PRO TOOLS STUDIOPerpetual (Dauerlizenz) mit Updates & Support PlanActivation Card in BoxPro Tools ist die weltweit am häufigsten verwendete und ausgezeichnete Audioproduktionssoftware für Musik, Filme und Fernsehsendungen und bietet alles, was zum Erstellen, Aufnehmen, Bearbeiten und Abmischen benötigt wird. Mit einer umfangreichen Sammlung von Plugins, Instrumenten und Sounds kann ganz einfach Musik gemacht werden. Mit den integrierten Audioschnittstellen und Steuerungsoberflächen, auf die sich Profis seit Jahren verlassen, sind höchste Klangqualität und Geschwindigkeit garantiert.Im Lieferumfang ist der Updates & Support Plan für 12 Monate enthalten, welcher zusätzlich folgende Leistungen bietet: Alle Software Updates innerhalb des Zeitraums Standard Support (online) Complete Plugin Bundle Pro Tools PlayCell, GrooveCell und SynthCell HEAT Zugriff auf den Inner Circle Der Updates & Support Plan kann jederzeit mit einem Perpetual Upgrade (AVPTUPVESD) um jeweils 12 Monate verlängert werden, auch wenn der bisherige Plan schon abgelaufen ist. Wird der Plan nicht verlängert, kann die Pro Tools Lizenz als solche natürlich weiterhin mit der zuletzt zur Verfügung gestellten Version, als der Plan noch aktiv war, verwendet werden. Dem Anwender stehen dann alle Pro Tools Werks-Plugins zur Verfügung, nicht jedoch alle Zusatzleistungen, die an den Updates & Support Plan gebunden sind. Ein Perpetual Upgrade bringt die Dauerlizenz wieder auf den aktuellen Stand.Systemanforderungen Stets aktuelle Infos: https://avid.secure.force.com/pkb/articles/compatibility/Pro-Tools-System-RequirementsEinlösen des Lizenzcodes So aktivieren Sie Ihren Pro Tools-Lizenzcode: https://avidtech.my.salesforce-sites.com/pkb/articles/en_US/How_To/Pro-Tools-Redemption?retURL=%2Fpkb%2Farti_1  Ausbaustufe Pro Tools Studio Audio Spuren 512 Aux Spuren 128 Instrument Spuren 512 MIDI Spuren 1.024 VCA Spuren 128 Master Spuren 64 Video Spuren 1 Routing Folder 128 Native Ein/Ausgänge 64 Support Standard (alle Updates innerhalb des Zeitraums, Online Support) Unterstützte Hardware nativ (Core Audio/ASIO) + Carbon + S6L DigiLink Lizenz - Surround/Atmos/Ambisonic Mischungen ja Clip FX Clip FX Editing Bounce Mix Multistem ja AAF/OMF Import/Export ja Pro Tools Sketch ja Mitgelieferte Plugins Complete Bundle (Artist Bundle + Pro Series + 304 + X-Form + Revibe II) - an einen gültigen Updates & Support Plan oder Subscription gebunden HEAT ja - an einen gültigen Updates & Support Plan oder Subscription gebunden GrooveCell/SynthCell Virtuelle Instrumente ja - an einen gültigen Updates & Support Plan oder Subscription gebunden Celemony Melodyne 5 essential ja - an einen gültigen Updates & Support Plan oder Subscription gebunden SoundFlow Cloud Avid Edition ja - an einen gültigen Updates & Support Plan oder Subscription gebunden Inner Circle ja - an einen gültigen Updates & Support Plan oder Subscription gebunden - nicht bei Mehrplatzlizenzen (EDU Institute und Multiseat Lizenzen) Sonic Drop ja - an einen gültigen Updates & Support Plan oder Subscription gebunden - nicht bei Mehrplatzlizenzen (EDU Institute und Multiseat Lizenzen) EUCON Kompatibilität ja iLok Schutz ja, iLok Cloud oder physischer iLok

PRO TOOLS STUDIOPerpetual (Dauerlizenz) mit Updates & Support PlanESDPro Tools ist die weltweit am häufigsten verwendete und ausgezeichnete Audioproduktionssoftware für Musik, Filme und Fernsehsendungen und bietet alles, was zum Erstellen, Aufnehmen, Bearbeiten und Abmischen benötigt wird. Mit einer umfangreichen Sammlung von Plugins, Instrumenten und Sounds kann ganz einfach Musik gemacht werden. Mit den integrierten Audioschnittstellen und Steuerungsoberflächen, auf die sich Profis seit Jahren verlassen, sind höchste Klangqualität und Geschwindigkeit garantiert.Im Lieferumfang ist der Updates & Support Plan für 12 Monate enthalten, welcher zusätzlich folgende Leistungen bietet: Alle Software Updates innerhalb des Zeitraums Standard Support (online) Complete Plugin Bundle Pro Tools PlayCell, GrooveCell und SynthCell HEAT Zugriff auf den Inner Circle Der Updates & Support Plan kann jederzeit mit einem Perpetual Upgrade (AVPTUPVESD) um jeweils 12 Monate verlängert werden, auch wenn der bisherige Plan schon abgelaufen ist. Wird der Plan nicht verlängert, kann die Pro Tools Lizenz als solche natürlich weiterhin mit der zuletzt zur Verfügung gestellten Version, als der Plan noch aktiv war, verwendet werden. Dem Anwender stehen dann alle Pro Tools Werks-Plugins zur Verfügung, nicht jedoch alle Zusatzleistungen, die an den Updates & Support Plan gebunden sind. Ein Perpetual Upgrade bringt die Dauerlizenz wieder auf den aktuellen Stand.Systemanforderungen Stets aktuelle Infos: https://avid.secure.force.com/pkb/articles/compatibility/Pro-Tools-System-RequirementsEinlösen des Lizenzcodes So aktivieren Sie Ihren Pro Tools-Lizenzcode: https://avidtech.my.salesforce-sites.com/pkb/articles/en_US/How_To/Pro-Tools-Redemption?retURL=%2Fpkb%2Farti_1 Ausbaustufe Pro Tools Studio Audio Spuren 512 Aux Spuren 128 Instrument Spuren 512 MIDI Spuren 1.024 VCA Spuren 128 Master Spuren 64 Video Spuren 1 Routing Folder 128 Native Ein/Ausgänge 64 Support Standard (alle Updates innerhalb des Zeitraums, Online Support) Unterstützte Hardware nativ (Core Audio/ASIO) + Carbon + S6L DigiLink Lizenz - Surround/Atmos/Ambisonic Mischungen ja Clip FX Clip FX Editing Bounce Mix Multistem ja AAF/OMF Import/Export ja Pro Tools Sketch ja Mitgelieferte Plugins Complete Bundle (Artist Bundle + Pro Series + 304 + X-Form + Revibe II) - an einen gültigen Updates & Support Plan oder Subscription gebunden HEAT ja - an einen gültigen Updates & Support Plan oder Subscription gebunden GrooveCell/SynthCell Virtuelle Instrumente ja - an einen gültigen Updates & Support Plan oder Subscription gebunden Celemony Melodyne 5 essential ja - an einen gültigen Updates & Support Plan oder Subscription gebunden SoundFlow Cloud Avid Edition ja - an einen gültigen Updates & Support Plan oder Subscription gebunden Inner Circle ja - an einen gültigen Updates & Support Plan oder Subscription gebunden - nicht bei Mehrplatzlizenzen (EDU Institute und Multiseat Lizenzen) Sonic Drop ja - an einen gültigen Updates & Support Plan oder Subscription gebunden - nicht bei Mehrplatzlizenzen (EDU Institute und Multiseat Lizenzen) EUCON Kompatibilität ja iLok Schutz ja, iLok Cloud oder physischer iLok

Black Lion Audio präsentiert mit der PBR Serie drei neue Patchbays im Rackformat. Unter anderem die PBR TRS-BT mit 46 symmetrischen Klinkenanschlüssen und einem Bluetooth®-Modul. Zum Erhalt der höchsten Klangqualität in der Signalkette wurden Bauteile und Verarbeitung klassischer Patchbays weitestmöglich optimiert. Mit ihrem praktischen und eleganten Design aus schwarz eloxierter Aluminium-Frontplatte und vergoldeten Anschlussbuchsen fügen sich die Patchbays der PBR Serie hervorragend in jedes anspruchsvolle Studio ein. Funktionen: Patchbay mit 46 symmetrischen Klinkenanschlüssen Bluetooth®-Kompatibilität für drahtlose Übertragung in die Signalkette Bluetooth®-Modul ausgestattet mit besten Codecs für verlust- und kabelfreie Audio-Übertragung alle Vorzüge klassischer Patchbays bei hochwertiger Verarbeitung und Klangqualität Einbindung von Quellen und Klangerzeugern mühelos von Smartphones und Tablets in Studio-Umgebung Optimierung von Bauteilen und Verarbeitung herkömmlicher Patchbays Umschaltung der Normalisierungsmodi auf der Rückseite per Knopfdruck Alle Anschlüsse vergoldet Frontpanel aus schwarz-eloxierten Aluminium Vielseitiges Routing mit herausragender Klangqualität Gewicht: 1,4 kg Maße (L x B x H): 53 cm x 10 cm x 5 cm

AT LONG LAST… BURL Audio is proud to announce the new B4 4-channel MIC/LINE input daughter card for the B80 and B16 MOTHERSHIPs. The B4 boasts the new BX6 input transformer designed for true MIC/LINE input impedance. The B4 maintains a no compromise, class-A analog circuit, followed by the same ADC we use in the BAD8. Using a single B80 chassis, 40 input channels of audiophile MIC/LINE inputs can be realized. With digital control and SoundGrid or Dante, the B80 MOTHERSHIP with the B4 MIC/LINE daughter card is the ultimate studio grade stage box.

