120 Volts) </li><li>Power Consumption (Standby, 230 Volts/50Hz): 0.420A, 75W, 97,8VA </li><li>Fuses: 230V AC/50Hz: 315 mA; 115V AC/60Hz: 630 mA </li><li>Voltage Selector: 115 V/230 V </li></ul>Dimensions and Weight <ul><li>Front panel including rack brackets: 19"/7 U (483 x 310 mm) </li><li>Front panel without rack brackets: 440 mm </li><li>Housing (W x H x D): 483 x 235 x 330 mm, depth incl. sockets: 355 mm </li><li>Weight: 14.1 kg/ca. 31.08 lbs </li><li>External Power Supply: W x H x D 154 x 67 x 236 mm, weight: 3 kg/6.61 lbs </li></ul></blockquote>

SPL Neos

The pocket-sized Tascam iXZ turns your iPhone, iPad or iPod touch into a recording studio. Plug in a microphone, guitar or bass to interact with the latest guitar amp, sampling, recording and DJ apps. The iXZ even supplies phantom power for condenser microphones. An input setting sets the gain and there’s a headphone output to monitor from your iOS device. To turn an iPhone into a portable practice, songwriting or live recording rig, it’s tough to beat the TASCAM iXZ. Features: <ul><li>Switchable mic/line input</li><li>Phantom power</li><li>Gain control</li><li>1/8” headphone output</li><li>XLR mic input</li><li>High-impedence guitar input</li><li>Mic input powered by two AA batteries</li><li>Non-powered guitar input</li></ul>Mic or Guitar-level Input Unlike similar recording interfaces for iOS, the input of the TASCAM iXZ can be switched between microphone-level or guitar level in. When switched to guitar level, the iXZ doesn't require any power. That makes the iXZ ideal for practicing your guitar and bass as well as recording. Switch to Microphone level to enable the microphone preamp. Phantom power is available for powering a condenser microphone for detailed instrument or voice recording. A pair of AA batteries (included) provide hours of microphone recording. A hardware gain knob controls the level of the input to your recording app. This gives you a quicker way to adjust the level than software controls – if your app even has one. Headphone out/thru jack Since the iXZ simply plugs into the headset jack of your iPhone, iPad or iPod touch, an 1/8" headphone output jack is provided on the back of the iXZ. Applications <ul><li>Guitar Practice – Play in headphones with a metronome and effects using your favorite app</li><li>Songwriting – Use an app like TASCAM Portastudio to build up a song before presenting it to the band</li><li>Rehearsal Recording – Plug in a mic to capture band practice</li><li>Sound Effects Gathering – Record sounds in the outside world, then drop them into your productions</li></ul>MIC IN Connector XLR Input Level -42dBu～ +2dBu Maximum Input Level +2dBu Input Impedance 2.4kΩ GUITAR IN Connector 1/4" (6.3mm) phone jack Nominal Input Level -21dBV Maximum Input Level -10dBV Input Impendance 470kΩ PHONES/LINE OUT Connector 1/8" (3.5mm) stereo mini jack CONNECTION PLUG FOR iPhone/iPad/iPod touch Connector 3.5mm 4 Pole Plug, 150mm Power Requirements 2 AA batteries (when using microphone input) Power Consumption 0.33W　(Phantom Power 5.0mA) Battery Life Approximately 15 hours (Phantom Power 5.0mA) External Dimensions (WxHxD) 4.17" x 1.57" x 1.77" (106x40x45mm) Weight 3.7 ounces (87g)

Tascam iXZ

The Tascam iM2 turns the iPhone, iPad or iPod touch into a high-quality stereo recorder. A pair of condenser microphones - the same high quality as Tascam's best-selling DR-series recorders - plugs into the dock connector of your Apple device. The microphones are adjustable over 180 degrees for the best sound placement. The uni-directional elements are arranged in an AB pattern for detailed stereo imaging while capturing the ambience of your room. The iM2 contains its own microphone preamp and analog-to-digital converter for low noise and great audio quality. Unlike mics that use the built-in iPhone preamp, the iM2 can handle up to 125dB sound levels to capture the loudest concerts and instruments without distortion. Full-featured recording Also contained in the iM2 is a stereo limiter to tame sudden loud sounds. The microphone level is adjustable with a knob on the side, making it quick to adjust without even looking at the unit. It's powered through the dock connector so no battery is required. A USB input is provided to charge your Apple iOS device for long recordings, either through a computer or Tascam's PS-P515U power adapter. The iM2 works great with just about any recording app, including the built-in video camera. Record stereo sound while you capture hi-definition video on your iPhone to capture every moment with clarity and realism. The ultra-portable iM2 is a must have for musicians who want to capture inspiration on their iPhone or iPad without sacrificing recording quality. It's the perfect recording accessory for musicians of all skill levels available at an unbeatable price. Applications: <ul><li>Live Recording – Record your own concerts from the front of the stage, or record a friends from your shirt pocket</li><li>Songwriting – Use an app like Tascam Portastudio to build up a song before presenting it to the band on your iPad</li><li>Rehearsal Recording – Plug in a mic to capture band practice without overloading your iPhone</li><li>Video Filming – Record stereo audio to go with your videos, whether shooting a live performance for YouTube or a birthday party with your family</li><li>Sound Effects Gathering – Record sounds in the outside world, then drop them into your productions or remixes</li></ul> Specifications: <ul><li>Stereo condenser microphones for iPhone 4, iPod touch or iPad dock connection</li><li>High-quality stereo condenser microphones - same as our best-selling DR-series recorders</li><li>Microphones adjustable 180 degrees front to back</li><li>Built-in analog to digital converter and microphone preamp for low noise recording</li><li>125dB SPL maximum level for recording loud shows without distortion</li><li>Switchable limiter attenuates high-level signals to prevent recording overload</li><li>Adjustable input level control</li><li>Powered through iPhone, iPad or iPod touch dock connector</li><li>USB input allows the iPhone or iPad to be charged from a USB connection or optional Tascam PS-P515U</li><li>CD-quality digital recording (44.1kHz/16-bit linear PCM)</li><li>Compact size ideal for mobile use</li><li>Compatible with iPhone 4, iPhone 4S, iPod touch 4G, iPad, iPad 2</li><li>Dimensions: 2.3" W x 2.2" H x 0.75" D</li><li>Weight: 1.05 oz</li></ul>

Tascam iM2

The Trident A-Range is a two-channel rack-mountable version of the legendary Trident 'A' Range console. Comprising two independent channels, each with a microphone/line amplifier and four band equalizer, it is designed to process incoming signals from a microphone or line level instrument and output to a recording device, such as a digital audio workstation or analog multi-track tape recorder. Mains powered, with 48 volt phantom power independently switchable for the two channels, the A-Range operates as a complete stand-alone unit. In keeping with its mixing console heritage, each 'channel strip' of this rack unit features insert points (switchable pre/post EQ and with bypass), phase reverse (which operates on both microphone and line inputs) and an output level control with peak signal indication. All inputs and outputs are balanced so that maximum signal integrity and high output levels are assured with minimum distortion. A useful additional facility when using it as a stand-alone unit is the inclusion of LED peak level indicators at key points in the signal chain. These are located: directly after the input amplifiers (microphone and line), after the equalizer section and after the main output amplifier. This ensures that the signal is accurately monitored and matched at all stages in the signal chain. The A-Range rack will add its own signature to any program material, whether using just the discrete transistor microphone and line input preamplifiers or the unique and versatile equalizer sections.

