Listen to your music with recording studio quality Portable USB DAC and headphone amp for Mac and PC Meet Apogee Groove™ Apogee Groove is the best portable USB DAC and headphone amp for listening to music on your Mac or PC. Groove takes the same high quality audio technology found in the world’s most prestigious recording studios and delivers it to your laptop. Connect Groove to your computer’s USB port and your headphones or powered speakers to Groove’s audio output. It’s that easy. Groove’s output provides ample power at any impedance and Apogee’s Constant Current Drive™ technology makes your headphones sound their best. You’ll be amazed by the difference in sound quality – the precise stereo image, punchy bass and stunningly clear high-hats. Recorded by Apogee. Played by Groove. For 30 years Apogee has been an innovator and industry leader in digital audio recording. From rock to classical, hip-hop to country, and reggae to jazz, the world’s most successful artists, producers and audio engineers rely on Apogee gear to capture GRAMMY winning recordings. Now, for the first time, Apogee Groove takes this same recording studio technology and makes it available in a simple take-anywhere device dedicated to delivering the ultimate listening experience. Highlights USB 2.0 connection to Mac and PC Up to 24 bit / 192kHz audio ESS Sabre DAC Enhances your iTunes, Pandora, Spotify, Tidal or other music listening experience Constant Current Drive™ provides smooth frequency response with any headphones Quad Sum DAC™, 4 DACs per channel for highest dynamic range and lowest distortion Asynchronous clocking Multi-color LEDs for status and level indication Powered by USB Top panel buttons for adjusting volume level Compact and portable (95mm L x 30mm W x 16mm H) Premium aluminum build quality Built in the USA   Hear Every Detail In Stunning Clarity and Fidelity Whether you’re building your FLAC file collection or subscribing to a premium music streaming service, you are investing in a higher quality listening experience. Groove unlocks the full potential of that experience, revealing definition, clarity and details like you have never heard before. Work on Your Music Anywhere With professional headphones, your laptop and Groove, you can mix or make music anywhere. Groove’s reference quality sound insures you will hear every detail of your project as it would sound in the studio. What is a DAC and why is it important? If you’re a music lover and you want the best listening experience, one of the key ingredients in the quality of your sound is the digital-to-analog converter or DAC. A DAC takes the digital information on your computer and translates it into analog sound you can hear through your headphones and speakers. Not all DACs are created equal Your computer has a DAC built-in, however without a high quality DAC like Groove, you will miss out on much of the subtlety, detail and dimension of music you listen to – regardless of what headphones or speakers you use.

N22H is a standalone reference-quality headphone amplifier, a cable management system, and an advanced headphone distribution system.

HeadLite 3+ four channel Headphone Amplifier with +Power  Headphones are increasingly important for many aspects of audio production. The quality of headphone design and manufacture is higher now than it has ever been, and new technologies are producing headphones requiring significantly more power than traditional designs. Ensuring the very best performance from these headphones requires them to be driven by a dedicated headphone amplifier; +Power ensures that even these power-hungry beasts can be driven to their limit clearly and cleanly. ‘Making do’ with the headphone socket from the mix board or DAW doesn’t really ‘do’ at all.  Especially when there is more than one set of ears which need to listen in.  Clarity and Sound Quality  Whatever the headphone task the quality of the end-product begins with what the artist hears. Accurate, clear and detailed reproduction of the whole audible frequency range is essential; any shortcomings will inevitably affect both the overdub and the overview. HeadLite 3+ maintains the HeadLite series’ worldwide reputation for Clarity and detail.  Optimum Drive  The metering on the four busses that feed the amplifiers allows you to set the input levels to optimum, making sure the input to the amplifier gives the best output to headphones.  +Power  +Power is an analogue plug-in module that provides all the ultra-clean drive the most power-hungry headphones need. Fitted as standard in Channel 1, +Power can be added to the other channels either at the time of ordering or retrofitted later.  Power and drive  Amplifier power is not just about level (sound pressure level) it is about clean level (sonically pure level). A cheap headphone amplifier when pushed beyond its narrow limits can begin to distort before your headphones or your ears. This not only compromises the sound, but it can also damage your hearing. A headphone amp which has enough power should be `cruising’ for the whole of its useable range, the output signal always as clean as the technical specifications indicate it should be.  The power of the output on the standard channels is more than sufficient to drive virtually any headphone of any impedance clean and loud. +Power provides drive to spare for taking low-impedance high-power headphones to the peak of their performance. It will also allow the driving of multiple higher impedance phones.   Flexibility  In a studio you might use different headphones for different listeners providing different material. A good headphone amplifier will provide multiple outputs with individual amplifiers, each able to drive any impedance of headphone with selected inputs.  In the HeadLite 3+ this is provided by four bussed inputs selectable in combination - inputs A, B, C and D; for L and R respectively in the headphones, select AB, AA, BB, CD, CC or DD - on each of the four stereo output amplifiers.   Design  HeadLite 3+, like all our products, was designed with feedback from working engineers and musicians feeding our industrious boffins with ideas. The amplifier produces very low distortion and has an extended and flat frequency range; it scores top marks in Clarity and Sound Quality, Power and Drive, and Flexibility. As one user said of the original HeadLite “It’s ideal.”  Technical  Outputs for each channel appear on both the front and rear of the unit and can drive long audio lines to remote headphone outlets such as in vocal booths or over-dub rooms. Users can select from the four inputs (A, B, C and D) to hear A and B, or C and D as stereo, and A, B, C or D as mono. This means you can send two different stereo submixes to the HeadLite 3+ from the mixer or your DAW, or 4 mono mixes or a combination.  HeadLite 3+ offers excellent signal to noise ratio, low cross talk, bomb proof input stages, very low distortion and a bass response that is flat well under 20Hz. The unit’s frequency response (-0.5dB at 3hz to 35kHz) is within 0.1dB over the 22Hz to 22kHz band; because of the design of the amplifier’s output stage, its high frequency response does not suffer significantly even down very long lines.  HeadLite 3+ delivers all a recording professional needs in a rugged and reliable package that our service department can confirm will last for decades.   

