The <b>BAE 312B</b>, which is based on the already popular 312A model, carries the same excellent dynamic range, frequency response and noise performance the BAE 312 series is known for, but with a newly introduced and modified gain structure which utilizes a lower gain Jensen input transformer, designed to compliment louder sources before needing to implement the pad.<br><br>Due to its high gain structure, the 312A occasionally required the pad to be used frequently with louder sources, such as a hot microphone on drums. BAE thought of an option to add an alternative Jensen transformer to the 312B with equal performance and 7dB lower gain range to assist recordings with a more adequate level for louder sources without losing the unique dynamic characteristics of the 312A. This allows engineers the option of owning the 312A as a pre-amp geared toward higher gain and the 312B for toward lower gain.<br><br>The 312B, just like the 312A, features the Avedis® 1122 Discrete Op-Amp and input and output Jensen transformers which use direct-coupled circuitry with no capacitors in the signal path. The input impedance of the 312B is designed to remain consistent, even after the pad is engaged, providing a steady load to the microphone. The characteristics of the 312B offer excellent dynamic range, frequency response, headroom before clipping and noise performance for a punchy sound which works well with many microphones.<br><br>The 312B is available as a single 500 Series module and as a fully loaded six space lunchbox. It includes a custom pull-on switch tailored to accentuate higher frequencies, a DI for instruments, a Phase Reverse switch, 48V for phantom power, and a PAD switch.<br><br>"l've always loved the 312A but on certain applications I found them a little too hot. After talks with BAE, they came up with a solution which became the Matt Sorum signature pre.” <b>- Matt Sorum</b>

BAE Matt Sorum 312B Module - 3K8

The <b>BAE 312B</b>, which is based on the already popular 312A model, carries the same excellent dynamic range, frequency response and noise performance the BAE 312 series is known for, but with a newly introduced and modified gain structure which utilizes a lower gain Jensen input transformer, designed to compliment louder sources before needing to implement the pad.<br><br>Due to its high gain structure, the 312A occasionally required the pad to be used frequently with louder sources, such as a hot microphone on drums. BAE thought of an option to add an alternative Jensen transformer to the 312B with equal performance and 7dB lower gain range to assist recordings with a more adequate level for louder sources without losing the unique dynamic characteristics of the 312A. This allows engineers the option of owning the 312A as a pre-amp geared toward higher gain and the 312B for toward lower gain.<br><br>The 312B, just like the 312A, features the Avedis® 1122 Discrete Op-Amp and input and output Jensen transformers which use direct-coupled circuitry with no capacitors in the signal path. The input impedance of the 312B is designed to remain consistent, even after the pad is engaged, providing a steady load to the microphone. The characteristics of the 312B offer excellent dynamic range, frequency response, headroom before clipping and noise performance for a punchy sound which works well with many microphones.<br><br>The 312B is available as a single 500 Series module and as a fully loaded six space lunchbox. It includes a custom pull-on switch tailored to accentuate higher frequencies, a DI for instruments, a Phase Reverse switch, 48V for phantom power, and a PAD switch.<br><br>"l've always loved the 312A but on certain applications I found them a little too hot. After talks with BAE, they came up with a solution which became the Matt Sorum signature pre.” <b>- Matt Sorum</b>