Trident A-Range Mic Pre/EQ

The unique cabinet configuration of the Trident HG3 Close Field Monitoring System is designed to reduce or eliminate many issues found in today's monitor systems. Some of these include: <ul><li>Limited Dispersion and Bandwidth </li><li>Doppler Distortion</li><li>Phase Distortion </li><li>Inter-Modulation Distortion</li><li>Cabinet Resonances </li><li>Edge Diffraction and other problems associated with traditional monitor designs</li></ul>Bass Response The use of a port can extend the usable response of a low frequency speaker, but below resonance, the speaker becomes uncontrolled and will flap wildly in conventional ported systems. The Trident HG3 system eliminated this problem by using a controlled electronic roll-off below the speaker's usable response. Separate subwoofers create additional problems by introducing phase cancellations at crossover, and exciting unwanted room nodes - eliminating the advantages of near field monitoring. Separate sub-woofer placement is a hit or miss proposition, guaranteed to cause problems in poorly treated rooms Through the use of a dual voice coil sub-woofer, in each speaker box, and optimal tuning, the usable response is extended smoothly to almost 30 Hz in a very small enclosure. Each sub-woofer has its own 100 Watt dual MOS amplifier to insure clean, distortion free power. Further, the port is located outside the path of all active speaker components to insure freedom from Doppler distortion at very low frequencies. Below 90 Hz, the HG3 bass response is essentially omni-directional. From 90 Hz up to the crossover point of 320 Hz, the bass response narrows to about 180 degrees. Above 320 Hz, any large diameter speaker's dispersion narrows and the frequency response becomes ragged and uneven. Not a good thing. Mid-range Response The most critical range in any monitor system is the mid-range; that's where the voice resides, the bulk of the guitar's sound, and the overall detail of the music. It's strange that some manufacturers would split the vocal range in the middle, and assign part of the vocal to the woofer, and the other part of the critical vocal range to another speaker. It just doesn't make sense. Part of the vocal (in a typical two-way system) is being modulated by pumping bass, and the other part is bouncing off the ends of the cabinet, creating edge diffractions. The result is smeared mid-range, bad stereo imaging, and poor off axis response. The Trident HG3 uses crossover points set at 320 Hz and 3,500 Hz to eliminate those problems. The unique cabinet design takes care of the rest. The Cylinder The mid-range speaker is mounted in an isolated, 6" diameter, damped, cylinder, to eliminate edge diffractions and woofer/cabinet resonance interactions. The cylinder also houses the 1-1/8" silk dome tweeter, its crossover, plus the mid and tweeter level controls. A separate 80 Watt amplifier drives the cylinder mid and treble components. The unique cylinder design lets the listener position the critical directional components exactly where needed, regardless of the distance between cabinets, without the need to move the main cabinet into a precarious balance position. The electrical connections are made through the ends of the cylinder; the cylinder can be turned in any direction, continuously, without damage. In fact, rotating the cylinder simply cleans the contacts. The Amplifier The Trident HG3 power amplifier section is made up of three identical 100 Watt MOS amplifier modules, noted for their low distortion, wide band width, and low noise levels. A unique "muting circuit" prevents thumps at turn on/off. Two modules are used to power the woofer section, and a separate module is used for the mids and highs. Overall Distortion is typically around 0.05% and the noise level is typically below -104 dB. A unique warning LED is built into the front panel of the Trident HG3 that changes from green to red as you begin to approach audible distortion levels (above 1%). Three sets of inputs allow for both Balanced (XLR and TRS) and unbalanced (TS and RCA) connections. The dual-color LED on the front of the cabinet shows both power on (Green) and distortion (Red).

Trident HG3 Studio Monitor System

The Moog Music Minitaur’s front panel features a knob-per-function design, for maximum real-time tweakability. There are no internally stored presets, but presets can be created and managed via MIDI. The Minitaur has several new features added to the classic Taurus synth engine, including an external audio input, that expand the basic synthesis and sound design capability of the instrument. Minitaur fits right into the computer based music production rig or is easily controlled via MIDI controller. Features: <ul><li>100% analog audio signal path based on Taurus I/ Taurus III synthesizers. </li><li>Two Taurus VCOs with variable Glide amount </li><li>Sawtooth (original Taurus) or Square waveform selection for both VCOs </li><li>External Audio Input </li><li>Headphone out </li><li>Two Mixer VCAs for setting the level of the VCOs </li><li>One VCF Moog/Taurus-style Ladder Filter w/ VC Resonance </li><li>One VCA </li><li>Two Minimoog-style Envelope generators for modulating the VCF and VCA: ADSR with the Decay and Release segments controlled by the Decay control, and with the Release segment enabled or disabled with the Release On/Off switch </li><li>One MIDI-syncable triangle wave LFO for modulating VCF/VCOs </li><li>DIN MIDI in and out and MIDI over USB out </li></ul>

Moog Music Minitaur

Phoenix Audio DRS-EQ-500 Specifications: <ul><li>Class A (DSOP-2) Output specs. Frequency response: 20Hz to 20kHz +- 0.5dB</li><li>Maximum Output Level: +26dBu @ 1kHz</li><li>Noise: -90dB @ 20Hz to 20kHz.</li><li>Phoenix Audio’s unique Class A, buffer DSblip stage.</li><li>Input level range: -10dBu to +10dBu</li><li>Self-contained on-board “boost” PSU.</li><li>Gain Meter: LED Metering. (Green = -2dB, +4dbu & +10dbu Yellow = +13dB, Red = +16dbu.</li><li>High Pass Filter: Roll-off starts at 80Hz @ 12dB per Octave.</li><li>Gyratory-based EQ Frequency Centres: (4 Bands) High – 15K, 10K, Hi Mid – 6K, 3K, 1K6, Low Mid – 800Hz, 400Hz, 200Hz, Low – 130Hz, 80Hz, 40Hz</li><li>EQ Cut/Boost Levels: 16dB Cut/Boost Per Band, all EQ bands are stepped/detented to 21 positions for easy recall & stereo operations for mastering or the mix bus.</li><li>DRS-EQ/500 has an overall output level with 15db of additional gain even when the EQ is in bypass, allows the output fader to be used to drive the output stage & transformer to color & saturate your sound, again even when the EQ is in bypass.</li></ul>