Drive Topology Listening tests with a big mix of headphones confirm DACS’ Pure Class A topology excels for all types of headphones and listening levels. To run in Class A the Purity Headphone Amplifier and Purity BDZ© Power Supply generate a lot of heat. The case and inaudible ultra-quiet Noctua fan provide plenty of airflow to keep the temperature stable whatever the load. Differential Input DACS’ balanced input uses an instrumentation format, with hand trimmed CMRR to give the most accurate interference free signal. Differential Output Then we looked at ‘balanced’ headphones. The Purity Headphone Amplifier provides remarkably low cross talk between the two independent amplifier channels; using balanced output connections, that channel independence is maintained without compromise from the Purity BDZ© Power Supply all the way to the ears. Common Mode Rejection Ratio, a measure of the circuits ability to reject interference through its super steady Zero Ohm output impedance and a star earth scheme Purity Power Supply The new Purity BDZ© Power Supply uses a super stable, super low noise op-amp-based design, with Zero Ohm output impedance. When driven hard headphones produce back EMF, ie current flowing back towards the voltage regulator causing instability. In conventional PSU designs, this back EMF significantly reduces the PSU’s performance, with the amplifier losing control of the headphones, and generating distortion. DACS’ unique Purity BDZ© Power Supply design sinks that current away ensuring zero Ohm impedance and total output voltage stability, whatever is happening at the headphones. The Listening Experience You hear everything. Every spatial nuance, every timbral detail, every element of the musical spectrum, every fine adjustment. Poor mixes will be revealed, but great mixes will stand out in all their glory. Your headphones will give you more than you thought they could. Enjoy.