BAE Matt Sorum Signature 312B - 20K

The <b>Maselec MTC-1</b> is the perfect tool for mastering studios as well as for high quality home recordings. With exceptional sonic properties, new functionalities and usual rock solid Maselec quality, the MTC-1 is an ideal alternative to the MTC-2 mastering console.<br><br>The MTC-1 measures 3 U height with a depth ‘behind panel’ of 260mm and 8kg weight. The front control surface has 42 push-button controls with LED lights and 11 high quality rotary switches. Gold XLRs are used for all audio connections, assisting the use of highest quality cables. Connecting and rearranging external equipment is very easy.<br><br><b>The Input section:</b><br><ul><li>Input source selection</li><li>Phase invert for left and right</li><li>Separate Left and Right gain controls</li><li>5dB additional gain selectable for low level sources</li><li>Low-cut and High-cut filters</li><li>Independent Cut controls for left and right</li></ul><b>The Output section:</b><br><ul><li>Separate Left and Right gain controls</li><li>Elliptical filter with 20 frequencies</li><li>Stereo Width control</li><li>Output Cut control</li><li>The stereo image circuits are identical to the famous controls of the MTC-2</li></ul><b>The Insert section has six insert points and offers<br>additional powerful functions:</b><br><ul><li>M-S with gain control for the ‘difference’ signal</li><li>Inserts 1 & 2 equipment swap (FLIP)</li><li>Insert 4 or Inserts 2-4 cross-fade or additive mix with</li><li>the use of a rotary switch. This function could be</li><li>used for ‘parallel’ compression or adding reverb</li><li>Inserts 4 & 5 equipment swap (FLIP)</li><li>Insert 6 can be moved to Post Output. This is the preferred position for a brick-wall limiter.</li></ul><b>The Monitor section:</b><br><ul><li>Four external Monitor Sources</li><li>Monitor of the Input and Output sections</li><li>Two speaker feeds</li><li>Monitor of the Stereo-, Left-, Right-, Mono- or</li><li>Difference- signal</li><li>Individual Cut controls for Left and Right speakers</li><li>Progressive Dim function</li><li>Meter output, which follows the monitor source</li><li>–6dB, -8dB and –10dB Meter Offsets</li></ul>

Maselec MTC-1

The <b>Metric Halo Production Bundle </b>for AAX is here – the seven essential plug-ins that will help you take your Pro Tools 10 projects to new heights: ChannelStrip 3, Character, HaloVerb, Multiband Dynamics, Precision DeEsser, TransientControl, and Multiband Expander. We wanted to do more than simply port our existing ChannelStrip plug-in to the AAX format. We wanted to release a suite of software that builds on ChannelStrip's fourteen-year legacy of sonic quality and gives our customers great signal processing options for Pro Tools 10.<br><b><br>Software requirements: Pro Tools 10 for Macintosh, iLok account</b><br><p><br></p><b>ChannelStrip 3 for AAX</b><br>We started with ChannelStrip 2; a plug-in that's been used on countless hits and soundtracks with a fourteen year pedigree. Then we made it better, incorporating user feedback. Now we're proud to release ChannelStrip 3 for Pro Tools 10.<br><br><b>Character for AAX</b><br>More than 20 analog circuit models for Pro Tools 10 for less than $200<br><br>To create Character we asked our beta testers to send us their favorite analog processing devices; the mic pres, DIs and EQs that they used for recording, mixing and mastering. We then used SpectraFoo to measure the ways that these processors changed the sound run through them, in particular the way the analog circuits add distortion. We then modeled this distortion using our +DSP technology.<br><br>We've now brought this technology to Pro Tools as the Character AAX plug-in for Pro Tools 10. Character provides over 20 different models, incorporating the sound of tubes, transformers and solid state devices. Character for Pro Tools also adds a Drive control to allow you to push the distortion even harder for over-the-top sound mangling.<br><br><b>HaloVerb for AAX</b><br>Create your perfect space in Pro Tools 10<br><p>HaloVerb is an AAX plug-in that allows you to add ambience and depth to your recordings. Based on the original HaloVerb for 2d Expanded Metric Halo interfaces, the AAX version expands on the great algorithmic sound to give you more flexibilty and control. Use the reverb impuse to see the reverberant field as you make adjustments, or hide the graphics and let your ears be your guide.</p><b>Multiband Dynamics for AAX</b><br>Sometimes the best EQ is a compressor. <br><br>Multiband Dynamics is an AAX plug-in that allows you to shape the timbral quality of your audio by running it through a three-way crossover, providing independant compression per frequency range and then putting the result through a limiter.<br><br><b>Multiband Expander for AAX</b><br>Expand your horizons in Pro Tools 10.<br><p>Multiband Expander is an AAX plug-in that allows you to shape the dynamic quality of your audio by running it through a three-way crossover, providing independant expansion per frequency range.</p><b>Precision DeEsser for AAX</b><br>A surgical strike on stubborn sibilance, on Pro Tools 10.<br> <br>The Precision DeEsser is an AAX plug-in that allows you to manipulate your tracks and remove remove excessive high frequency content. It combines the high precision filter technology and dynamics processing of ChannelStrip with the metering and analysis of SpectraFoo to allow you zero in on offending frequencies and correct them quickly and efficiently.<br><br><b>TransientControl AAX</b><br>The TransientControl has become one of the go-to plug-ins for AAXusers, used in studios and onstage by engineers around the world. <br><br>TransientControl is an AAX plug-in that allows you to modify dynamics in ways that aren't possible with traditional compressors. You can directly change the transient ("attack") and sustain of your audio; this allows you to make your tracks more punchy, or smooth them out so they sit in a mix.