Features: The LED meter now has improved resolution with 0.25dB steps up to -2dB gain reduction, then 0.5dB steps up to -6dB. The GAIN control now has smaller steps, 0.25dB increments up to +4dB gain, then 0.5dB up to +8dB. audio path color The DBC-M is a Mastering version of the popular Buzz Audio DBC-20 diode bridge compressor and offers fully switched control for repeatable settings. The diode bridge gain reduction element coupled with our innovative side chain design delivers a vintage vibe like no other. The DBC-M audio path uses our Class A discrete amplifier designs in a balanced configuration from input to output with a radio steel laminated transformer to couple into the diode bridge element. This overall combination produces a desirable compression character that can best be described as tight, colourful and rich with harmonics. dynamic ratio power In the style of compressors from the 60's, the DBC-M incorporates a automatic ratio whereby the compression ratio is progressively increased with deepening gain reduction. This feature allows for the control of very dynamic signals in a seamless fashion and is also a very desirable characteristic when used on complex percussive material. operational ease This compressor is easy to get happening with six switched attack and release times covering a wide range, including an interesting auto release mode. Big knobs with 24 position stepped Elma controls are provided for the amount of compression and the output gain. The compressor can be switched to a Soft mode whereby dynamic peaks are partially retained and another switch introduces a high pass filter to the side chain to lower compression sensitivity at low frequencies. The attractive "point source" red LED bar graph meter accurately displays gain reduction and the gloss finish knobs adds to the vintage feel of the DBC-M. GAIN - 24 position Elma switch that adds gain at the output to correct for lost level with a range of 0-8dB in small steps. COMPRESSION - 24 position Elma switch that sets the amount of compression, increasing gain reduction with clock wise rotation. ATTACK - rotary switch with 6 settings, FAST (less than 0.5mS)-5mS-10mS-15mS-25mS-50mS. RELEASE - rotary switch with 6 recovery time settings, 50mS-100mS-200mS-400mS-600mS and AUTO. HARD/SOFT - adds dynamics in soft mode for times when very light compression is required. FLAT/BASS - reduces compression sensitivity at low frequencies for more bass punch, approx 8dB at 100Hz. BYPASS/ENGAGE - hard wire unit bypass to compare compressed and uncompressed signals. LED METER - gain reduction is displayed in 0.25dB steps up to -2dB and 0.5dB steps to -6dB. LINK A/B - links the side chains to prevent image shift when used on stereo material where there may be heavy channel to channel volume differences.There is also a handy power ON/OFF switch on the front panel where it should be!

key features   discrete Class-A transistor amplifiers transformer saturation progressive ratio control hard and soft modes seamless compression bass mode rich harmonic content & color reasonable price excellent on vocals     in detail   The DBC-20 is a new take on a vintage technique utilizing a gain reduction element of silicon diodes in a balanced bridge arrangement. The diode bridge is coupled via a "radio steel" laminated transformer of our own design. This element produces a desirable compression character that can best be described as tight, colourful and rich with harmonics. In the style of compressors from the 60's, the DBC-20 incorporates a self-adjusting ratio whereby the compression ratio is progressively increased with deepening gain reduction. This feature allows for the control of very dynamic signals (such as vocals) in a seamless fashion. The DBC does sound very vintage but does not carry the vintage price tag! The DBC-20 audio path uses our Class A discrete amplifier design in a balanced configuration from input to output. Operation of the compressor is easy with six switched attack and release times, a big knob for the amount of compression and an output gain control. The compressor can be switched to a Soft mode whereby dynamic peaks are partially retained. Another switch introduces a high pass filter to the side chain to lower compression sensitivity at low frequencies. These features make the DBC an ideal tool for manipulating drum sounds and samples. Each channel has a bypass switch and the side chain of the two channels can be linked for stereo operation. The large knobs with pointers allow for accurate resetting of the compressor and the fast response 15 LED bar graph meter accurately displays gain reduction.   controls   Gain - variable pot that adds gain at the output to correct for lost level with 15dB range. Compression - variable pot that sets the amount of compression. Attack - rotary switch with 6 settings, FAST (less than 0.5mS)-5mS-10mS-15mS-25mS-50mS. Release - rotary switch with 6 recovery time settings, 50mS-100mS-200mS-400mS-600mS and AUTO. Hard/Soft - adds dynamics in soft mode for times when light compression is required. Flat/Bass - reduces compression sensitivity at low frequencies. Bypass/Engage - hard wire unit bypass to compare compressed and uncompressed signals.   There is also a handy power On/Off switch and the Link A/B which provides for stereo tracking to prevent image shift when used on the mix buss.

The elixir preamplifier module is an excellent compliment to the 'fatter' sound of many modules now available in the API* 500VPR Series format and has been designed to provide exceptionally low noise wide bandwidth amplification of microphone and instrument signals. The elixir will suit those who desire a recording preamplifier where just a slight amount of bass colour is added to the original signal whilst retaining full treble extension and a smooth midrange - warm, sweet, liquid - the perfect blend. The elixir circuit design is roughly based on the now famous Buzz Audio MA-2.2 mic preamp and utilises two BE40 True Class A amplifiers in a transformeless input arrangement. Following this is the output stage comprising of two newly designed BE50 True Class A high current audio buffers that drive a Lundahl LL1517 output transformer. As can be seen from the distortion specifications, the presence of the Lundahl output transformer adds a subtle amount of harmonic at low frequencies thereby enhancing the bottom end but without sacrificing the wide bandwith needed for good clarity and transient response in the top end. The output configuration of the elixir results in a maximum output level of +34dBu before clipping, which means it can comfortably deliver clean audio into all analogue or digital recorders without overload. Gain range of the microphone input is 22dB to 70dB or -2dB to 50dB with the -20dB pad selected. More than enough for ribbon microphones. The input impedance (selected with the IN Z switch) is 4000 ohms in the H position or 1200 ohms in the L position. The instrument input on the elixir features a 'bootstrapped FET' high to low impedance convertor that then feeds the elixir amplifier stages. Selection of the instrument input is automatic when a jack is inserted on the front panel input. API* 500VPR Series rack module format - plug in and play! Advanced analogue technology - not a clone or copy of products from the past. Fully discrete hi-bias wide bandwidth differential Class A amplifiers. Matched and selected semiconductors. Transformerless input, straightline single path. High performance Lundahl output transformer. 41 position max trimmed GAIN control. Optimized 'grunty' Class A amplifiers for the input/output functions. Output Mute and Hi/Lo input impedance switches. Accurate four LED peak level meter. Min Gain Mic = +22dB (-2dB with pad in) Max Gain Mic = +70dB Min Gain Instrument = +12dB (-3dB with pad in) Max Gain Instrument = +60dB Maximum Output Level = +34dBu into 3k ohm load. Frequency Response Mic = 10Hz to 300kHz @ 20dB gain (-3dB). Frequency Response Instrument = 10Hz to 120kHz @ 20dB gain (-3dB). Harmonic Distortion measured at -20dBu input level, gain adjusted for +10dBu output level Mic = 0.15% @ 100Hz, 0.01% @ 1kHz, 0.005% @ 10kHz Instrument = 0.15% @ 100Hz, 0.015% @ 1kHz, 0.015% @10kHz EIN Mic = -132.5dB A wtg, 150ohm source Z. Signal to Noise Ratio Mic = -73dB A wtg, input shorted. Signal to Noise Ratio Instrument = -76dB A wtg, input shorted. CMNR Mic = -78dB @ 100Hz, -100dB @ 1kHz, -100dB @ 10kHz. Input Impedance Mic = 4k ohms/1k2 ohms switchable. Input Impedance Instrument = 1MEG ohms/20k ohms switchable. Controls = Gain, Mute, Phase Reverse, 20dB input Pad, Input impedance, Phantom pwr. Indicators = 4 LED peak reading meter. Size = (37Wx132H). Fits 1 space in API(TM) 500 series rack format Power requirements = 150mA +/- 15-18 volts DC, as supplied by frame power supply. Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.