The new Fostex HP-P1 is the World’s first portable headphone amplifier with D/A converter which receives it’s audio signal digitally from iPod/iPhone 30-pin dock connector. Featuring an ultra-high quality 32bit DAC and exclusively designed audiophile analogue circuitry, the sonic performance and fidelity of the headphone signal simply has to be experienced to be believed. The tone, the depth and the effective headroom is nothing short of stunning, giving the impression of almost limitless audio power reserves on tap at all times.Add to this a 3-step gain control to accommodate all types of headphones, an in-built /PDIF Digital Out, twin digital filters and a rugged, yet cool, aluminum alloy chassis and you simply have the best portable headphone amp for your iPod / iPhone available.Everything about the Fostex HP-P1 screams quality. - First up is the audio processing. Utilising 32bit AKM’s AK4480 which features innovative on-chip symmetrical circuitry to avoid noise coupling, thus improving sound quality, coupled with 2 filters including a 32-bit minimum delay filter designed specifically for acoustic sounds the HP-P1 delivers exceptional sonic performance, allowing music to ‘flow through’ to your ears in an supremely natural way.Then there’s the build quality and the sheer beauty of the thing. Engineered from aircraft grade aluminium and built to exacting standards, the HP-P1 is a tactile delight to handle and operate.Exclusive Carry Case IncludedThe HP-P1 comes complete with an exclusively designed carry case which can be clipped to a belt if desired. In addition, a 50mm Dock connector USB cable and a USB power cable (Type A to mini B) are also included. In Detail     Digital connection from iPod/iPhone to HP-P1 via 30-pin dock connector     High quality 32-bit DAC (AKM4480) and headphone amp for maximum sound quality     Lithium-Ion rechargeable battery  (approx 7 hours)     USB powered operation also available     Hi/Mid/Low 3-step gain control on the headphone out drives all headphone types     Auxiliary analog Line Input for other MP3 players     S/PDIF Digital Out for professional recording     Analog Line Out for connection to an analog amplifier or a recorder     Unique Digital Filter - use regular filter or unique “minimum delay filter” without pre-echo     Housed in a rigid aluminum alloy chassis Specifications:Digital Input    Connector:    USB type A for Dock Connector iPod/iPhone connectionAnalog Input    Connector:    Stereo mini jack    Maximum input:    Approx. 3.0 VrmsHeadphone Output     Connector:    Stereo mini     Maximum output power:    80 mW + 80 mW     Applicable load impedance:    16 ohms or more     Frequency response:    20 Hz to 20 kHz +/- 0.3 dB (at 32 ohm load, 80 mW output power) Line Out     Connector:    Stereo mini     Nominal output level:    -10 dBV     Digital Output     Connector:     Optical     Format:    S/PDIF format (IEC 60958-3) DC In    Connector:    USB Type mini BGeneral     Power supply:     Internal lithium-ion battery or USB     Charging time:    Approx. 5 hours (HP-P1 power at off)     Continuous operating time:    Approx. 7 hours (iPod/iPhone connected, headphone output, 32Ω, normal temperature)     Accessories:    50mm Dock connector USB cable, USB power cable (Type A to mini B) Exclusive carrying case     External dimensions:    75(W) x 25(H) x 130(D) mm     Weight:        Approx. 260 g

Als mobiler Kopfhörverstärker mit Vakuum-Röhre lässt der Fostex HP-V1 nicht nur den Puls von HiFi-Puristen schneller schlagen: wer auch unterwegs seidig-weichen Röhrenklang und einen pegelstarken Verstärker für alle gängigen Kopfhörertypen sucht, wird hier fündig!  Herz der edlen Erscheinung im Westentaschen-Format ist eine 6N16B-Q Röhre auf der Primärstufe und eine ausgeklügelte OPAMP-Schaltung auf der Sekundärstufe, gepaart mit hochwertigen Fostex-Kondensatoren. Der integrierte LiIon-Akku verspricht eine netzunabhängige Laufzeit von bis zu 10 Stunden. Die Grundverstärkung ist in zwei Stufen schaltbar. Die verbauten Komponenten wurden nach klanglich höchsten Ansprüchen selektiert und sind in ihrer Kombination einzigartig. Features im Überblick: Kopfhörerverstärker mit Vakuum-Röhre (6N16B-Q) auf Primärstufe OpAmp-Schaltung auf Sekundärstufe Leichtgewichtiges und robustes Aluminiumgehäuse Zwei Eingänge als 3,5mm Stereo-Klinke (1 x auf Front (primär), 1 x auf Rückseite) Koppelkondensatoren aus Fostex-eigener HiFi-Entwicklung 100mm HiFC* Stereo-Miniklinkenkabel im Lieferumfang enthalten Bis zu 10 Stunden Betriebsdauer über integrierten LiIon-Akku *HiFC entspricht 6N Kupfer, entwickelt von Hitachi Metals. "HiFC" ist eine registrierte Marke von Hitachi Metals.

The LAP-2.V4-S is both an ultralinear pre-amplifier and headphone amplifier for the small recording studio as well as the high-end user who demands sound neutrality. The unit is equipped with a powerful headphone amplifier, additional ESD protection at all inputs and outputs, RK27 volume control with further optimised balance synchronisation and a power supply with increased current delivery capability. The integrated headphone amplifier is one of the best-quality developments in its class. The basic amplification of the 6 analogue stereo inputs can be adjusted separately internally.