Phoenix Audio DRS-EQ 500

The sE Electronics Munro Egg 150 Monitoring System is the first in a series of sE Munro 'Active Integrated Monitoring Systems' designed by Andy Munro, James Ishmaev-Young and Siwei Zou. sE Munro Egg Speaker - A Revolutionary Active Studio Monitor The sE Munro Egg incorporates a fundamental rethink of the loudspeaker engineering process. The traditional wooden box has been replaced by a scientifically proven, curved enclosure that virtually eliminates diffraction and resonant effects that distort and smear the original sound. sE Munro Egg 150 Monitoring System The system is complete, with a free standing control unit that delivers a perfect bi-amplified power match to the egg drive units, source select inputs, active analogue crossovers, LF and HF trim pot equalization for room and location set-up compensation and a mid-band control to emulate the mid-range response of both Hi-Fi and NS10 type speakers. Above all, the sE Munro Egg 150 Monitoring System is designed to deliver the highest quality sound with the absolute minimum of coloration. In one word - Truth. Features: <ul><li>Unique monocoque shell construction (rigid and resonant neutral)</li><li>Near zero diffraction interference (smooth frequency response)</li><li>No internal standing waves (greatly reduced smearing)</li><li>Perfect bass port integration (superb transient response)</li><li>Free standing control unit and integrated amplification with 3m matched speaker cables</li><li>Dual input switching and level control</li><li>Ultra fast and low distortion (4*50W) with 100W/Channel headroom indicator</li><li>Precise 'sweet spot' – unique LED locator guide beams</li><li>Integrated base with adjustable vertical alignment (allows for perfect sweet spot in both vertical and horizontal planes)</li><li>Precision trim pots for bass (LF) and High Frequency (HF) calibration</li><li>Critical Mid Frequency equalization for ‘Hard’, ‘Soft’ or ‘Reference’ (0) listening</li></ul>sE Munro Egg 150 - The Unflattering Active Studio Monitor The result is a breath-taking transparency that within seconds of listening reveals a much more defined and open mix, in which the whole balance simply ‘feels’ more complete. Of course certain aspects of some recordings may be shown up to be distorted or not as the engineer intended, but that is the truth, unobscured by coloration. A monitor that flatters to deceive has no place in a professional recording studio and there is no argument for using poor quality speakers to match inferior playback media. Well recorded material, translates to any medium, but the opposite is absolutely not true… if your monitors put a fake ‘sheen’ on everything, how will you ever know what your material sounds like on an honest system..? You may be embarrassed! There is also a good argument for a fully analogue monitor. The bandwidth and dynamics of a true analogue system will show up the character of the digital system preceding it. It also removes issues with bit rate conversion and other compatibility matters. By using high quality linear power supplies, the sE Egg system maintains maximum transient power up to double the rated value. Bi-amplification further enhances the power headroom and results in the lowest possible distortion values. By using 35V power rails the Egg is capable of high transient sound levels from a relatively modest amplifier compliment. The sE Munro Egg 150 is the final product name of the "sE Munro Medium Egg Speaker" announced at Musikmesse and NAMM. The "150" refers to the approximate size of the driver. As more Egg Monitoring Systems are in development, it seemed foolish to term the first sE Munro speaker system as "medium" when it may not be in the fullness of time.

sE Electronics Munro Egg 150 Monitoring System

Apogee Mic is the most compact studio quality USB microphone available for iPad, iPhone and Mac. About the size of an iPhone, Mic makes it easy to capture your best take with incredible quality, anywhere your music takes you. Record any sound you can imagine, from vocals to vibraphones, acoustic to lap steel guitars, pianos to percussion and everything in between, and build a track right on your iPad with GarageBand. Mic is also the perfect companion to JAM, Apogee’s studio quality guitar input. Never before has the personal studio been so portable or so powerful. Join the recording revolution with Mic, JAM and GarageBand on iPad. Features: <ul><li>Studio quality cardioid condenser microphone</li><li>PureDIGITAL connection for pristine sound quality</li><li>No configuration, just plug in and record</li><li>Adjust input level easily with gain control knob</li><li>Monitor level with multi-color status LED</li><li>Designed for vocal and acoustic instrument recording</li><li>Works with GarageBand</li><li>Great for recording interviews, podcasts, voice overs, and audio for DSLR video</li><li>Solid zinc and steel construction</li><li>Extremely compact and portable: 1.52" x 4.56"</li></ul>

Apogee Mic USB Microphone

With the Thermionic Culture Vulture Solo there is more of a focus on use with guitar and bass DI / amplifier front end applications but the unit also retains all the useful features for line level applications that previous models, including the Limited Edition Culture Vulture, offered. The Culture Vulture Solo is a single channel unit in a 2U 19" rack chassis. It features the ability to switch, via the front panel or a dedicated foot-switch, between the Clean and Dirty channels. The Clean channel is an active channel that provides up to 35dB variable gain to an instrument level signal with a flat but warm sounding frequency response. The Dirty channel has the Vultures Drive, Distortion type, Bias controls found on a standard Culture Vulture. It also features the PQ positions found on a Limited Edition Culture Vulture and the two Squash positions found on the Mastering and Limited Edition Culture Vultures. The Dirty channel has a brand new Presence control and a more control over the amount of LPF available. The rear input connector of the Culture Vulture Solo is unbalanced and semi-floating for improved integration with a DAW setup. Thermionic Culture believes that the Culture Vulture Solo has a greater range in the tonality that can be applied to mono instrument signals than ever before, providing any signal with warm sounding gain or infinitely adjustable amounts of saturation, distortion and bite. The valve complement of the Culture Vulture Solo is: <ul><li>1 ECC83 double triode</li><li>1 5725 / 6AS6 single pentode</li><li>1 12DW7 / ECC832 double triode </li></ul>

Thermionic Culture Vulture Solo

Simplicity is the hardest design principle to follow. It’s at the heart of Wunder's approach to the CM67. Seductively simple, the Wunder CM67 offers the presence you’d expect from Wunder Audio underpinned by the latest technology and ideas in PSU design. The K67 capsule, which since 1960 has become the most common and most copied condenser capsule in the world, utilizes a two-piece backplate, allowing the diaphragms to be tuned individually and then matched for equivalent response. The tube is a vintage Telefunken EF86, a pentode wired into this circuit as a triode. It uses a 6.3V filament voltage, and is wired to the PCB via a Teflon socket. The transformer in the CM67 is somewhat unique. It makes use of an elaborate feedback network known as a tertiary winding, which creates negative feedback through the capsule to the tube for its HF de-emphasis. It creates a roll-off in the HF response in order to compensate for the natural HF peak due to the original design of the K67 capsule. It takes a very special transformer to accomplish this task while simultaneously achieving such an impressive sound. Some U67 recreations offer a quick fix to simulate the sound of the original, but most of the modifications that attenuate the top end achieve a less than desirable result. This is not exactly a good trade-off. The CM67 is perfect for vocals where a smoother sound is desired as the 67s are prized for their “warmth.” The CM67 is also a terrific all-purpose microphone, as it works exceedingly well in a close-mic situation. The CM67 is excellent for drums (kick, snare, overheads, room) and guitar amp mics. Because it has a very nice top and bottom, and being very natural in the way it brings out the best from any source, the CM67 is a serious pro studio workhorse. Designed without compromise, Wunder Audio’s new tube microphone Power Supply Unit is the result of complete creative and engineering freedom. Its proprietary design features a high voltage path that runs constant current and balances constant current against a shunt regulator. The result is a completely clean voltage to the microphone free of any RF interference. The CM67 is supplied with its dedicated Power Supply Unit, shock mount, Tuchel microphone cable and quarter sawn oak case.