The essence is a True Class A Optical Compressor designed to fit the API* 500 VPR Series rack frames offering a great feature set in a compact package. The essence will find application with those seeking a musically transperant compressor for all tracking and mixing tasks, and it sounds particulary outstanding when processing voice and bass tracks. The essence - the Heart 'n' Soul of your next recording! The essence control circuit design is based on the Buzz Audio SOC-1.1 Stereo Optical Compressor but the main audio path utilises our BE40 and BE50 True Class A amplifiers along with high spec Lundahl* input and output transformers. The input transformer is directly coupled to the Buzz proprietary Opto gain reduction element (completely passive input), amplified and then balanced via the output transformer - a very simple but gutsy signal path! The essence control circuitry utilizes the Differential Drive Side Chain (DDSC) topology that was developed for the SOC-1.1. This system, which processes positive and negative audio waveform in seperate paths, provides the incredibly musical characteristic you will hear with this unit. The DDSC design also provides for a much faster attack time compared to most other LDR based optical compressors. Simple side chain equalizers have been provided to allow the user to adjust the sensitivity of the compressor at high and low frequencies. In addition, a side chain insert point is provided for more complex EQ and compressor 'keying'. The essence consumes 2 slots within a 500 Series rack. The input/output (I/O) connectors associated with the first slot carry the main audio path. The I/O connectors associated with the second slot are used for a side chain insert point (send and return). The insert can be switched in/out of circuit and monitored via front panel switches. Rack Compatibility The essence power consumption of 120mA is higher than other 500 series modules, but because this demand is spread over two slots (60mA each) it should work fine in all available racks. features API* 500VPR Series rack module format - plug in and play! Advanced analogue technology - not a clone or copy of products from the past. Powerful fully discrete hi-bias, wide bandwidth, differential Class A amplifiers. Passive transformer coupled input, transformer coupled output Side chain insert point Side chain monitor selector On board side chain EQ Unique Differential Drive Side Chain design May be linked to multiple essence units within one rack Switchable 10 segment VU meter Frequency Response with no gain reduction = 14Hz to 107kHz, +/ 1.5dB Maximum Input Level = +25dBu Maximum Output Level = +27dBu Total Harmonic Distortion Measured at 0dBu input, no gain reduction, make up Gain 0dB 100Hz = 0.1%, 1kHz = 0.015%, 10kHz = 0.002% Measured at +10dBu input, 20dB gain reduction, make up Gain +15dB, Attack AUTO, Release 16 100Hz = 0.1%, 1kHz = 0.015%, 10kHz = 0.005% Residual Noise = 95dB A wtg, 150ohm source Z, make up Gain 0dB Make up Gain Range = 0dB to +15dB Maximum Available Gain Reduction = 25dB S/C HI EQ Boost/Cut = 8dB @ 10kHz S/C LO EQ Boost/Cut = 8dB @ 100Hz Main Audio Input Impedance = 20k ohms, bal or unbal Main Output Impedance = 100 ohms bal or unbal Sidechain Send Output Impedance = 100 ohms unbal Sidechain Return Input Impedance = 44k ohms bal or unbal Sidechain Max Input/Output Levels = +22dBu Size = (3'Wx5.25'H). Fits 2 spaces in API 500VPR Series rack format Power requirements = 120mA +/ 1518 volts DC, as supplied by rack power supply. Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.

design features So what is new in the MA2.2B: Functions are now controlled with illuminated push button switches with "clickless" operation, no more thumps on the output. The gain pot has been replaced with a calibrated 24 position Elma switch for accurate stereo matching between channels. We have added a useful 19 segment peak output level meter. But, the original audio and power supply design of the MA-2.2 has been retained. buzz audio heritage acoustic guitar mic preampDesigned to provide transparent amplification to reveal the true source, they do not come any better than this. If you wish to record your sounds with the utmost warmth and clarity possible, you have found the tool for the job. And it's not just us blowing our trumpet here, it's what hundreds of users have told us over the years since we began building the very first MA-2 back in 1993, (re-vamped as the MA2.2 in 1999). The MA2.2B is a very high end product designed without low price as a primary goal, so it is an investment for sure. However, the high standard of workmanship and meticulously engineered construction means it will last a life time - something our users who purchased 20 years ago now experience. audio path quality The circuitry used in the MA-2.2B preamp was developed by Buzz Audio designer Tim Farrant in the 1990's and was dubbed "True Class A". The resulting BE40 series of amplifiers exhibit very wide frequency response (into the mega-hertz ) and ultra fast slew rates (140V/uS) even at 60dB of gain. These attributes, plus the inherently low distortion provide the exceptionally pure top end sound of the MA-2.2B. In addition, the over engineered power supply design with localized Class A regulators for each amplifier stage supplies the grunt needed for an authoritive and accurate bottom end - it sounds tight and never over blown. Instead of an input transformer we use a stack of Wima film capacitors and these do not exhibit the low frequency phase problems associated with transformers, and sound MUCH better than polarized capacitors found in competing high end products. applications galore As many of our users have discovered, the MA-2.2B sounds amazingly vibrant when recording acoustic guitar and percussion. It is equally at home on vocal and piano duties - and you will be very surprised how tight a kick drum can sound using this preamp - no more bouncing balls! Stringed instruments, choirs and full orchestras will be reproduced with the full dynamic range they require with zero midrange harshness. One could say, this preamp records everything with an uncanny life-like accuracy. It is virtually uncolored but exhibits a huge amount of vibe and musicality. The low reactance Wima capacitor input stage stack matches well with all microphone types and the noise specification is within 0.5dB of the theoretical minimum possible, so ribbon, capacitor and dynamic mics' are no problem for this preamp. Indulge yourself! controls and functions GAIN dB - a 24 position Elma audio switch to set the gain of the preamp between +14 to +66dB. MUTE - when engaged, the audio output of the MA2.2B is switched off. On power up, the mute is always engaged to avoid thumps on the output. -20dB - when engaged, a 20dB resistive pad is inserted right at the input to cater for high input level signals. Ø REV - when engaged, the polarity or phase of the input signal is reversed 180 degrees. LO-Z - changes the mic input loading from 3k ohms to 1k ohms, which can change the overall tone of the connected microphone. 48V - when engaged 48V phantom power is supplied to the connected microphone. On power up it is always set to off to avoid disasters! POWER - A handy power on/off switch and associated power led, conveniently located on the front panel! options audio output transformerAs standard the MA-2.2B has an unbalanced output, avoiding the extra stages required for the balanced function so as to keep the signal path as simple as possible. If you treat the output of the MA2.2B as balanced, you should have no problem with interconnection to other equipment. The unit can however be supplied or retrofitted with high spec Lundahl LL1517 output transformers. When the transformers are fitted, the direct unbalanced output is still available on the rear panel via a 1/4" jack socket. When fitted, the transformer add a bit more warmth to the sound. (We can also offer the Lundahl amorphous core LL1684 transformer to special order). The MA2.2B is available with a grey (silver) or black face plate.

Like most of our microphone preamplifiers, the QSP-20 does not use a transformer at the input. Instead we couple direct to the Class A (BE41) amplifier modules with hi-quality WIMA capacitors. This approach presents a much less reactive load to the microphone and allows it breathe better. In other words, the QSP is like an extension to the microphone and this means you can clearly hear the differences between all microphone types and brands. The HI Z - LO Z switch allows you change the load the microphone sees, and this can produce subtle tonal changes depending on the type of microphone.Another advantage of the direct coupled input is noise - or lack of it. You will discover the QSP has an extremely low noise floor making it useful for low output microphones such as ribbons. The low noise plus the high output headroom results in a preamp with 92dB dynamic range at full gain of 70dB.In addition to the four mic inputs, you also have four high impedance instrument inputs on the front panel. These inputs can be used for keyboards and instruments with unbalanced pickups.Both the mic and line inputs benefit from the sound of the Lundahl* output transformer which exhibits an incredible frequency response right out to 200kHz, whilst adding a subtle amount of harmonic at the lower frequencies. Transients are preserved and the bottom end sounds full and these attributes make the QSP an excellent preamplifier for recording drums and other percussive instruments.Applications      Modern music recording      Acoustic music recording      Mobile recording set ups      Drums! Features      Toasty discrete Class A amplifiers      Flashy Lundahl* audio output transformers      Up to 70dB of gain      +28dBu output headroom      Culmination of 20 years design experience      Robust chassis construction      On board linear power supplies - no wall warts!      Easy to use control layouts      Competitive pricing