Metric Halo Production Bundle AAX

The <b>elysia nvelope 500</b> is a powerful audio processor capable of making subtle or drastic changes to a sound by providing control over its attack and sustain characteristics. This is extremely useful for reshaping all sorts of individual tones, and is a wonderful tool in any mixing situation as well.<br><br>The nvelope 500 operates independently of the specific level of a signal, and (unlike with compressors) you do not have to spend a lot of time trying to balance a set of complex controls to quickly get the results you seek. <br><br>With its unique Dual Band mode, the nvelope 500 gives you enhanced control over processing, and can easily handle complex program material. Additionally, its dynamics sections can be bypassed, allowing it to function as a flexible high/low shelf EQ.<br><br>So, the nvelope 500 is a dynamics processor that can change the character of a sound by altering its impulse structure. It gives you direct control over the envelope of a signal by shaping its attack and sustain intensity.<br><br>More specifically, a drum set (or individual drums) can be made to sound more aggressive and punchy by accenting the attack, or tones that are already overly aggressive can easily be tamed.<br><br>Other useful applications would be on picked or slapped bass, edgy guitar or any kind of piano recording. Generally speaking, the nvelope 500 works optimally on audio signals with a significant/percussive attack structure.<br><br>As a balance to the attack shaping, the sustain parameters offer control over room sound and space. An instrument or a reverb tail can sound tighter by reducing its sustain, or can gain more depth/make a signal sound longer by increasing it.<br><br>The nvelope 500 is a great tool for shaping individual signals, but it can be an indispensable resource in mixing situations as well, as it effortlessly helps you to bring a sound to the front with more attack and less sustain… or blends it gently into the background by reducing its attack and increasing its sustain.<br><br>A unique feature of the nvelope 500 is the enhanced tweakability offered in Dual Band mode. Individual frequency controls for attack and sustain yield excellent processing results without unwanted artifacts, even when utilized on complex material like a summing bus.<br><br>We’re sure you’ll be happy to know the nvelope 500 offers true dual mono or linked stereo operation whether you are using it in Full Range, Dual Band or EQ mode.<br><br>When the nvelope 500 is not in Stereo Link mode, the two individual channels can be used as different processors simultaneously. For example, you can shape one signal in Dual Band mode in channel L and a completely different signal in Full Range mode in channel R.<br><br>Or, you can connect the output of channel L to the input of channel R, and then process the frequency response with the EQ first, followed by some nice Dual Band impulse shaping... As you can imagine, there are lots of possible combinations!<br><br><b>Features:</b><br><ul><li><b>Discrete Class-A Topology:</b> Pristine audio quality</li><li><b>Full Range Mode:</b> Fast & efficient envelope shaping</li><li><b>Dual Band Mode:</b> Enhanced frequency controls</li><li><b>EQ Mode:</b> Alternative high/low shelf equalizer</li><li><b>Mixed Mode:</b> Two different processors at the same time</li><li><b>Stereo Link/Dual Mono:</b> Flexible channel use and combination</li><li><b>Auto Gain:</b> Eliminates level peaks and distortion</li><li><b>Made in Germany:</b> High grade components, solid aluminum knobs</li></ul>