Wunder Audio CM67

Your dedication deserves the best tools available. Get everything you need to compose, record, edit, and mix—in the highest quality—with Avid Pro Tools 10 software. Whether you work in a professional facility, home studio, or on the road, nothing gives you the quality, performance, reliability, and ease to create like Pro Tools, the most widely used digital audio workstation in the industry. Mix it up—at higher resolution With Pro Tools 10, you can mix multiple audio file formats and bit depths within the same session—including interleaved—without any file duplication to cause project bloat. Plus, with support for 32-bit floating-point file formats, you’ll get higher resolution sound when recording or importing, with more headroom to preserve the integrity of your audio from beginning to end. Drive faster—with better performance Pro Tools 10 is designed with the professional in mind, offering powerful yet easy-to use tools and streamlined workflows that boost your efficiency. Gain better recording and playback performance when working on a laptop, with an external hard drive, or network-attached storage device. Speed up editing and mixing with Smart Tools, Clip Gain, and new AudioSuite workflows. And handle the biggest plug-in heavy mixes with 16k of Automatic Delay Compensation (ADC). Plug into legendary sound Get the sound you want using a wide variety of Pro Tools plug-ins from Avid® and our partners, some of the best audio designers in the industry. Pro Tools comes with over 75 virtual instruments, effects, sound processing, and utility plug-ins—some of which emulate the sounds of classic hardware processors, amps, and instruments, as well as the renowned EQ and dynamics of the System 5, one of the most sought after consoles used to create some of the greatest mixes ever produced. Add more to expand your sonic palette even further. Work the way you want Record, edit, and mix music and sound for picture your way. Pair Pro Tools with your favorite Avid or third-party audio interface to record and monitor vocal and instrument performances. Capture virtual instrument performances using a MIDI keyboard controller. Or record and create with just your computer* and the software alone for ultimate portability. Feature highlights <ul><li>Unleash your creativity with the award-winning tool-set</li><li>Get unrivaled sound quality, now with even higher resolution</li><li>Work the way you want—with an interface or without</li><li>Create bigger mixes, with up to 96 audio tracks</li><li>Compose with virtual instruments and MIDI and Score Editors</li><li>Work faster with Clip Gain, real-time fades, ADC, and more</li><li>Add multiple audio formats to a session, without conversion</li><li>Polish mixes with over 75 plug-ins, including the new Channel Strip</li><li>Speed up mixing with industry-trusted automation tools</li><li>Get the same features in Pro Tools software</li><li>Build bigger mixes, with up to 768 audio and 64 video tracks</li><li>Get highly responsive performance with the extended disk cache</li><li>Get advanced audio editing, video editing, and automation</li><li>Mix in up to 7.1 surround</li></ul>

Avid Pro Tools 10

The Retro Doublewide is a tube compressor module designed from the ground up for the 500 Series. It's authentic Retro compression for the masses. The Doublewide delivers the tube compression sound you expect because it is exactly that. While not precisely like any other tube compressor, the Doublewide methodology takes after the Sta-Level. As such, it excels at processing delicate sources like bass and vocals. It's all Retro and is built with the same quality components in our U.S. shop alongside our other products. The tubes and transformers in a fully complementary push-pull topology deliver sonic characteristics typical of a full sized tube compressor. The Doublewide incorporates four NOS 6BJ6 pentodes in two tube gain stages as well as two high-quality Cinemag transformers. Input and output are fully floating and transformer balanced for use with line level signals. A hard-wire bypass switch allows for quick evaluation of the compression signature. Compression attack and recovery times are continuously variable. Like the Sta-Level and 176, the Doublewide has two timing characteristic modes; Single and Double. Double mode provides a dynamic program-controlled attack and recovery timing. With these two modes, the Doublewide is versatile in the studio, with full control of weight and punch versus transparency. The Doublewide is designed to provide the user with years of reliable service. Special circuitry eliminates excess current inrush and component stress when power is applied. Power required is 180 mA (6 watts), which is well within a two-slot power allowance. The stainless steel chassis provides good ventilation to minimize heat build-up. The tubes are self-biased and balanced without the need for user adjustments and there are no internal controls. A meter-zero adjustment is accessible from the side of the unit to compensate for tube variations. Tube replacement is straightforward and the tubes are readily available. Features: <ul><li>Single channel tube compression in a two-slot 500 Series module</li><li>Continuously variable input and output levels with fixed threshold</li><li>Continuously variable attack and recovery time</li><li>Single and double time-constants</li><li>Fully complementary push-pull signal path</li><li>Cinemag transformer balanced, fully-floating input and output</li><li>Hard-wire bypass switch with gold-plated contacts</li><li>Gold-plated edge card connections</li><li>Stainless steel chassis construction</li><li>Side-accessible meter zero trim</li><li>Uses new-old-stock U.S. tubes</li><li>Authentic U.S.-made Simpson gain reduction meter.</li><li>Hand built and tested in the U.S.</li></ul> Specifications: <ul><li>30dB of available gain reduction</li><li>Signal to noise ratio greater than 76dB</li><li>Flat frequency response within .5 dB from 20-20,000 Hz</li><li>Total harmonic distortion 1% or less from 0-25dB gain reduction</li><li>Input level –15 to +24 dBm 600 Ohm impedance</li><li>Output level –20 to +12 dBm 600 Ohm impedance</li><li>Power consumption 180 mA (6 watts)</li><li>Tube complement 6BJ6 x 4</li></ul>

Retro Instruments Doublewide

The Grace Design m502 500 Series Optical Compressor takes the sonic performance characteristics from the compressor section of the well-regarded Grace Design m103 Channel Strip. The unit is based on an optical attenuator, the purest high fidelity gain control mechanism available, and provides gentle limiting to fairly aggressive compression while remaining neutral and transparent. The m502 employs the same compression circuit topology as the Grace Design m102 Optical Compressor but is housed in a chassis for installation in the popular 500 series racks. The front panel includes a bypass switch, a 3-position input gain switch ranging from -10 to +10, a link switch, 10 segment LED array to display gain reduction levels, rotary pots for control of Threshold, Attack, Release and Ratio, and a pot for output level. The m502 also includes jumper settings on the board that provides the ability to configure the stereo linking and side-chain functionality based on the specific 500 series rack used.

Grace Design m502

The Grace Design m102 Optical Compressor takes the sonic performance characteristics from the compressor section of the Grace Design m103 Channel Strip. The unit is based on an optical attenuator, the purest high fidelity gain control mechanism available, and provides gentle limiting to fairly aggressive compression while remaining neutral and transparent. Housed in a 1U, half-rack enclosure, the single channel m102 sports a familiar and elegant industrial design that was derived from the Grace Design m101 Microphone Preamp. Front panel controls include +/- 10dB of input and output level on rotary pots that allows for fine tuning of gain settings. Four additional pots allow the user to control Threshold, Attack, Release and Ratio settings. A three position switch selects Normal operation and the added ability to Link two m102 units for stereo compression or to select a Sidechain input for frequency dependent compression. A 10 segment LED array displays gain reduction levels, and a bi-color LED is provided for signal presence and peak detection. The rear panel includes an AC inlet for the built in universal power supply, XLR and ¼” TRS balanced input and output connections, and a ¼” jack used for linking two m102’s or for use as a side-chain input.