design features the resonance factor The REQ-2.2 mastering equalizer utilises parallel resonant circuits in a clever configuration whereby the bandwidth (Q) of the circuit can be adjusted like an active filter, but without any complex relay switching. The inductor/capacitor resonant "tank" eq circuit runs at a low internal signal level which avoids any inductor saturation effects. The overall result is the sound of real choke based filters with a big open sound, but without the limitation of only a few - or no bandwidth selections as found on traditional choke eq's. audio path quality As you would expect, the REQ uses our BE40 True Class A circuits developed for the MA-2.2 microphone amplifier for superlative audio performance. It also utlilizes our BE44 discrete line driver at the output that acts like a transformer and can respond to balanced or unbalanced loads. But sometimes you might need a bit more color, so we have included a saturation section that introduces measured amounts of low frequency harmonic distortion via a steel audio transformer driven by a single ended tansistor amplifier. The High Pass Filter is placed in the beginning of the eq chain and the Low Band eq section is placed last in the chain. This layout produces the best overall equalizer coherency. operational beauty The large knobs and positive feel of the switching make the REQ a pleasure to operate and everything is visually clear when mounted into a console. In total there are 72 frequency choices per channel with overlapping selections across the four bands so you can always find the centre frequency you are looking for. A looping line XLR input and two parallel XLR outputs provide flexible connection options in the mastering control room. Finally, low glare rustic silver finish and retro Elma knobs give the REQ an impressive look in your rack! controls and functions mastering equalizerEach eq band has a 12 position switch to select the FREQUENCY and another that selects the BANDWIDTH or shape of the bell shape curve (Q) which is adjustable from 1/3 octave to 2 octaves wide. On the High and Low bands, the BANDWIDTH control reverts to shelf SLOPE control when SHELF mode is selected via the push button switch (but not with the Active Low Band option fitted). The Low and High Mid bands frequency range is changed to alternative selections when the FREQ x2.5 mode is selected. Each band also has an IN/OUT switch removing the band completely from the signal path. The BOOST/CUT control is a 23 postion Elma switch with a range of +/-8dB, with 0.5dB steps up to 3dB then 1dB steps to 8dB. Custom ranges and steps can be supplied to special order. On the right side of the front panel are the HIGH PASS FILTER and SATURATION controls with their own IN/OUT switches. The overall SYSTEM IN/OUT controls and the power switch complete the picture. The channel A and channel B push button switches (SYSTEM, HPF and SATURATION) can be grouped by holding down any switch for 5 seconds. This means for stereo work you only need to push either the channel A or B switch to change both channels simultaneously. (This feature only applies to units with serial number Q1110 and up). options mastering equalizerThe REQ equalizer is available in a mastering version only (the recording version has been discontinued).or recording version with different boost/cut ranges as noted above. We are now offering an option for the Low Band section of the REQ. This option replaces the Choke based eq filter with an Active filter which provides a "tighter" bass sound. This option has come about from requests from some users who work with modern music styles in mastering. The only operational difference between the Active and Choke filters is that in Shelf mode, the Bandwidth control does not work as a slope control and is disabled. You can now also order the REQ with Lundahl output transformers. When fitted, the direct balanced line out is available on the LINE OUT 1 XLR connectors and the transformer coupled output on the LINE OUT 2 XLR connectors. There are two Lundahl options, the LL1517 audio C-core or the LL1684 amorphous core. The REQ is now also available with a silver-grey or black face plate.

The design of the SOC-20 includes the unique Differential Drive Side Chain topology found in the SOC-1.1, This system ensures the compressor will never over compress and dig holes in your audio. The benefits of the DDSC have been well documented in our SOC-1.1 user comments - smooth and effortless analog compression is available at your finger tips.So what's actually new in the SOC-20? Well, we have added a side chain insert point to enable you to apply equalization and change how the compressor acts on a frequency basis. For example, cutting low and high frequencies in the side chain so only the vocal range is compressed on a stereo mix. A side chain monitor function allows you to hear what you are doing to the side chain signal. We have also included a set high pass filter in the side chain which reduces the compressor sensitivity at frequencies below 150Hz.Perhaps the most important SOC-20 feature is the stereo Mid/Side processing mode. At the flick of a switch a discrete Class A sum and difference circuit is enabled so that Channel A now processes the L+R (sum) signal and Channel B the L-R (difference) signal of your stereo mix. This function, along with the side chain insert point, opens up whole new ways to easily manipulate your mixes and achieve the sound you desire.Features:       Toasty Class A discrete signal path with flashy Lundahl output transformers.       On board Mid Side processor.       Side chain insert point on balanced XLR's.       Built in side chain high pass filter.       Fast attack optical compressor. Applications:       Music recording and mixing       Post production studios       Voice overs and dialog       Classical and acoustic music styles       Live sound Detailed specifications available soon. Standard Operating Level = +4dBu = 0 VU meter display. Size = 2 Unit 19" rack mount, (482Wx88Hx250D). Power requirements = 230V/115V selectable, IEC detachable power cable.  

mastering focusDue to popular demand we have released a mastering version of the SOC-20 optical compressor. The SOC-M mastering version replaces the DRIVE and GAIN pots of the SOC-20 with stepped Elma attenuators for repeatability. We have also adjusted the RATIO's to suit mastering tasks and all the ratio's feature our famous "soft knee" characteristic. The SOC-M signal path utilizes our Class A discrete BE41 transistor amplifiers powered by a special low impedance power supply for vibrant sonic detail. As standard, the SOC-M is fitted with a Lundahl LL1517 output transformer providing a nice sheen to the sound. The unit is also available with a transformerless output option. analog mid-side processingBut not only is the Buzz Audio SOC-M a stereo compressor, it also incorporates a Mid-Side (or sum and difference) encoder and decoder which is a very powerful mastering tool. When set to MS mode, signals that are common to left and right are processed by Channel A and the left to right difference signals by Channel B. Check out the SOC-20 audio samples to see how powerful this process can be. In addition, when set to MS mode, the mid and side signals are available as balanced outputs on the rear panel insert send XLR's side chain designAt the flick of a switch, a 12dB/octave high pass filter at 170Hz reduces the compressor sensitivity to low frequencies for more bass punch. We have also included a fully balanced side chain insert point so you can add additional equalisation to the compressor characteristic. The side chain monitor function allows you to hear what is returning into the insert point (the side chain) and you can also monitor the mid or side signals when the compressor is used in MS mode. dynamic range controlThe 5 ratio settings feature a soft knee characteristic whereby the selected ratio is only actually acheived at 10dB of gain reduction. Therefore very gentle compression is available when using 2:1 and 3:1 and even 10:1 is usable for material that needs stronger dynamic control. The unique differential side chain circuit of the SOC-M splits the audio into positive and negative waveform and processes it separately (attack and release parameters) with the resulting balanced signal controlling the Buzz Audio BE45 electro-optical attenuator. There are 5 compressor attack settings and 6 release settings that cover a wide range of response possibilities. In addition, our clever auto modes produce very musical results. The auto attack adapts to incoming audio rise time, and the auto release will decay quickly from short impulses but longer from sustained or low frequency signals. controls and functions DRIVE - 24 position Elma switch that sets the amount of compression. OUTPUT dB - 24 position Elma switch that adds gain at the output to correct for lost level. ATTACK - rotary switch with 1mS, 10mS, 25mS, 50mS selections and the excellent AUTO mode. RATIO - rotary switch with 2:1, 3:1, 4:1, 6:1 and 10:1 selections - all soft knee characteristic. RELEASE - rotary switch with 100mS, 200mS, 400mS, 800mS 1600mS selections and our superb AUTO mode. BYPASS - hard wire unit bypass to compare compressed and uncompressed signals. METER - switches the VU meter between input/output levels or amount of compression. S.C. HPF - inserts a 170Hz high pass filter into the side chain for added bass punch. S.C. INSERT - engage the external side chain insert point and monitor the side chain signal. LINK A/B - joins the side chain of each channel for stereo operation with "soft" tracking. There is also a locking toggle to select STEREO or MID-SIDE mode and a handy POWER on/off switch.