The Lake People Phone-Amp G103-P MKII is a stereo headphone amplifier for recording and livesound. Different to most comparable models the overall gain may be altered with the aid of internal jumpers to better match specific headphone characteristics. Due to this technique, this headphone amplifier is able to drive nearly all existing headphones from 8 … 600 ohms load impedance. Because of its noise- and THD-optimized circuitry layout, G103-P MKII covers high quality demands. In spite of its compact dimensions, G103-P MKII offers optimum flexibility and high power. Reliability even under rough or improper handling conditions has been another important goal of development. Thus, the unit is absolutely long-term short-circuit proof. In addition, the G103-P MKII is equipped with filters to prevent overload by inaudibly low and high frequencies. The case of G103-P MKII is made of black anodized aluminium, including the front- and back panels. This provides high mechanical stability and resistance against rough handling. The cases surfaces are providing excellent electrical conductivity for optimum EMC characteristics. Mains is connected via a three-pin IEC/CEE socket and a matching three-wire mains cable with Central Europe-type mains connector. The mains cable may vary to fit the demands of different markets The unit is factory-set to a mains voltage of 230 V AC. Mains voltage may vary between 190 and 250 without any effect on flawless operation. The built-in mains transformers provide the internal supply voltages of approx. +/- 25 V.

The Lake People PHONE-AMP G118 is a balanced headphone amplifier based on the circuits of the approved and valued PHONE-AMP G111 but in a 19“, 1 U case. Besides the outstanding reproduction qualities G118 offers a Mono / Stereo / Phase-Reverse switching, Pre-Gain on the front panel, X-FEED and a VU-Meter for level control.

Dynamic headphones are much more different than most people realize. For the same sound pressure level the power needed with different headphone models can vary up to a factor of about 500! Impedances can be different to a factor of more than 20! This is the reason why different headphone models have very individual requirements to the headphone amplifier driving them in terms of voltage and current. Everybody who once has connected a high quality headphone to any given standard headphone output knows about this problem. Since the launch of the Linear in 2004 there is a high end headphone amplifier to realize even the highest demands to reference quality headphone music reproduction. The selectable gain (0 dB, 10 dB, 20 dB) of the Linear effectively optimizes the output level of the zero global feedback Class A output stage. Practically all high quality dynamic headphones available will show their best possible performance, no matter if you have an easy to drive low impedance pair of headphones or an ineffective pair of 600 ohms studio cans. Top notch components and a highly sophisticated circuit design Carefully selected top notch components and a highly sophisticated circuit design guarantee top performance listening pleasure. For stereo setups with just one source like a CD player or a turntable with a phono stage the Linear is the simplest and most effective active preamp one can think of. All audio connectors including the two Neutrik phone jacks come with gold plated connectors. No external Y-adapter is needed! The faceplate and the massive milled aluminium knob for the smooth running 27 mm ALPS high grade volume control are available in anodized black or silver. To get the best out of your headphone you will have to try the Linear.

Dynamic headphones are much more different than most people realize. For the same sound pressure level the power needed with different headphone models can vary up to a factor of about 500! Impedances can be different to a factor of more than 20! This is the reason why different headphone models have very individual requirements to the headphone amplifier driving them in terms of voltage and current. Everybody who once has connected a high quality headphone to any given standard headphone output knows about this problem. Since the launch of the Linear in 2004 there is a high end headphone amplifier to realize even the highest demands to reference quality headphone music reproduction. The selectable gain (0 dB, 10 dB, 20 dB) of the Linear effectively optimizes the output level of the zero global feedback Class A output stage. Practically all high quality dynamic headphones available will show their best possible performance, no matter if you have an easy to drive low impedance pair of headphones or an ineffective pair of 600 ohms studio cans. Top notch components and a highly sophisticated circuit design Carefully selected top notch components and a highly sophisticated circuit design guarantee top performance listening pleasure. For stereo setups with just one source like a CD player or a turntable with a phono stage the Linear is the simplest and most effective active preamp one can think of. All audio connectors including the two Neutrik phone jacks come with gold plated connectors. No external Y-adapter is needed! The faceplate and the massive milled aluminium knob for the smooth running 27 mm ALPS high grade volume control are available in anodized black or silver. To get the best out of your headphone you will have to try the Linear.