Elysia Nvelope 500

The <b>BAE DMP</b> is a desktop version of the 1073MP. It shares a similar preamp and the same Carnhill (St Ives) transformers as the 1073 and 1084. Now included with the "Bootsy" mod, a Jensen DI that has been added to the DMP.<br><b><br>Features:</b><br><ul><li>Built in PSU for extra portability</li><li>DI in and DI through</li><li>48v for phantom power</li><li>Solid steel chassis</li><li>Same hand-wired modular design that BAE is known for</li></ul>

BAE DMPS Desktop Stereo Mic Pre

<p>The <span style="font-weight: bold;">Cartec EQ-Pre-2A</span> is a stereo preamp and EQ using the full equalizer circuit and components from the valve EQP-1A, but with solid state discrete op-amps as used in the later Pultec units. A second amplifier is used to provide the microphone gain, but this unit can also be used with line level by engaging the 'Line' switch, so it’s flexible for tracking, and these news features can also be used in a mix context for individual tracks. It will also be great on stems or mix buss work too.<br></p>All gain and EQ controls are on rotary switches for perfect recall every time. The output transformer windings can be switched to turn this into a mid/side decoder (if using M/S mic technique for instance, it will output left and right signals), or encoder for further M/S processing in the signal chain. On top of this, the rear panel features a third XLR which provides a transformer balanced auxiliary output that can be panned between channels 1 and 2 using the 'Blend' pot on the front - all passively with no extra gain stages.<p style="font-weight: bold;">Applications:</p><p> The primary intention of the output decoder is that mid/side microphone techniques can be used with the EQ section and then conveniently recorded in a stereo left and right format. For instance, if recording acoustic guitar, the side (or 'difference') microphone could be equalized to give more brightness and clarity to the width, while the middle microphone (or 'sum') could have more low frequencies added. This can also of course, and very usefully, be used over a whole mix if the unit is fed with an M/S encoded signal from your multi-track. Add a broad boost at 16 or 20 kHz to the sides of the mix and you'll never look back. <br></p><p>If you input a stereo signal and use the M/S encoder switch, you can use the equalizer as a great sounding mix EQ, then send the output to a compressor to compress the mid and side components differently, in a way that the Fairchild 670 works in 'Lat/Vert' mode. The Aux send pot works independently of the L/R or M/S switch, and pans output 3 between the signals that are input into the unit. So if you have a side microphone fed to channel 2, panning this knob to the right will give you the side signal, while you might still have the main outputs giving you left and right. You could send this to a reverb or delay (or well, anything) for some interesting effects. </p>