Buzz Audio Tonic Equalizer Modul 500er SerieThe tonic offers 3 bands of equalisation with a versatile sweep midrange section and fixed two frequency high and low bands. The tonic also has a high pass filter utilizing another real choke. The signal path of the tonic is all True Class A discrete transistor with the output balanced via a Lundahl* LL1517 high spec transformer. The tonic is designed to fit into the popular API* 500 Series modular racks and requires a rack to function.The tonic high band is switchable bell or shelf and features two frequency settings of 5kHz and 11kHz. The low band is also switchable bell or shelf with two frequency setting at 120Hz and 60Hz with both bands providing +/- 15dB of boost and cut. Thanks to the use of passive choke based filters, users can expect a very tight sounding bottom end and glistening highs when applying boost with these two bands.The sweep "bell" midrange extends from 75Hz to 1500Hz (x1 mode) or 750Hz to 15000Hz (x10 mode). The midrange "Q" or bandwidth can be selected tight(ish) or broad and utilizes the Constant Amplitude Phase Shift (CAPS) filter circuit developed by Mr Steve Dove. +/-15dB of midrange boost and cut is available.The tonic 18dB/oct high pass filter is completely passive with two turn over frequencies (50Hz or 90Hz) selected by the user via jumpers on the circuit board. Completing the picture is the "OL" LED which illuminates when levels exceed +20dBu and the "BYP" switch which completely removes the tonic from the signal path.Rack CompatibilityThe tonic power consumption is higher than most other 500 series modules and this may stress some rack power supplies depending on what other modules are fitted. Please check the following list to see if it will work OK in your rack.API Lunchbox 6B - recommend only two tonic modules are fitted along with other modules.API 500VPR with L200PS - no problems.Atlas Pro Audio Revolver - no problems.OSA Power Rack & Track Pack - no problems if you have the 3 amp external power supply.B.A.E. 6 & 11 Slot Racks - not tested, check with B.A.E. for power capacity.Purple Audio Sweet 10 - recommend up to 6 tonic units in this rack along with other modules.API* 500VPR Series rack module format - plug in and play!Real choke based EQ offering superior sonics.Advanced analogue technology - not a clone or copy of products from the past.Fully discrete hi-bias wide bandwidth differential Class A amplifiers.High performance Lundahl* output transformer.Maximum Input Level = +23dBuMaximum Output Level = +26dBu into 3k ohm load.Frequency Response EQ set flat = 17Hz to 175kHz (+1dB, -3dB). Harmonic Distortion measured +10dBu output level= 0.08% @ 100Hz, 0.02% @ 1kHz, 0.005% @ 10kHz Signal to Noise Ratio = -88dB A wtg, input shorted. Input Impedance = 20k ohms approx balanced Indicators = Single LED overload indicator. Size = (37Wx132H). Fits 1 space in API* 500 series rack formatPower requirements = 120mA +/- 15-18 volts DC, as supplied by frame power supplyFor more information, please visit this products webpage

controls and functions DRIVE - turning it clock wise increases compression, which is way more sensible than counter clock wise!MAKEUP - variable control that adds up to 15dB gain after the compressor section to correct for lost level.MIX - variable control that allows you to mix between the input signal and the compressor output (post the makeup control).COMP IN - Push button switch to bypass or engage the compressor, (hard wire bypass).BASS - Push button switch that engages a high pass filter into the side chain to reduce the sensitivity of the compressor at low frequencies.METER G.R./O.P. - Push button switch to select the display on the VU meter of the amount of gain reduction or the output level.ATTACK - rotary switch with FAST (1mS) 25mS, 50mS selections plus our excellent AUTO mode.RELEASE - rotary switch selects recovery time of 100mS, 200mS, 400mS, 800mS, 1600mS and a superb AUTO mode.RATIO - rotary switch with 4 settings for depth of compression, 2:1, 5:1, 10:1, 20:1.There is also a handy power ON/OFF switch and a channel A/B LINK switch which soft links the sidechain circuit, useful when used on stereo mixes.

Limited Edition Set: Includes additional interchangeable F47 capsuleActually this mic is an exact replica of the U47. It is equipped with F7 capsule – our exact replica of M7 capsule, our replica of BV8 transformer and TELEFUNKEN EF12 or E80F tubes. Those are actually the next generation of EF12 tubes but with a longer lifetime. In fact, EF12, EF14, UF14 or VF14 are the same tubes with different heating. Especially we focus on EF12 tube as we consider its sound character closest to original. Of course, the price depends on the type of tube. Those of you who have knowledge of prices know that the price of a good VF14 tube can reach 1,500€, so it is obvious that this mic is not a cheap thing. But this mic is possible to use for almost everything and always sounds perfect. The body is duraluminium and is nickel plated . The grille is available in two versions: glossy chrome or matt nickel. The whole set comprises the mic in wooden box, cable, shockmount and power supply

TUBESESSOR - Optical Tube Compressor The Heritage Audio TUBESESSOR is an optical tube compressor with an absolute sweet, warm and natural dynamic control possible, but also the possibility to spice up the sound up on occasion. Tube compression, especially based on an optical design, is generally considered to be warmer than VCA and FET designs, and it tends to provide a very pleasant, more natural, smoother result. This has made it the preferred choice for seasoned engineers and producers that want to provide a very transparent control over a signal while offering a hint of enhancement but keeping true to the original tone. For this very reason optical tube compressors are usually the first thing one reaches for when dealing with critical vocals and bass signals. The TUBESESSOR is the perfect option for this. Analog excellence is achieved by combining an all tube-based amplification stage with an outstanding UTC A10 input transformer replica by AMI, as well as a custom all-silicon steel output transformer. With an elevated internal operating voltage you can be sure the TUBESESSOR will heat up any signal while also maintaining its character and vibe. No starved plate circuits here! Never has dynamics control been so easily obtainable while at the same time so invisible. Even with generous amounts of gain reduction being applied anything processed with the TUBESESSOR still maintains its clarity and depth. Thanks to the TUBESESSOR´S three unit high front panel you´ll find plenty of room to adjust the large Herchild-style knobs making it a breeze to achieve the desired sound. No cramped spaces here, just plenty of space to easily and quickly adjust the settings to taste. Now, we all know it would not be a Heritage Audio product without our expertise and passion channeled into a couple key features that take the TUBESESSOR to another dimension. First of all, for those times when a bit more texture and bite is called for, there´s nothing better than a little saturation…or maybe a lot. The innovative TUBE SATURATION section takes full advantage of a creamy sounding NOS Raytheon double triode tube to add in just a pinch of aggression or fully transform the signal into something ready for war. It, importantly, works in tandem with the custom output transformer to produce the right harmonic content. There are 4 available settings that vary from CLASSIC, no saturation, all the way to HOT, a heavily treated signal. This feature alone opens up a ton of possibilities for drums and other instruments vastly expanding the TUBESESSOR´S uses. And thanks to Heritage Audio´s use of an audiophile-grade Psvane dual output triode in a totem pole configuration, a solid output stage is guaranteed all while allowing much higher headroom than other tube compressors, whether vintage or modern. Secondly, there are also five internal sidechain filter settings to choose from. This is the exact same filter section that helped the SUCCESSOR obtain its legendary status. Two of the options make sure the compressor is not being unfairly overpowered by lower frequencies and the other three are frequency specific options for extra creativity. Continuously adjustable ATTACK & RELEASE controls in addition to a FIXED mode and a combination of the two will provide all the necessary settings possible, allowing you to mold your signal exactly as you´d like. A huge, attractive custom VU meter for monitoring either Input, Output or Gain Reduction guarantees you´ll always be informed with a clear reading of exactly what is happening. Everything you could possibly require to achieve a top-notch professional recording. As is the case with other tube offerings from Heritage Audio, the company has sourced NOS tubes for a lifetime, making sure your investment is safe and sound. Features Optical Compression Detection All Tube-Based Amplification Stage Fully Transformer Balanced Input & Output Tube Saturation Section Large Friendly Interface Extensive Attack & Release Control 5 Built-In Sidechain Filtering Options Huge Informative VU Meter Built Like A Tank

Tobias Lindell hat bereits mit seinen Modulen im 500er-Format bewiesen, dass er klassische Schaltungen clever in die Moderne überführen kann. Mit dem LiN76 wendet er dieses Talent auf einen berühmten FET-Kompressor an. Lindell Audio präsentiert mit dem LiN76 einen FET-Kompressor mit klassischem Sound. Der LiN76 ermöglicht das Regeln von Input, Output, Attack, Release sowie schaltbarer Ratio Dynamikkontrolle mit Vintage-Klang. Das große VU-Meter kann mit einem rückseitigen Regler kalibriert werden. Wie das Vorbild bietet auch der LiN76 den „All-Buttons-In“-Modus, der den Kompressor in einen Brickwall-Limiter mit besonders aggressivem Sound verwandelt. Hochwertige Bauteile und Übertrager aus US-Fertigung. Orientiert sich optisch & technisch am Vorbild. Aber mit modernen Bauteilen und aktualisierten Schaltungen. Große & hochwertige Regler für Input und Output. Kalibrierbares Vu-Meter mit Auskunft über Pegel oder Gain Reduction. Kompressionsverhältnis 4:1, 8:1, 12:1, 20:1. „All Buttons in Mode“ auch möglich. Attack: Frei einstellbar 20uS bis 800uS Release: Frei einstellbar 50mS bis 1200mS Höhe-Breite-Tiefe (in mm): 88(2U)-438(19‘)-250 Gewicht: 8kg