Grace Design m102

Renowned for decades by top engineers as the quintessential box for larger-than-life drum sounds! The ADR Compex F760X-RS may be the best compressor/limiter available for drum room mics and drum bus duties and is also highly sought-after for the character and punch it adds to guitars along with a myriad of other sources... And now it can be yours! The ADR Compex F760-RS by Q2 Audio reintroduces, at long last, the venerable and highly sought-after dynamics processor of yesteryear. The unique character and spirit of the Compex can be heard on many classic recordings (think of that huge, commanding drum sound on When the Levee Breaks by Led Zeppelin, for instance). With painstaking attention to detail, Q2 Audio has masterfully reproduced the exact circuit design of the original Compex, with a handful of new features and updated components. Functionally, the new Compex has all the same features and settings as the original unit, employing the same super-flexible FET-based compression, limiting and gating. Switchable threshold, compression ratio, and attack/release times are available with all the same settings and a stereo link switch is provided for linking the two channels together for operation in stereo. An all-new external side-chain insert has been added to the new Compex, letting you feed the detector circuit of the compressor with an independent sound source. The side-chain insert can be set to control the gate circuit, instead, by simply switching over an internal jumper. The limit section has a switchable 50us "pre-emphasis" setting in addition to the normal “on” position. Pre-emphasis was originally used for limiting high frequencies to prevent over-modulation during broadcast use. Pre-emphasis boosts the high frequencies entering the limiter side-chain, acting as a de-esser causing limiting action on sibilant high frequencies. The compressor side-chain insert is useful for adding an EQ to the side-chain audio signal to create "vocal stresser" type frequency-dependent compression effects or inserting another audio source for “ducking". Improving upon some of the components and build-quality concerns of the original Compex, a high-quality meter has been employed (replacing the discontinued Sifam™ Director 14 meter) and the original “ABC” cards have been combined to a single PCB to allow for more efficient manufacturing. Also, some slight alterations have been made to the calibration functions to help the unit maintain calibration over a longer period of time. The original potentiometers were an open frame design which became noisy as time wore on, the re-issue has sealed conductive plastic potentiometers to improve the usable life-span. With a wide range of features and functions, the new ADR Compex by Q2 Audio can meet the needs of any dynamic-processing task, adding a character and flavor all its own. Those familiar with the original Compex will be pleased to see how faithfully recreated this reincarnate really is, with a few enhancements and updates to make one of the best compressor/limiters just that much better. Features: <ul><li>Classic FET based compression/peak limiting/gating, all available individually</li><li>Switchable compression ratios - 1:1, 2:1, 3:1, 5:1, 10:1, 20:1</li><li>Switchable compression threshold in 2dB steps</li><li>Switchable attack times - 250µs, 2.5ms, 25ms</li><li>Switchable release times ranging from 25ms to 3.2s plus "auto" setting</li><li>Peak limiting (100:1) with switchable 50µs pre-emphasis setting (useful for de-essing)</li><li>Expander/gate with 20dB of noise reduction</li><li>Compressor side-chain insert (can be internally modded to control the gate, instead)</li><li>Stereo linkable</li><li>Swiss-made ELMA™ rotary switches</li><li>Conductive plastic potentiometers</li></ul>

ADR Compex F760X-RS by Q2 Audio

The first Weiss product with analog only inputs and outputs! Applications: <ul><li>Recording</li><li>Mixing</li><li>Broadcast</li><li>Mastering</li><li>Live</li></ul> Microphone Preamplifier: <ul><li>Transformer-balanced, discrete class A design</li><li>Current-feedback amplifier architecture for low distortion and wide bandwidth across the full gain range</li><li>Very low noise for a wide range of source impedances and across the full gain range</li><li>15 dB to 60 dB gain, 3 dB steps</li><li>20 dB pad to accommodate line levels</li><li>Extensive metering</li></ul> High-Pass Filter: <ul><li>Switchable to 40 Hz, 80 Hz or off</li><li>2nd order Butterworth design</li></ul> De-Esser: <ul><li>Advanced mixed signal design: direct signal path fully analog, side chain digital</li><li>Precision low distortion MDAC as the variable gain element</li><li>Low latency side chain with 500 kHz sampling rate</li><li>Frequency, bandwidth and threshold front panel controls</li><li>Further parameters (ratio, attack and release time) via DI switches</li></ul> Output Driver: <ul><li>Transformer balanced design</li><li>Level control</li><li>Polarity switch</li><li>High maximum output level (+27 dBu) and output current</li></ul>

Weiss A1

Originally designed in 1974, the Neve 2264A mono Limiter/Compressor unit quickly became a legend. Delivering similar facilities and performance as the earlier 2254 Limiter/Compressor type, it did so despite being packaged in a more compact form-factor. Discrete, Class A/B design and transformer-coupled circuits used in the input, innovative bridge-driver design, side-chain and output stages ensured a totally unique sound. The original 2264A units are still sought after, decades after production stopped, and they remain one of the milestone pieces of studio equipment. And now the 2264A is available for your 500 Series rack. Crafted in England by Neve engineers, the Neve 2264ALB retains the unique sonic characteristics of the original 2264A by using the same architecture, matching components and original hand-wound transformers as its classic counterpart and adds new features: a Signal Presence indicator LED and a Slow Attack option. And it delivers it in a modern and portable form-factor which professional producers and engineers demand. Simply install into an empty slot in your compatible 500 Series rack, connect your line level signals and inject the legendary Neve dynamic sound into your audio creations. And it's the perfect pairing for the incredible Neve 1073LB microphone pre amp module. The 2264ALB module can be inserted between the input and output stages of the 1073LB module, creating an all-new Neve classic audio path. Classic… and Revolutionary. Features: <ul><li>Classic mono Limiter/Compressor, available in a 500-series format</li><li>Transformer-coupled circuits used in Input, Bridge-driver, Side-chain and Output stages</li><li>Independent Limiter and Compressor IN/OUT selectors</li><li>BYPASS switch connects input terminals directly to output terminals</li><li>Slow Attack switch changes between classic 2264A attack settings and new Slow Attack setting for buss compression work</li><li>Digital LED meter with approximate PPM ballistics indicates 0dB to 20dB of gain reduction</li><li>Audio Processing Insert design allows the audio to/from the 2264ALB module to be inserted into the audio path of an existing 1073LB (modules must be fitted in the same rack chassis)</li></ul>

Neve 2264ALB

The Universal Audio UAD-2 QUAD Omni 6 DSP Accelerator Package is Universal Audio’s most powerful and flexible processing hardware — packaged with our most complete plug-in bundle for professional users. Specifically, the UAD-2 QUAD Omni 6 gives producers and engineers 53 award-winning UAD Powered Plug-Ins on Mac or PC — saving thousands of dollars versus buying the plug-ins individually. The PCIe card features four Analog Devices SHARC chips to “power” the world’s finest analog emulation plug-ins, including classics from Ampex, Lexicon, Studer, SSL, Neve, Manley, Roland, BOSS, dbx, Empirical Labs, EMT, Teletronix and more. With its four SHARC processors, the UAD-2 QUAD lets you run large professional mixes with ultra high-quality plug-ins, freeing up your Mac or PC’s internal processors for other mixing or virtual instrument duties. In this way, owning a UAD-2 QUAD is like having a rack full of dedicated high-quality processors, always at your disposal — no matter what else your host computer is doing. Whether you use Pro Tools, Logic, Cubase, Nuendo or Performer, a UAD-2 QUAD offers rich, analog sound quality that would be difficult or impossible to achieve with a native Mac- or PC-based system. Developed by the industry’s finest engineering team, and backed by frequent new software and plug-in releases, UAD-2 QUAD cards have found a home with many of the world’s leading engineers and producers, powering multiple Platinum-selling and Grammy-winning records. Features <ul><li>Flagship quad-processor DSP Accelerator (PCIe card) for running UAD Powered Plug-Ins on Mac or PC</li><li>Access the world’s finest emulations of analog classics: Ampex, Lexicon, Studer, SSL, Neve, Manley, Roland, BOSS, dbx, Empirical Labs, EMT, Teletronix and more</li><li>Includes all 53 UA-developed plug-ins up to and including UAD software v6.0*</li><li>Run complex, professional mixes in Pro Tools, Logic Pro, Cubase, Nuendo, Digital Performer and more — without taxing host computer CPU</li><li>VST, AU, RTAS support</li><li>Cross-Platform for Mac OS X 10.5/10.6/10.7, Windows XP/x64, Vista32/64, 7 32/64 </li><li>Combine UAD-2 Satellite devices with UAD-1 and UAD-2 PCI/PCIx/PCIe cards in a single system</li><li>High-bandwidth Firewire DSP Accelerator with four Analog Devices SHARC processors</li><li>Includes $100 voucher for plug-in purchases via UA’s Online Store</li><li>1-year Limited Warranty</li></ul>*Note: The UAD-2 QUAD Omni 6 package does not include any Direct Developer (3rd party) plug-ins, nor plug-ins released after UAD software v6.0