Cartec Audio EQ-Pre-2A

Built around many of the topologies and custom transformers made famous with the 5088 mixer and Portico II Series, the <b>Rupert Neve Designs 5059</b> is designed to deliver the ultimate “out of the box” sonics and ergonomics in a 2U, rack-mountable chassis.<br><br>Each 5059 features 16 channels with individual level, pan, inserts, stereo-2 sends, and master texture controls, providing easy integration with outboard equipment, complete control for two separate stem mixes, and the ability to dial in analog mojo in two modes. With the same sonic heritage as mixers used to create countless hit records, the 5059 Satellite Mixer reinvigorates lifeless digital tracks with the legendary warmth and presence of a Rupert Neve design. <br><br><b>The Signature of Excellence</b><br>The most important element of the 5059 is its legendary sound. The keys to the sonic prowess of the 5059 are the custom transformers and true class-A topologies found within. The class-A topologies in the 5059 have been fine-tuned over a number of years to provide exceptional sonic performance and virtually eliminate cross-over distortion. When combined with Mr. Rupert Neve’s transformer design and implementation, the 5059 achieves a remarkable purity, while also conveying the signature warmth and larger-than-life sound reminiscent of Rupert’s classic designs.<br><br><b>Making Connections</b><br>One of the major issues of mixing in the box is utilizing high quality analog outboard equipment. Channel inserts are provided in the 5059 to streamline interconnections with analog outboard equipment and to allow for further expansions of the 5059’s capabilities. By connecting a second 5059 to the insert outputs of a 5059, the dual stereo outputs can be used as a way to add 4 auxes to each of the 16 channels. <br><br><b>From Clean to Colored and Everywhere in Between</b><br>Every mix demands its own treatment; continuously variable Texture controls with Silk and Silk+ modes allow the engineer to fine tune the harmonic ratio and tonality of each stereo send of the 5059, or leave each mix pristine. The Silk mode accentuates the transformer saturation in the high frequencies to add a “sparkle” to tracks. The Silk + mode accentuates the saturation of the low frequencies to add thickness and density to any source – especially useful for dry, somewhat anemic mixes. Unlike EQ, the texture control saturates the output transformers, and adds musical harmonics to the source material according to the amount of texture applied.<br><br><b>Stem It or Sum It</b><br>Aside from providing aux functionality with a second 5059 module, the dual stereo outputs of the 5059 are generally used for creating stem mixes. These stem mixes can be enhanced using the Silk / Texture controls on the 5059, then processed by buss compressors or other devices, and fed into inputs of another mixer or an ADC.<br><br>With 16 channels of Rupert Neve designed class-A magic and numerous tonal and routing options, the 5059 Satellite mixer will elevate your DAW-based studio’s sound and performance to new heights. <br><br><b>Texture</b><br>Continuously variable control for Silk and Silk+ modes allows the engineer to fine tune the harmonic ratio and tonality of both stereo outputs.<br><b><br>New Class-A Topologies</b><br>With zero crossover distortion and unmatched purity, the 5059 sets the standard for rack-mountable summing mixers<br><br><b>Custom Transformers</b><br>Beyond providing galvanic isolation, the custom transformers in the 5059 are a key ingredient to its larger than life sound.<br><br><b>Dual Stereo Outputs</b><br>Split the input channels into two stems for further processing and mixing.<br><b><br>Channel Level</b><br>Individual level controls are provided for each channel of the 5059 when adjustment is required.<br><br><b>Channel Pan</b><br>Individual pan controls are provided on each channel of the 5059 with a 3dB pan law.<br><br><b>Master Output Level</b><br>Level controls are provided for each of the stereo outputs.