Locomotive Audio 14B printed circuit board version - A Vari-Mu Compressor That Will Make Your Vocal Sit Perfectly. The Real Sound of Vari-Mu Tube Compression at Your Fingertips. Just like its popular vintage inspirations, the Gates Sta-Level, UA 175B, RCA BA-6A and Collins 26U, the results are a sound that cannot be replicated with any other method of gain reduction. The Locomotive Audio 14B delivers! TRANSFORMERS Super premium  MuMetal shielded input and interstage transformersSPEED & TONE Fast UA 175B attack meets smooth Gates Sta-Level OutputLOW CUT FILTER Adjust & cut the low frequencies that trigger compressionSTEREO LINK Use the 14B aggressively on your stereo room mics and overheads or gently on your mix bus Features: Stereo Link switch Sidechain Low Cut filter control: Off and 70-350Hz Hard-wire bypass switch Compression turned off with full counterclockwise attack position, switching to line amplifier Two position Compress-Limit Switch Two position VU meter switch: Gain Reduction - Output 6BC8 balance adjustment on interior of unit Custom Sifam backlit VU meter XLR input and output connections Custom MuMetal shielded input and interstage transformers Custom output transformer Hand-built in USA Heavy 16 gauge steel chassis 115v/230v AC mains option on rear Lifetime warranty parts and labor

MÄAG AUDIO’S NEWEST CREATION IS THE PREQ2™ DUAL MIC PREAMP WITH EQ, A COMPLETE ANALOG SYSTEM FOR EITHER RECORDING OR MIXING HOUSED IN A 1U STANDALONE UNIT. IT COMES WITH CLIFF MÄAG’S VENERABLE AIR BAND® SHELVING EQUALIZER FIRST INTRODUCED IN 1993 WITH HIS NTI EQ3 EQUALIZER. THE PREQ2 WILL HANDLE EITHER LINE OR MICROPHONE SIGNAL LEVELS WITH TWO MATCHED CHANNELS BOTH WITH SEPARATE REAR PANEL LINE LEVEL INPUT AND MICROPHONE XLR CONNECTORS AND SWITCHABLE +48-VOLT PHANTOM POWERING. THE REAR PANEL ALSO HAS XLR OUTPUT CONNECTORS FOR EACH CHANNEL AND A ON/OFF/FUSE MAINS SWITCH. ALL SWITCHES ON THE PREQ2 HAVE COLORFUL LEDS TO CONFIRM THEIR OPERATION AND ALL CONTROLS HAVE DETENTS WITH THE EXCEPTION OF THE CONTINUOUSLY VARIABLE MICROPHONE GAIN. MICROPHONE INPUTTHE MÄAG AUDIO PREQ2 MICROPHONE PREAMP HAS UP TO 71DB OF GAIN SPLIT BETWEEN A DISCRETE CLASS-A TRANSISTOR PREAMP ALONG WITH A LARGE, NICKEL-CORE MÄAG AUDIO-BUILT INPUT TRANSFORMER (ONE FOR EACH CHANNEL). THIS CIRCUIT OFFERS A CLEAN, DETAILED SOUND WITH +27DBU OF HEADROOM AND AN EIN NOISE LEVEL OF -128DB. THERE ARE TWO OPTIMIZED GAIN RANGES SELECTABLE ON THE FRONT PANEL. THE DEFAULT GAIN RANGE IS +20DB TO +42DB AND A +42 TO +71DB GAIN RANGE IN HIGH GAIN MODE USING THE FRONT PANEL’S 25DB GAIN SWITCH. MAXIMUM INPUT LEVEL IS +8DB. THE MICROPHONE INPUT SECTION HAS FRONT PANEL SWITCHES, LED INDICATORS AND BUTTONS FOR: +48-VOLT PHANTOM POWERING, -20DB ATTENUATION PAD, PLUS SIGNAL PRESENT, +26DBU PEAK LEDS, AND PHASE OR POLARITY FLIP. MICROPHONE GAIN IS CONTINUOUSLY ADJUSTABLE USING A SINGLE, LARGE MIC GAIN CONTROL KNOB. LINE INPUTTHE FRONT PANEL LINE SWITCH TOGGLES THE REAR PANEL XLR LINE INPUT CONNECTORS IN PLACE OF THE MICROPHONE PREAMP’S OUTPUT (AFTER THE INPUT TRANSFORMER AND MICROPHONE PREAMP). IT IS POSSIBLE TO KEEP BOTH A MICROPHONE AND A LINE LEVEL SOURCE ALWAYS CONNECTED TO THE PREQ2 AND TOGGLE BOTH CHANNELS SEPARATELY. YOU COULD HAVE ONE CHANNEL WORKING AS A MICROPHONE PREAMP CHANNEL AND THE OTHER AS A LINE LEVEL AMPLIFIER FOR RECORDING A DIRECT MUSICAL INSTRUMENT (BASS OR GUITAR) AT THE SAME TIME. BOTH MIC INPUT SECTIONS HAVE ¼-INCH TS JACKS FOR HIGH IMPEDANCE (1 MEGA-OHM) INSTRUMENT INPUT WITH A COMPANION ¼-INCH OUTPUT THRU JACK THAT SIMULTANEOUSLY PROVIDES AN ISOLATED, BUFFERED OUTPUT—A “COPY” OF THE INSTRUMENT INPUT SIGNAL AT UNITY GAIN. IN ADDITION TO PROVIDING AN UNBALANCED SIGNAL FOR RUNNING LONG LEADS OUT TO INSTRUMENT AMPLIFIERS IN THE STUDIO AND/OR STOMP PEDALS, FOR LIVE RE-AMPLIFYING THE THRU JACK’S OUTPUT SIGNAL IS ALSO ACTIVE WHEN USING THE XLR MICROPHONE INPUT. WHEN USING THE INSTRUMENT INPUT TS JACK, THE MÄAG AUDIO PREQ2 USES AN AUTOMATIC DETECTION CIRCUIT TO SWITCH (USING A RELAY) AND ROUTE THE UNBALANCED ¼-INCH INPUT SIGNAL TO THE MIC INPUT TRANSFORMER. THE IMPEDANCE IS LOWERED FOR A BETTER MATCH TO THE TRANSFORMER. THIS DETECTION CIRCUIT MAKES IT IS IMPOSSIBLE FOR THE 48-VOLT PHANTOM POWER TO EVER REACH THE ¼-INCH OR XLR LINE INPUT EVEN IF ALREADY TURNED ON. EQUALIZATION SECTIONSTHE MÄAG AUDIO PREQ2 HAS THREE EQUALIZER/FILTERS SECTIONS; THE LAYOUT AND CONTROL COMPLIMENT ARE IDENTICAL FOR BOTH CHANNELS. THE EQUALIZER DESIGN IS SPECIFICALLY DESIGNED FOR BOTH RECORDING AND/OR SUBTLE TOUCHUP TONALITY CHANGES AND EUPHONIC ENHANCEMENTS. ON THE LEFT SIDE OF THE CHANNEL IS THE FIRST CONTROL FOR THE 2ND ORDER, 12DB/OCTAVE HIGH PASS FILTER. IT IS FULLY VARIABLE USING A 21-DETENT CONTROL TO SWEEP FROM 20HZ TO 200HZ. IT HAS ITS OWN HARDWIRED, IN/OUT BYPASS SWITCH. NEXT IS THE LOW FREQUENCY BELL-SHAPED EQUALIZER SECTION WITH A BOOST (ONLY) CONTROL AT 6DB/OCTAVE. FREQUENCIES ARE SWITCHED USING A SIX POSITION ROTARY SWITCH AND ARE: 10HZ (SUB) SHELF, AND BELL-SHAPED CURVES FOR 40HZ, 65HZ, 100HZ, 125HZ, AND 165HZ. UP TO 9DB OF BOOST IS AVAILABLE. AIR BAND®THE THIRD BAND OF THE EQUALIZER IS THE MÄAG AUDIO AIR BAND SHELVING SECTION WITH 2.5, 5, 10, 15, 20, AND 40-KHZ FREQUENCY CHOICES WITH ITS OWN CONTROL AND UP TO 9DB OF MAXIMUM BOOST. BOTH THE AIR BAND AND LOW FREQUENCY EQUALIZERS SHARE A SINGLE BYPASS PUSH-BUTTON.