Universal Audio UAD-2 QUAD Omni 6 DSP Accelerator Package

The top-of-the-line Universal Audio UAD-2 Satellite QUAD Omni 6 FireWire places UA's most complete collection of 53 UA-developed plug-ins, within easy reach of Intel-based iMacs, MacBook Pros and Mac minis*. In developing UAD plug-ins, UA DSP engineers work with leading hardware manufacturers, using their exact schematics, golden units, and experienced ears, to give your mixes all the warmth and harmonics of classic analog equipment. Powered by four SHARC processors, the flagship UAD-2 Satellite QUAD unit easily connects to Intel-based Macs via Firewire 800 or 400, letting you run large, complex mixes — all without taxing your host computer. The UAD-2 Satellite QUAD Omni 6 FireWire is the most powerful and complete UAD-2 Satellite package available, and includes all 53 UA-developed plug-ins up to and including UAD software v.6.0** — including classics from Ampex, Lexicon, Studer, Manley, SSL, Empirical Labs, Neve, Roland, BOSS, EMT, dbx, Fairchild, Harrison, Helios, Little Labs, Pultec, SPL and many more. Compatible with select Intel-based iMacs and MacBook Pros, with support for VST, Audio Units and RTAS, the UAD-2 Satellite QUAD Omni features wide compatibility. Whether you use Pro Tools, Cubase, Nuendo, Logic Pro, Digital Performer and more, UAD-2 plug-ins can inject the character and quality of classic hardware into your mixes. Just install the software, connect the unit to an available Firewire 800 or 400 port, power up and start mixing. Developed by the industry’s premier engineering team, and backed by frequent new software and plug-in releases, the UAD-2 is the processing platform of choice for many of the world's top musicians, producers and engineers. Features <ul><li>External Firewire 800 and 400 DSP accelerator unit, compatible with select Intel-based iMacs, MacBook Pros and Mac minis*</li><li>Access the world’s finest emulations of analog classics: Ampex, Lexicon, Studer, SSL, Neve, Manley, Roland, BOSS, dbx, Empirical Labs, EMT, Teletronix and more</li><li>Includes all 53 UA-developed plug-ins up to and including UAD software v6.0**</li><li>Run complex, professional mixes in Pro Tools, Logic Pro, Cubase, Nuendo, Digital Performer and more — without taxing host computer CPU</li><li>VST, AU, RTAS support; Mac OS X 10.6.4 Snow Leopard or higher (including 10.7 Lion) compatible</li><li>Combine UAD-2 Satellite devices with UAD-1 and UAD-2 PCI/PCIx/PCIe cards in a single system</li><li>High-bandwidth Firewire DSP Accelerator with four Analog Devices SHARC processors</li><li>Includes $100 voucher for plug-in purchases via UA’s Online Store</li><li>1-year Limited Warranty</li></ul> * Visit <a href="http://www.uaudio.com/support/uad" target="blank">www.uaudio.com/support/uad</a> for a complete list of compatible desktops and laptops **Note: The UAD-2 QUAD Omni 6 package does not include any Direct Developer (3rd party) plug-ins, nor plug-ins released after UAD software v6.0

Universal Audio UAD-2 Satellite QUAD Omni 6 FireWire

The Earthworks SR40V is the first and only High Definition Vocal Microphone™. Engineered for use on stage or in the studio, the SR40V makes your vocals sound crisp, clear and natural. Featuring revolutionary circuitry for flawless sonic performance, the new SR40V delivers a natural clarity of sound with unmatched presence and depth for vocals. The SR40V achieves the recreation of the True Live Sound™ with its revolutionary circuitry by combining flat, extended frequency response with lightning fast impulse response. Features <ul><li>Hand-tuned and tested</li><li>Reproduces subtle details other vocals microphones miss</li><li>No need for excessive EQ or effects</li><li>Textbook perfect hypercardioid polar pattern with natural on- and off-axis performance</li><li>Fastest transient response of any vocal microphone on the market</li><li>Extreme accuracy in the time domain for faithful reproduction and no smearing or distortion</li><li>Low handling noise</li><li>Circuitry is handcrafted to match each capsule for optimum performance</li><li>Frequency range spanning from 30Hz – 40kHz</li><li>Peak Acoustic Output rating of 145 dB SPL</li><li>Self-noise rating of just 22 dB SPL (A weighted)</li><li>Sensitivity rating of 10 mV/Pa (-40 dBV/Pa)</li><li>Includes mic clip and case</li></ul>

Earthworks SR40V

Josephson Series Seven microphones provide unprecedented flexibility in studio pickups with a variety of directional patterns. The Josephson C716 dual-diaphragm capsule is optimized for cardioid, and is ideal for vocal pickups and instrumentals where a warm, natural sound is needed with minimum acoustic coloration. Off-axis response is particularly smooth, yielding excellent results in a variety of acoustic environments. The C716 features a cardioid version of the large dual-diaphragm capsule used in Josephson’s C700 series, with a 5 micron evaporated gold diaphragm. The head grille uses Josephson’s patent-pending hard metal foam structure welded to the housing tube, instead of wire mesh or perforated metal. No other structure is needed, so internal reflections are randomized for clean, detailed sound pickup. The entire housing, circuit board, capsule and all its internal parts are made by Josephson in the USA. The microphone features a hard matte black chrome finish for durability in studio use. The internal circuitry uses a class-A FET front end with active balanced transformer-less output using discrete large-geometry devices like those in the Josephson C700 and C617. The internal high voltage linear supply generates capsule polarization voltage without using any digital devices or oscillators, for very low noise. The capsule assembly in the C716 is internally shock mounted so that the mic may be attached directly to a stand through its rugged yoke mount, without using any external accessories. Specifications <ul><li>Pressure-gradient condenser microphone transducer</li><li>Cardioid directional pattern</li><li>Frequency range 20-20,000 Hz</li><li>Sensitivity -32 dB ref 1V/Pa (26 mV/Pa)</li><li>Equivalent noise level <15 dB SPL, A weighted rms</li><li>Overload sound level 136 dB SPL</li><li>Power supply P48 phantom, 5 mA</li><li>Diameter 63 mm (100 mm wide at yoke), length 261 mm</li><li>Weight 1.2 kg</li><li>Output connector 3-pin XLR</li><li>Made in USA</li></ul>

Josephson C716

The Thermionic Culture Nightingale is the second of the Thermionic Culture half rack 4U units. These are of course all valve. Continuing with the 3-part principle (3 being the most powerful number in the universe) it consists of 3 parts: 2 x Mic amps with useful valve eq. Both have their own outputs (XLR unbalanced), which can give 20+dBu. These can be combined or taken individually into...1 x vari-mu compressor-based on The Phoenix but with a little more "attitude". The compressor section has its own input ("balanced" XLR) which can be selected instead of a feed from the mic amps, also an XLR "balanced" output capable of +25 dBu.