Rupert Neve Designs 5059 Satellite

<p>The <b>Mercury Grand PreQ15s</b> is a fully discrete mono studio channel with 3-band equalizer, high & low pass filters and fully balanced transformer coupled inputs and outputs. The GPQ15s has many additions to the classic circuit as well as all the modern features you will require packed into a solidly built 1U chassis. The Mercury GPQ15s boasts premium components, custom transformers, and is proudly built in the USA. The GPQ15s comes with an external premium quality power supply, the Mercury DC-1.<br><br>The Mercury Grand PreQ15s (GPQ15s) Studio Channel contains the Mercury Grand Pre Microphone Amplifier, Line Input Amplifier, Response Selection, High and Low Frequency Filter Circuits and Output Level Control.<br> <br>“After many years custom racking ‘Vintage BBC Spec’ Console Input Modules and having the luxury of being able to hear just about every one of the Discrete, British Pre/EQ modules ever made... I have always had a favorite. I am a fan of many of them, but one has always seemed to shine above the rest, for me, due to its silky smooth tone and overall musicality, the Vintage Calrec PQ15s. I am thrilled to be able to share this old favorite, in a new way and with some additional features in our Mercury Grand PreQ15s”. <br> <b>- David Marquette, Mercury Recording Equipment Co.</b></p><p><b>Mercury Grand PreQ15s Facilities</b><br></p><ul><li><b>Direct Mic/Line Switch:</b> When not engaged, the input XLR at the rear of the GPQ15s is the input source for either mic or line inputs. When the switch is engaged, the 1/4" jack (below the switch) becomes the input source, accepting an instrument level signal (bass or guitar). This jack uses our Mercury FDI (Fet Direct Input) MKII circuit to convert to mic level and runs into the input transformer and complete GPQ15s circuits for the ability to have amazing control and tone on ‘direct’ recordings.</li><li><b>Direct Input (1/4" Jack): </b>This input is used when the Direct Mic/Line Switch is engaged for instrument level sources, giving you the ability to record guitar or bass directly.</li><li><b>Gain Control (Course Gain - Input Attenuator):</b> 0dB and -12dB for line level sources, -24dB, -36dB, -48dB and -60dB for mic level sources.</li><li><b>Fine Gain Control:</b> At the 12 o’clock position, the Fine Gain Control is at 0dB, and the amount of input gain is the same as shown on the Gain Control or Course Gain (to the left). Turning the Fine Gain Control counter-clockwise, you can reduce the amount of gain up to -8dB. Turning the Fine Gain Control clockwise, you can add up to +8dB of gain, in addition to the amount shown on the Gain Control or Course Gain.</li><li><b>Output Level Control (Fader):</b> The Output Level Control allows you to reduce the level of the output of the GPQ15s. This works like the fader on your console's input channel. Turn the Output Level Control completely clockwise and the fader is ‘open’, allowing the maximum amount of output level. Turn the Output Level Control counter-clockwise to reduce the amount of output of the GPQ15s, all the way down to zero output level.</li><li><b>Phantom ON/Off LED (Red) and Phantom On/Off Switch:</b> When engaged, Phantom Power (48V DC) is on and will power your phantom powered microphone.</li><li><b>Phase ON/Off LED (White) and Phase On/Off Switch:</b> When not engaged, the phase is ‘normal’ or Pin 2 hot. When engaged, the phase is ‘reversed’ or Pin 3 hot.</li><li><b>EQ In/Out LED (Blue) and EQ In/Out Switch: </b>When not engaged, the EQ Section (Treble, Presence and Bass) are ‘out’. When engaged, the EQ Section is ‘In’.<br> </li></ul><p><b>Treble Controls</b><br></p><ul><li>Treble Frequency Selection: 5k, 7k, 10k or 16k [Left]</li><li>Treble Cut/ Boost: This is a continuously variable control giving you a cut or boost of 11dB at 5k, 7k, 10k or 16k.<br> </li></ul><p><b>Presence Controls</b><br></p><ul><li><b>Presence Frequency Selection:</b> 350Hz, 700Hz, 1.2k, 2.4k, 3.6k, 4.7k and 6.8k [Left]</li><li><b>Presence Cut/ Boost: </b>This is a continuously variable control giving you a cut or boost of 14dB at 350Hz, 700Hz, 1.2k, 2.4k, 3.6k, 4.7k and 6.8k. Originally the circuit had an ‘Off’ position, instead Mercury added 350Hz to facilitate more control when recording drums, etc.<br> </li></ul><p><b>Bass Controls</b><br></p><ul><li><b>Bass Frequency Selection:</b> 35Hz, 50Hz, 100Hz and 160Hz [Left]</li><li><b>Bass Cut/ Boost:</b> This is a continuously variable control giving you a cut or boost of 13dB at 35Hz, 50Hz, 100Hz and 160Hz.<br> </li></ul><p><b>Filter Section</b><br></p><ul><li><b>Low Pass Frequency Section:</b> 5k, 7k, 10k, 20k and Flat (Flat = filter is not engaged). This reduces the amplitude of the signal with frequencies higher than the ‘cutoff’ frequency selected on the Low Pass Frequency Selection switch.</li><li><b>High Pass Frequency Section:</b> 220Hz, 100Hz, 45Hz, 20Hz and Flat (Flat = filter is not engaged). This reduces the amplitude of the signal with frequencies lower than the ‘cutoff’ frequency selected on the High Pass Frequency Selection switch. Originally the circuit had no 20Hz or 20k positions. Mercury extended the range by adding these positions and making the filter section a more useful and modern tool.<br> </li></ul><p><b>Power</b><br></p><ul><li><b>Power Indicator LED:</b> When illuminated, this indicates the GPQ15s has power (DC) from the Mercury DC-1 PSU (Power Supply Unit).<br> </li></ul><b>Mercury DC-1 PSU (Power Supply Unit)</b><br>The Mercury DC-1 is a real power supply. Designed by Mercury, to power professional audio equipment . The Mercury DC-1 uses a large Toroidal transformer and has dual regulation for clean, quiet power. Comes with a 5 pin XLR cable to run from Mercury DC-1 to the Mercury GPQ15s.