Seit seiner Veröffentlichung im Jahr 1998 hat der Manley Massive Passive den Klang unzähliger Produktionen auf der ganzen Welt veredelt. Zahlreiche renommierte Produzenten sowie Recording- und Mastering-Engineers aus aller Welt nutzen das Gerät, um ihren Produktionen einen eigenen Signature-Sound zu verleihen. Die XXV Anniversary Edition besitzt zur Feier des 25-jährigen Jubiläums des Massive Passive eine attraktive kobaltblaue Frontplatte mit eine speziellen Lasergravur und ist weltweit auf 100 Exemplare limitiert. Hochwertiges Schaltungsdesign mit passiven KomponentenWie gewohnt, wurden von Manley bei der Entwicklung des Massive Passive keine Mühen gescheut und keine unnötig komplizierten Schaltungen integriert – Massive Passive basiert auf passiven Komponenten und in der Klangbearbeitung kommen ausschließlich Metallschichtwiderstände, Folienkondensatoren und handgewickelte Spulen zum Einsatz. Aus diesem „natürlicheren“ Ansatzes resultiert auch ein natürlicher und organischere Klang. 2-Kanal 4-Band-EQ für das gesamte Spektrum von radikal bis subtilDer Massive Passive Equalizer liefert bei der drastischen Signalbearbeitung während der Aufnahme ebenso hervorragende Ergebnisse wie bei subtilsten Klangfärbungen für Gesangsspuren oder Gesamtmischungen. Obwohl es einen anderen Ansatz verfolgt bietet das 2-kanalige 4-Band-Design umfangreiche Bearbeitungsoptionen und kombiniert dabei die größten Vorteile der Pultec-EQs mit denen ausgewählter graphischer, parametrischer und Mischpult-EQs, ohne dabei das Audiosignal zu sehr zu verfremden. Ob kreative oder chirurgisch präzise Klangbearbeitung – der Manley Massive Passive holt aus jedem Signal das Beste heraus. Fünf Hoch- und vier Tiefpassfilter mit hoher FlankensteilheitDer Manley Massive Passive ist mit fünf Hoch- und vier Tiefpassfiltern bestückt, die sich einzeln oder gleichzeitig aktivieren lassen. Die Flankensteilheit der Filter ist hoch, damit störende Anteile eliminieren werden können, ohne das Musiksignal zu beeinträchtigen. Der EQ klingt auch in Kombination mit anderen Frequenzbändern hervorragend. Manley hat sich bei der Entwicklung des Massive Passive nicht auf etablierte Standards verlassen, sondern ausschließlich nützliche Funktionen integriert und macht mit diesem neuen Design-Ansatz wirklich massive Ergebnisse möglich. MANLEY POWER®-SchaltnetzteilDas MANLEY POWER®-Netzteil wurde unter der Leitung von Bruno Putzeys für Manley Labs entwickelt und ist speziell für die Verwendung mit Hochspannungsröhren und Audiosignalen optimiert. Es liefert zuverlässig alle für den Massive Passive nötigen Spannungen, wie die 300 V Röhrenspannung, die 6 V Heizspannung, Phantomspeisung und weitere Spannung für diskrete Schaltkreise. Diese herausragende Netzteil liefert die Grundlage für einen großen Dynamikumfang und "massive" Klangqualität. Alle Spannungen sind effizient reguliert und in Kombination mit geringen Leitungswiderständen optimal gegen Einstreuungen und Nebengeräusche aus dem Hochfrequenz-Netzteil geschützt. Das Universal-Schaltnetzteil akzeptiert jede Spannung und Frequenz und ermöglicht den Einsatz des Massive Passive weltweit ohne Anpassungen. Eigenschaften Limitierte Anniversary Edition des legendären Massive Passive Kobaltblaue Frontplatte mit Anniversary Lasergravur 4-Band Stereo Röhren-Equalizer Klangregelung in komplett passivem Schaltungsdesign Einzigartige Shelving-Kurven mit Bandbreiten-Steuerung Wahlweise überlappende oder getrennte Frequenzbereiche Für jedes Frequenzband Shelving- oder Glockencharakteristik wählbar Aufhol- und Ausgangsverstärker in Vollröhrentechnik Parallele, symmetrische Topologie Durchgängig hochwertige Bauteile Passive HP- und LP-Filter sowie Gain-Trim-Regler MANLEY POWER®-Schaltnetzteil

Hapi MKII is the logical step up from the phenomenally successful Hapi which enjoyed record sales in 2020. HAPI is both the perfect primary interface for smaller systems as well as the ultimate accessory for a system using Horus where a smaller stagebox is required. MERGING+HAPI has been a hugely popular networked audio converter and instrumental in introducing so many to the exciting world of RAVENNA/AES67. Its economical form factor made it the ideal local stagebox or studio rack unit for any application. Now is the time to build on that success with new technology and new features that still allow full interface card compatibility with the original Hapi and Horus products. Hapi MKII utilizes the ZMAN technology introduced with Anubis and this powerful processor allows some very meaningful performance upgrades. The recent introduction of the ADA8S and ADA8P cards improved the headroom of the mic-pre inputs and effectively doubled the analog I/O count to 16 in/16 out in DSD, all in 1U rack mountable box. Merging’s range of audio device options make Hapi the optimum interface for any DAW, regardless of OS. Able to carry the same AKD8D/AKD8DP and DA8/DA8P or ADA8S/P analog cards that fit in the Horus option slots and connect to any RAVENNA or AES67 network the HAPI provides a more cost-effective solution than the Horus without having to make a single compromise in quality. The big news is that the introduction of the ADA8S and ADA8P has turned this into a 16 in and 16 out capable device. Hapi MKII also takes advantage of recent technology improvements that are being rolled out across the Merging range of Networked Audio Interfaces. NEW FEATURES Channel-based routing. Each channel can be routed individually to make the most efficient use of resources Improved Headphones specifications and features Mastering grade Headphone Amp Powerful Headphone Amp suitable for ultra-low to very high impedance headphones. Headphones DSD volume support (DSD64, DSD128, DSD256) Headphones DSD256 support. New front panel with improved display. Clear Plexiglas with dimming options ST2022-7 Support. Perfectly complementing Anubis SPS and MAD, Hapi MKII is now fully compliant with the Seamless Protection Switching strategy Switch mode support – Remove the need for an external network switch when using one additional Networked Interface Additional DA Roll Off filters Per channel DA Trims level and polarity support 1 dB level precision steps on DA and all trims – Precision mastering control Per channel Headphones Trims level and polarity support Horus Quality, Hapi size Able to hold both the standard and premium analog cards from the Horus means that Hapi owners get the exact same sound that Horus users have been winning awards with for almost a decade now. RAVENNA and AES67 Using RAVENNA/AES67, Hapi is able to provide flexible connectivity of every single input and output across standard networks, using off-the-shelf network equipment. The future is most definitely networked audio, and Hapi provides it today. https://www.ravenna-network.com Broadcast Standards Compliance Merging has kept abreast of AoIP developments by participating in international showcases and standardisation events. It is no surprise that Hapi MKII complies with the key broadcast requirements. ST2110 ST2022-7 NMOS Complete Control over LAN Hapi is designed to fit into hard to reach places Hapi comes with an integrated web server showing the same control interface as is available on the on-board display allowing any web-enabled device to to access all the parameters of each Hapi unit over the network. Merging’s Audio Network  MANager, ANEMAN can easily manage AoIP networks of any size. Synchronize your Network Hapi can be synchronized to video input (black burst or trilevel HD), word clock, network (PTP), AES-EBU, ADAT, SPDIF, MADI or internal clock. It can also serve as network grandmaster (PTP).   The Perfect Solution for: Stagebox or Portable Use Hapi MKII is perfect for smaller installations where fewer analog I/O is needed. Managing suspended mics in a concert hall, receiving incoming streams from remote broadcast production, Hapi is a compact form factor that is easy to move or screw into a rack. Redundant power is also easy to implement or it can be powered by battery if no mains power is available. 3rd Party Workstations Welcome Mac or PC, users now have access to one of the most sonically impressive mic preamps and AD/DA interfaces the audio industry has ever seen. Using dedicated RAVENNA/AES67 drivers, users of any software on either the Mac or PC platform are able to use Hapi as their I/O solution. The PT64 option card provides 64 channels of low latency Pro Tools HDä connectivity and allows Pro Tools users to take advantage of RAVENNA and AES67 AoIP capabilities. Small I/O Stage Box For recording setups where smaller amounts of inputs or outputs are needed in a variety of locations around the room, Hapi provides a cost-effective solution with mind-blowing results. The Ultimate Mastering Interface If immersive music mastering is your specialty and Anubis ran out of I/O, just add a Hapi to the network and seamlessly integrate the two units with full network control. With analog option cards that match a level of quality never heard of before (no pun intended) and one of the only converters ever to be known for “not having a sound at all”, Hapi is able to provide just the right amount of I/O without pushing budgets too far. Post-Production I/O The perfect post interface has arrived. Just enough analog and digital I/O and a comprehensive set of referenced sync options including LTC/MTC and video reference, all connected using nothing more than a simple CAT5E/CAT6 cable. Hapi provides a professional I/O solution for the truly networked post studio. Installation AV with Ovation Match the power of Merging’s multichannel audio and show sequencer with Hapi units placed strategically around the installation to provide the ultimate flexibility in creative AV. Features: Hapi Base Unit Up to 200 inputs @1FS - RAVENNA/AES67 Up to 202 outputs @1FS - RAVENNA/AES67 Works from 44.1kHz to 192kHz (Premium up to DXD/DSD256) Signal routing from any input to any combination of outputs Works as MADI/AES AD/DA for “standard” operation Works in RAVENNA mode to deliver all I/O through a network Front panel touch screen for local access Browser-based remote access using any web enabled device Dual redundant power supply option Modular design for analog and additional Digital I/O Near-zero latency from in to out (<1ms) ADA8S/ADA8P These remotely controlled Mic/Line Input and Output cards are 3rd generation Dual Gain topology designs, inspired from the Anubis outstanding Preamps, that show zero tolerance to any compromise on the audio quality.Available in models that work up to 192kHz (ADA8S) and DXD/DSD256 (ADA8P). Using those combined 8 channel Mic/Line In and Line Out cards allow the Hapi to be configured with up to 16 channels of Analog In/Out. Features: 8 x exceptionally transparent, Swiss designed pre-amplifiers Remote/Local switch to Line Level on a per channel basis Completely accessible remotely for all parameter changes Phantom Power/Polarity Invert/Low Cut/Impedance switchable per channel Dynamic range of 139dB (A-weighted, typ) on the Line inputs Auto-mute circuitry for “no-pop” power cycling Digitally controlled output trims for line up procedures Dynamic range of 125dB (ADA8S), 126dB (ADA8P) (A-weighted, typ.) on the Line outputs AKD8D(P) Analogue to Digital Converter module with Mic/Line Input 8 x exceptionally transparent, Swiss designed pre-amplifiers Remote/Local switch to Line Level on a per channel basis Completely remote accessible for all parameter changes Phantom Power/Phase/Low Cut switchable per channel Better than 123dB dynamic range DA8(P) Digital to Analogue Converter module Auto-mute circuitry for “no-pop” power cycling Digitally controlled trims for line up procedures Dynamic range of 126dB (typ.) Easy to set dip switches for international operating levels