Thermionic Culture Nightingale

Electronaut Company M63 Two-Channel Microphone/Instrument Amplifier <ul><li>Lundahl Amorphous-Core Audio Transformers</li><li>63 dB Gain</li><li>Slow-Start Tube-Rectified High-Voltage Power Supply</li><li>Custom Shielded and Potted Toroidal Power Transformer</li><li>Heavy-Duty Printed Circuit Boards (.125" thick!)</li><li>Phantom Power with Ramped Start-Stop Action</li><li>Locking Phantom Power Switch</li><li>Two Level Controls per Channel</li><li>Illuminated Sifam VU Meters</li><li>120/240 V Operation, Switchable</li><li>12AY7/12AU7/12X4 Tube Complement</li><li>20dB PAD</li><li>Neutrik® XLR and Instrument Connectors</li><li>Heavy-Duty Toggle Switches</li><li>Small-Signal Relays with Gold Plated Contacts</li><li>New-Production Daka-Ware Knobs (Made from the original dies!)</li><li>Optional Custom Case</li></ul>

Electronaut M63

The Lynx Studio Technology Hilo Reference AD/DA Converter System re-engineers and redefines the concept and functionality of the two-channel converter. Essentially three units in one: A/D converter; D/A converter; and headphone amplifier, Hilo offers connectivity, performance and control never before available. Newly designed differential analog stages and bi-linear converter topology provide industry-leading noise and distortion specifications and unprecedented transparency. Digital I/O is extremely versatile with support for AES/EBU, S/PDIF (via coax or optical) or ADAT. The Lynx LT-USB is standard, allowing additional USB I/O and computer connectivity. Hilo is also the first professional converter with touchscreen operation and monitoring. All controls and signal routing is set up using easy to use menus. The setup page shows two stereo input meters and three stereo output meters. Optional screens show two selectable meter sets and even old-style analog VU meters. Future screens (updatable in the FPGA via download) will include further metering options, diagnostic operations and personalization. The internal 32 channel mixer allows any input to be routed to any output. In fact there are three stereo analog output options. Line Out that supports eight standard trim settings, Monitor Out with a volume control, and a Headphone output, also with a volume control. In fact the headphone output has its own dedicated D/A converter with the option of a different mix than the Line and Monitor outputs. Features <ul><li>Full-featured, ultra high performance AD/DA converter</li><li>12 inputs and 16 outputs</li><li>Control and monitoring via 480 x 272 LCD touchscreen</li><li>Three in one pro-level unit: A/D converter; D/A converter; headphone amplifier</li><li>Latest FPGA technology allows future enhancements and ability to use LCD technology for added metering, diagnostic, measurement functions</li><li>Utilizes Lynx Studio Technology’s proprietary SynchroLock™ technology to virtually eliminate jitter</li><li>Analog, AES/EBU, S/PDIF (via coax or TOSLINK), ADAT, USB inputs and outputs</li><li>Ships with LT-USB</li><li>RoHS compliant</li><li>Designed and manufactured in the USA by Lynx Studio Technology, Inc.</li></ul>

Lynx Studio Technology Hilo

The Audix DP Series Quad Pack is the simplest and most effective combination of microphones that will allow you to capture the depth and imaging of a full drum kit. With kick, snare and two overheads, the QUAD incorporates the best of two miking techniques: close miking and overhead (ambient) miking. Close Miking The D6 for kick drum and the i5 for snare are considered the two microphones every drummer must have. The kick and snare are considered the core of any drum kit and the foundation for every groove. Close miking insures that they will be captured in the mix. If either the kick or the snare is unable to be heard, there is simply no groove. Being high SPL dynamic microphones, the D6 and i5 excel at “close miking”. This miking technique is required in order to capture the attack and percussive sound of the drum. Also, by having the mic close to the source of the sound, it helps to isolate the sound of each drum and separate it from the rest of the kit. Overhead (ambient) Miking Supporting the idea that “less is more”, there are many engineers who will use just two overhead mics to capture the natural sound of the complete drum kit. With two overhead mics, positioned correctly, it is absolutely true that you can capture the transients, tonality and balance of the kit in a completely phase-coherent manner. The ADX51, which is a pre-polarized condenser microphone with a 14mm gold sputtered diaphragm, is designed specifically with overhead applications in mind. Due to its cardioid pickup pattern, high sensitivity and slim pencil design, the two ADX51 mics can be easily positioned overhead to provide a nice stereo image of the entire drum kit. The Blend With contemporary music and with the volumes typically generated on stage, it is more practical and effective to create a blended effect of close miking and overhead miking – the exact intent of the DP-QUAD. The D6 will help provide the earthshaking lows and the attack of the kick; the i5 will reinforce the depth and crack of the snare; the overheads will pick up the high-hat, tom fills, cymbals and the ambiance of the entire kit. With the DP-QUAD, drums will maintain their sound integrity and critical presence, regardless of the size of the room and PA system. Features <ul><li>All-in-one solution for miking drums</li><li>Instrument-specific mics for optimal results</li><li>Rugged Audix quality</li><li>Great for stage and studio</li><li>Road case</li></ul> What's In The Box <ul><li>One i5 snare mic</li><li>One D6 kick mic</li><li>Two ADX51 overhead mics</li><li>Three DCLIP mic clips</li><li>Two WS81C windscreens</li></ul>