Mercury Grand PreQ15s

The <b>Nord Drum </b>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.   <br><br>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. <br><br>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.<br><p><b>Features:</b></p><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<br></li></ul>

Nord Drum

The <b>Arturia MiniBRUTE </b>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. <br><br>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.<br><br><b>Features:</b><br><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

<p><b>Rich-sounding tube preamp, 500 Series optimized</b><br><br>When you’re after a dose of warmth and character, the <b>PowerTube</b> preamplifier delivers. Packed into the smart, space-conscious 500 Series format, the fully discrete Radial Engineering PowerTube offers the classic sound of a 12AX7-fueled tube preamp complemented by a Jensen transformer. And with selectable 48V phantom power, the PowerTube puts old-school tube tone at the ready for your condensers and ribbons alike.<br><b> </b><br><b>12AX7 and Jensen transformer for classic tube warmth</b><br>At the heart of the Radial Engineering PowerTube mic preamp is a specially designed 12AX7 tube, coupled with a Jensen transformer. This low-noise, rich-character combination pairs nicely with a wide range of microphones and represents an oustanding value for your 500 Series setup.<br><br><b>Fully variable gain control with metering and more</b><br>The PowerTube makes the most out of its compact format, giving you variable input trim and gain control as well as selectable low cut, presence, and 48V phantom power switches. Visual feedback comes in the form of a bright 10-segment LED gain meter as well as a notice light indicating when 48V phantom power is engaged.<br><br><b>Convenient 500 Series format</b><br>Canada-based Radial Engineering has embraced the 500 Series format, contributing a range of excellent-sounding (and exceptionally made) tonal tools and sonic options to the popular modular format. The PowerTube is another fine example of Radial at its best, ready to go in any 500 Series compatible rack.<br><br><b>Radial Engineering Power Tube features:</b></p> <ul> <li>Single-channel tube microphone preamplifier</li> <li>500 Series modular format</li> <li>12AX7 tube</li> <li>Jensen transformer</li> <li>Fully variable gain control</li> <li>10-segment LED gain metering</li> <li>Variable trim control</li> <li>Low-cut and Presence switches</li> <li>Selectable 48V phantom power</li> <li>Fully discrete electronics</li> </ul>

Radial Engineering PowerTube

<p>The <b>Radial Firefly </b>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. <br></p><p>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.</p>

Radial Engineering Firefly

The <span style="font-weight: bold;">Mojave Audio MA-101fet</span> 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.<br> <br> 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.<br> <br> <span style="font-weight: bold;">Features</span><br> <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> <span style="font-weight: bold;">Recommended applications</span><br> <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> <span style="font-weight: bold;">Technical Data</span><br> <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 <b>Apogee Symphony 64 Thunderbridge</b> 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 Thunderbridge