VersandrückläuferThe MT 48 is an audio interface without compromise. With its huge dynamic range, superior converters, preamps and headphone amplifiers, it sets new standards in sound quality. Internal DSP power allows for monitor mixes with sophisticated EQ and dynamics processing – all intuitively controlled via touchscreen. Class-leading AD/DA converters with enormous dynamic range Intuitive touchscreen user interface DSP processing (EQ, dynamics, reverb) 4 independent mixers with integrated talkback  USB, ADAT and AES67 connectivity Contents: MT 48 Audio Interface Softcase EU Power Supply incl. USB-C connection cable USB-A data cable USB-C data cable Quick Guide Safety Guide

The MT 48 is an audio interface without compromise. With its huge dynamic range, superior converters, preamps and headphone amplifiers, it sets new standards in sound quality. Internal DSP power allows for monitor mixes with sophisticated EQ and dynamics processing – all intuitively controlled via touchscreen. Class-leading AD/DA converters with enormous dynamic range Intuitive touchscreen user interface DSP processing (EQ, dynamics, reverb) 4 independent mixers with integrated talkback  USB, ADAT and AES67 connectivity Contents: MT 48 Audio Interface Softcase EU Power Supply incl. USB-C connection cable USB-A data cable USB-C data cable Quick Guide Safety Guide

The PSI Audio A-14 M is the smallest member of the PSI Active Monitor Series. Despite its compact dimensions of the PSI Audio A-14 M a reliable reference for the evaluation of audio signals. The A-14 M PSI Audio üerträgt the entire frequency spectrum with a high sound üerraschend. The PSI Audio A M-14 has all the technologies of its "great Bruer," and is ideally suited fu studio use.Wherever high accuracy, small footprint and mobility are required.Key Data:Dimensions cabinet W x H x D mm : 163 x 243 x 170Gross / Net Weight : 6.2 / 5.5 kgResponse at -6dB : 56 - 22000 HzContinuous Max SPL, 1m : 101 dB (single)Program Max SPL, 1m : 112 dB (pair)Woofer's dim. Ext. / Diaphragm : Ø 147 mm / Ø 104 mm   Key Features: Protection circuits with overload indicator.Magnetically shielded for use close to video monitors.Metal handle for easy handling and for mic. stand or installation.Volume control on the front panel.Designed for stereo and multichannel monitoringOptimised directivity by phase coherency.Flat frequency response Real balanced input.CPR, AOI, ALG, PSC*For more information, please visit this products webpage.

Der A 17-M ist ein klassischer Nahfeldmonitor, ein professionelles Werkzeug zur Pru?fung der Signalqualität. Das kraftvolle System verfu?gt mit AOI und CPR u?ber die wesentlichen Technologien der PSI Monitore. Die dadurch erreichte Impulstreue und Steroe-Abbildung sind unerreicht. Technische Daten Verstärker (Leistung RMS) 80 W & 40 W Frequenzgang (± 2,5 dB) 50 20.000 Hz Schalldruck SPL, Dauer 104 dB (einzeln) Schalldruck SPL, Peak 115 dB (Paar) Phase (Toleranz ±45?) 150 Hz 20 kHz Abstrahlwinkel (HxV) 90? x 90? Übergangsfrequenz 3.600 Hz Tieftöner ø 175 mm (7') Mitteltöner ø Hochtöner ø 25 mm (1') Abmessungen B x H x T 200x 320 x 230 mm Gewicht: 8,4 kg  Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.

Features: Power: 225W Frequency Range: 28Hz – 100Hz SPL Max: 106dB 100% Analog – No DSP Flat frequency response Phase compensated for a better stereo image Class G Amplifiers Built in anti-resonance system in a double box cabinet individually calibrated Typical listening distance: from 1m Handmade in Switzerland

Der A 225-M ist die optimale Ergänzung für alle PSI Lautsprecher. Er kann sowohl als Mono-Subwoofer in einer Surround-Anordnung oder als Basserweiterung in einem Stereo-System verwendet werden. Alle PSI Lautsprecher sind mit einem regelbaren Bassfilter für die Anpassung an den A 225-M vorbereitet. Die untere Grenzfrequenz Systems sinkt dann auf unglaubliche 28 Hz ! Um Stabilität zu gewährleisten und Gehäuseresonanzen zu vermeiden, ist der A 225-M im 2 Boxen-Design gefertigt. Eine perfekte Tiefbass-Erweiterung für jedes Monitor-System. Viel Druck, gepaart mit Dynamik und Präzision. Einsatzbereiche Subwoofer in SurroundInstallationen Basserweiterung für StereoSysteme Recording / Mastering Technik Aktiver Subwoofer Magnetisch geschirmt Integriertes AOI (Adaptiv Output Impedance) PSC (Phantom Standby Control) ALG (Ideal Acoustic Impedance Adaptation) System 2Gehäuse Design Power RMS 200 W  Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.

PSI Audio stellt die neue Version des Drei-Wege-Flaggschiffs A25-M vor. Neben dem Waveguide, der sich im A23-M bereits bewährt hat, und einem größeren, kraftvolleren Woofer-Antrieb verfügt der A25-M jetzt über einen vollständig neuen Mitteltöner. Der Extended Dome Driver (EXD) kombiniert die besten Eigenschaften von Konus-und Kalottenform. Das neue Treibersystem sitzt wie bisher auf einer drehbaren Platte, um die Wahl der stehenden oder liegenden Aufstellung bei voll optimiertem Abstrahlverhalten zuermöglichen. In Verbindung mit den hauseigenen Technologien von PSI Audio wie Class G/H Endstufen, CPR, AOI und ALG erreicht der EXD im komplett analogen A25-M eine außergewöhnlich präzise, naturgetreue Klangwiedergabe. Er erhält jedes Detail der klanglichen Textur des Quellmaterials. Technische Daten: •LeistungRMS: 170 + 80 + 50W •Frequenzbereich: 28Hz –23kHz •SPL Max: 111dB •Eingangsimpendanz: sym, 10kOhm •Signal to Noise Ratio: 96 dBA •100% analog –Kein DSP •Linearer Frequenzgang •Phasenkorrektur für ein besserers Stereobild •Handgemachter Hochtöner •Drehbare Treiberplatte für Hoch-& Mitteltöner •Class G/H Amplifier •Individuelle Kalibrierung jedes Lautsprechers •Hörabstand: 2,5m •5 Jahre Garantie •Verfügbar in Red, Metal Black, Pure White •Breite: 320mm •Höhe: 590mm •Tiefe: 380 mm •Gewicht: 30,6 kg

In the early 1970s, after condensing the classic 3U model EQP-1A into the 2U form-factor model EQP-1A3 (same components, same specs), Pulse Techniques introduced a solid-state line amp version of the EQP-1A3. These units have exactly the same front end (input transformer and passive EQ section) but utilize a solid-state opamp (API 2520) gain stage driving a Triad output transformer, just like the originals. This version of the EQP-1A3 is actually preferred by some engineers for certain applications (kick, snare, bass, piano, etc.) and also serves as the core for our 500-series EQs. Many users of this version of the Pultec describe them as “more punchy” and having “a tighter low end” than the tube version. Pulse Techniques, LLC is the only company licensed to use genuine API 2520 opamps in their products. These EQs deliver plenty of the punch and mojo of their tube-amp counterparts, with just a slightly different flavor.