Audix DP-Quad

The original SEM has particular characteristics for which it was loved by many musicians to this day. The Arturia Oberheim SEM V brings back the sound and special characteristics in an accurate virtual emulation. The SEM V modules were entirely redesigned after the most recent evolutions in TAE, Arturia’s proprietary technology that recreates analog modules after their detailed electronic circuitry. The result of this lengthy project is a faithful virtual instrument that delivers the same acoustic properties as the original. <ul><li>Oscillators: Like all components of the SEM V, the two oscillators were recreated by respecting 100% of the properties of the original circuit. They replicate the exact sawtooth and variable-width pulse waveforms present in the original. On a control level, the SEM V interface also duplicates the behavior of the dual-concentric knobs for coarse and fine-tuning, this last parameter being easily accessible via right-click.</li><li>Filter: The 12dB/octave multimode filter is one of the most remarkable modules in the SEM. In many ways, it helped define the sonic identity of Oberheim because it shaped a diverse range of sounds that were almost impossible to get on other synthesizers. The SEM V carefully models the four modes of the filter (low-pass, high-pass, notch and band-pass) with attention to detail, meaning that you can either switch to bandpass or sweep through the other three modes by turning the knob clockwise.</li><li>ADS Envelopes and Modulations: The particular response of the ADS envelopes is accurately reproduced, as well as the VCF Mixer, Modulation knobs and switches, allowing you to nail any of the classic SEM tones.</li></ul>Extended Functionalities The SEM V adds a few tricks to the original model, that considerably increase the sonic possibilities and allow the demanding musician to push the boundaries of the Oberheim sound a little further: <ul><li>Polyphony and 8 Voice multitimbrality inspired by the 2, 4, and 8 voice models</li><li>White Noise, to mix into your etheral pads and FX sounds</li><li>Sub Oscillator with sawtooth and sine waves, for added growl and bottom end</li><li>LFO 2 with sine, sawtooth and square waves, for more complex modulations</li><li>Professional Effects (overdrive, Delay, Chorus), to directly process your sounds on-board </li><li>Arpeggiator, for instant basslines and inspiring melodic patterns</li><li>Portamento to unlock more expression in your playing</li></ul>New Exclusive Modules The SEM V also brings 3 new-generation modules offering a unique and contemporary sound palette: <ul><li>Keyboard Follow: The intuitive Keyboard follow lets you draw modulation curves on the fly. You can map up to 6 parameters of your choice, guaranteeing a maximum expression of playing on your MIDI keyboard.</li><li>Voice Programmer: Inspired by the multi-timbrality of the Oberheim 2, 4 and 8 voice, the Voice Programmer is a powerful module on which you can edit no less than 7 additional virtual SEM voices. Unlike the repetitive manipulations on hardware SEM, the Voice Programmer makes programming a breeze thanks to its ergonomic interface. Whether you want to play spectral pads or complex sequences, this module will allow you to reach amazing sonic results in no time.</li><li>Modulation Matrix: The SEM V Modulation Matrix offers 8 simultaneous modulations which you can set between 8 different sources and more than 25 destinations. With its polyphonic capability, Arpeggiator, Voice Programmer, Modulation Matrix and effects, you can create an incredible array of sounds, all while keeping the ease of use and true sound of the Oberheim SEM architecture. </li></ul>What you can do with SEM V The SEM V is a powerful instrument capable of producing a wide range of warm analog sounds. Reproducing the unique SEM architecture, with its oscillator sync, characteristic filter shape and specific envelope response, the SEM V is able to generate the fat basses that have made the Oberheim brand so popular. Thanks to its simple and clever PW and pitch modulations, it is also very easy to produce moving and lively leads. Its remarkable 12 dB/oct multimode filter is a real blast from the past, becoming an awesome weapon in the context of current electronic music. This unique module can instantly tailor your sound to fat, crisp, or spectral textures with access to all the nuances in between. But you can do a lot more! The added polyphony and multi-timbrality will allow you to step into the world of deep pads, warm brass and complex sequences, which are characteristic of the late 70's Oberheim SEM-based synthesizers: the 2, 4, and 8 voice. Your SEM module is basically given the strength of 8 SEMs! Thanks to the ergonomic Voice Programmer module, setting each SEM voice is much faster than on hardware, and will bring you unique sonic results. Completed by the Keyboard Follow and the Modulation Matrix, the expression of playing is increased tenfold.

Arturia Oberheim SEM V

Unlike other 500 series enclosures that are usually rack mounted, Radial Engineering's Cube is designed to conveniently sit on the desktop, be carried around the studio or be recessed into the work surface. Two sets of screw-on flanges are supplied to either fully recess the Cube into the desktop or have it angled at 30 degrees for optimal viewing. For those who want to optimize signal-to-noise, a top-mounted carry handle makes it easy to move the Cube around the studio, thus allowing the engineer to position instrument and microphone preamps as close to the source as possible. Mounting modules is easy. The Cube comes complete with Phillips screws to secure the modules as they slide into position via the 15 pin EDAC connector. This is wired following the original API standard while unused pins are used to feed the Omniport ¼ TRS connector. This innovative connection allows the 500 series manufacturer to personalize their modules by assigning the Omniport to perform a module-specific task. This could, for instance, be a key input on a gate, an instrument input on a preamp or an effects send and receive port should this be advantageous. To add flexibility, the Cube is equipped with standard XLR i/os and is supplemented with ¼ TRS connectors. These can be used as multi outputs or for cross-patching. Once modules are inserted, an innovative feed switch replaces the old API patch cord system with an elegant solution that immediately sends the output from the first slot into the second and then to the third. And with three slots, the Cube makes it easy to create a channel strip by combining a PowerPre preamp, Q3 coil EQ and a Komit compressor-limiter. A second link switch advances the standard once again by replacing the old solder for stereo approach with a simple switch. Now any two modules that are designed to be stereo-linked can be arranged this way by simply toggling a switch. To ensure maximum signal handling, the Cube comes complete with an 800 milliamp external power supply. This provides more than 250 milliamps per module via a pooled supply to allow high demand devices such as the Radial PowerTube to be comfortably supplied while still providing sufficient current to feed two other standard modules. Full AES compliant 48 volt phantom is of course supported and activated via the preamp’s usual phantom power on-off switch. The Cube's external switching power supply may be fed using 100V to 240V thus enabling the Cube to travel around the world by simply changing the electrical cable. And as with all Radial products, the Cube is made ultra roadworthy with a 14 gauge steel enclosure and top of the line connectors throughout.

Radial Engineering Cube

The Telefunken Elektroakustik M81 is the latest installment in their dynamic microphone range. Designed with the goal to develop a microphone that would not only complement the M80, Telefunken Elektroakustik's first dynamic offering, but to also stand out in a universe filled with dynamic microphone options. When the M80 was first introduced in 2008, it quickly became a favorite in both live and studio environments. Its clear and detailed top end, articulate mid-range, and minimal proximity effect won the hearts (and ears) of thousands of new users, making it a staple for vocal and snare drum applications, as well as the most popular microphone in the Telefunken product line. Building off many of the strengths of the M80, the Telefunken M81 retains the same minimal proximity effect, superior feedback rejection, and articulate mid-range. However, with the M81, the top end is pulled back a bit, yielding a flatter overall frequency response. This combination results in a microphone with a wealth of body and clarity, making it a great tool for taming brighter vocals and guitar tones and for fattening up percussion, horns and thinner sounding sources. The Telefunken M81's tailored frequency response makes the microphone exceptional on electric guitars, percussion, rack and floor toms, and brass instruments. This microphone's wide range of uses and rugged reliability make it the workhorse for the new generation. Finished in the same flint gray body tube and tri-chrome head grill styling as the R-F-T AR-51, the M81 is readily identifiable when reaching for the microphone. The M81 was very much designed with the AR-51 in mind. Great care was taken to tune the M81's overall response to be complimentary to the AR-51 when recording electric guitars. Basically, the Telefunken M81 is designed to be used on... well, anything and everything! It truly is a "Universal Dynamic Microphone." Specifications: <ul><li>Type: Dynamic Moving Coil</li><li>Capsule: N/A</li><li>Frequency Range: 30Hz / 18kHz </li><li>Polar Pattern: Cardioid </li><li>Impedance200 ohms </li><li>Weight: 13.1 oz (371g) </li><li>Size: 7.25" (184mm) length x 1.88" (48mm) diameter</li><li>Connector: 3-pin male XLR</li><li> Extras: Wooden box, additional black head grille, mic clip</li></ul>

Telefunken M-81

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