The <b>SPL Neos </b>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. <br><br>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.<br><br><b>Concept</b><br><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><b>Features</b><br><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><b>Special Features</b><br><ul><li>Ultimate Mix and Monitoring Quality</li><li>Compact design: 19"/7U</li><li>Cascadable</li><li>Hand made in Germany</li></ul><b>Special Technical Features</b><br><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><p><b>Specifications:</b><br></p><blockquote><b>Inputs & Outputs</b><br><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><b>Measurements</b><br><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><b>Power Supply</b><br><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><b>Dimensions and Weight</b><br><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 <b>Tascam iXZ </b>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.<br><br><b>Features:</b><br><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><b>Mic or Guitar-level Input</b><br>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.<br><br>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.<br><br>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.<br><br><b>Headphone out/thru jack</b><br>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.<br><br><b>Applications</b><br><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><b>MIC IN   </b><br>Connector XLR <br>Input Level -42dBu～ +2dBu <br>Maximum Input Level +2dBu <br>Input Impedance 2.4kΩ <br><br><b>GUITAR IN   </b><br>Connector 1/4" (6.3mm) phone jack<br>Nominal Input Level -21dBV <br>Maximum Input Level -10dBV <br>Input Impendance 470kΩ <br><br><b>PHONES/LINE OUT   </b><br>Connector 1/8" (3.5mm) stereo mini jack <br><br><b>CONNECTION PLUG FOR<br>iPhone/iPad/iPod touch</b><br>Connector 3.5mm 4 Pole Plug, 150mm <br><b>Power Requirements </b>2 AA batteries (when using microphone input)<br><b>Power Consumption </b>0.33W　(Phantom Power 5.0mA) <br><b>Battery Life Approximately </b>15 hours (Phantom Power 5.0mA) <br><b>External Dimensions </b>(WxHxD) 4.17" x 1.57" x 1.77" (106x40x45mm) <br><b>Weight </b>3.7 ounces (87g)

Tascam iXZ

The <b>Tascam iM2</b> 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.<br><br>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.<br><br>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.<br><br><b>Full-featured recording</b><br>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.<br><br>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. <br><br>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.<br><br><b>Applications:</b><br><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><br><b>Specifications:</b><br><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 <b>Trident A-Range</b> 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.<br><br>Mains powered, with 48 volt phantom power independently switchable for the two channels, the A-Range operates as a complete stand-alone unit. <br><br>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.<br><br>All inputs and outputs are balanced so that maximum signal integrity and high output levels are assured with minimum distortion.<br><br>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.<br><br>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 T<b>rident HG3 </b>Close Field Monitoring System is designed to reduce or eliminate many issues found in today's monitor systems.<br><br><b>Some of these include:</b><br><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><b>Bass Response</b><br>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.<br><br>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. <br><br><b>Mid-range Response</b><br>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. <br><br><b>The Cylinder </b><br>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.<br>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.<br><br><b>The Amplifier</b><br>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. <br>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 <b>Moog Music Minitaur</b>’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. <br><br><b>Features: </b> <br><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

<span style="font-weight: bold;">Phoenix Audio DRS-EQ-500 Specifications:</span><br> <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 <b>sE Electronics Munro Egg 150 Monitoring System</b> is the first in a series of sE Munro 'Active Integrated Monitoring Systems' designed by Andy Munro, James Ishmaev-Young and Siwei Zou.<br><br><b>sE Munro Egg Speaker - A Revolutionary Active Studio Monitor </b><br>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.<br><br><b>sE Munro Egg 150 Monitoring System</b><br>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.<br><br>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.<br><br><b>Features:</b><br><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><b>sE Munro Egg 150 - The Unflattering Active Studio Monitor </b><br>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.  <br><br>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!<br><br>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.<br><br>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.<br><br>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

<b>Apogee Mic</b> 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.<br> <br> <b>Features:</b><br> <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

<b>Eventide Blackhole</b> is a massive reverberator that has evolved over the years by pulling in mass quantities of time and energy (of the development persuasion, of course). In its earliest incarnation – first in the DSP4000 and later in the H8000 flagship processors - it was regarded, by some, as a secret weapon. Recently it was tuned, expanded and enhanced and then unleashed in the Eventide Space stompbox. Now, it's available as a Native plug-in.

Eventide Blackhole - Electronic Delivery