The Monotor is designed for the professional audio engineer who requires detailed source analysis. Features include extensive mono capability, including left minus right for accurate phase and compressed audio file artifact analysis. The super fidelity audio path uses hand wound, super low distortion transformers and a single active headphone driver stage per headphone out. The inputs are transformer coupled for no headache balanced or unbalanced source connection, with paralleled XLR/TRS combo and TRS jacks for easy hookup. Power is supplied by state of the art, low noise, full voltage, linear on board regulators.   Features   Dual 1/4" and 3.5 mini jack headphone outs for partner monitoring. Extensive mono monitoring capability, left plus right, left, right, and even left minus right, for phase check and digital compressed audio file analysis. Internal state of the art super low noise linear voltage regulation, providing audiophile full current/voltage Easy input interface for balanced or unbalanced gear. Minimal audiophile (almost completely passive) circuit path using a single, truly state of art active stage (opa 1622) per headphone output. XLR/TRS combo jack inputs in parallel with TRS jacks for easy in-line monitoring hook up. Stereo mini aux input for talkback communication or easy portable player hookup. Quality stepped volume attenuator with internal bypass for remote volume control capability. Rack-mountable, up to 4 Little Labs devices fit in a 1u space.  

Monitor 8 Feature Summary   Three products in one 24 x 16 x 8 monitor mixer, 6-channel headphone amp and USB/AVB audio interface.   Exceptional audio quality Employs the same industry-recognized analog design as MOTU's groundbreaking 1248, 8M and 16A audio interfaces. The balanced, DC-coupled analog outputs produce measured performance of 123 dB dynamic range (A-weighted) and -110 dB THD+N (0.0003%) at -1 dBFS, Unweighted, 1 kHz.   24 inputs and 8 stereo bus outputs Mix 24 physical inputs, multi-channel computer audio, and 64 AVB audio network channels to eight stereo bus outputs (Main, Aux, and monitor groups A thru F). Inputs include 8 channels of balanced (TRS) analog and 16 channels (2 banks) of ADAT optical.   Six monitor groups with flexible outputs Each group provides multiple mirrored outputs, including 2x 1/4-inch phones (front and rear panel), summed 1/4-inch mono out for stage monitors, and, for groups A-D, balanced stereo 1/4-inch outs, which can be fed to in-ear monitoring systems or other stereo destinations.   Universal connectivity Connects to a computer with standard AVB Ethernet or audio class compliant high-speed USB 2.0 (compatible with USB 3.0 and iOS). Discovery app and web app software works alongside any host audio software.   On-board DSP with mixing and effects Flexible 48-input digital mixer modeled after large format mixing consoles, with 12 stereo busses and DSP effects, including reverb, 4-band EQ, gate, and compression.   32-bit floating point processing DSP-driven mixing and effects engine delivers virtually unlimited headroom and the utmost in sound quality.   Modeled vintage effects processing Classic reverb. Compression modeled after the legendary LA-2A compressor. EQ modeled after British analog console EQs.   System expansion and audio networking Add a 2nd MOTU AVB interface (1248, 8M, 16A, 24Ai or 24Ao) with a simple Cat-5e ethernet cable. Connect up to five MOTU interfaces using a MOTU AVB Switch (sold separately). Build a network with multiple interfaces and computers using standard AVB switches and network cabling, with ultra-low network latency, even over long cable runs (100 meters point to point). Stream hundreds of audio channels among devices and computers on the network.   Flexible matrix routing and splitting Send any input to any output, or multiple outputs. Includes routing to and from the computer, plus any devices on the AVB network.   Stand-alone mixing with wireless control Connect an Apple Airport™ or other Wi-Fi router directly to Monitor 8 with a standard Ethernet cable and control the 8M's powerful mixing and DSP effects from your smartphone or tablet, without a computer. Great for live show monitor mixing.   Web app control Control on-board DSP, mixing, device settings, and network audio routing from web app software running in your favorite browser on a laptop, tablet or smartphone connected by wire or Wi-Fi to your local area network.   Two banks of ADAT digital input Connect digital mixers, optical expanders or other gear. 16 channels at 44.1/48 kHz or 8 channels at 88.2/96 kHz.   Comprehensive metering The large backlit 324 x 24 LCD lets you view all signal activity at a glance with detailed metering for all analog and digital I/O. Access hardware settings from a simple and convenient menu.   AudioDesk Includes AudioDesk workstation software for Mac and Windows with 24-bit recording, sample-accurate editing and 32-bit mixing and mastering.

The Radial H-Amp is a unique interface that allows you to connect multiple headphones to a power amplifier or in-line with a loudspeaker such as a wedge monitor or PA cabinet. In other words, you simply connect the output from the amp or the parallel through connection from the loudspeaker and the H-Amp converts the signal to safely supply your headphones.Designed to accommodate two musicians at the same time, the H-Amp is equipped with two headphone outs - each with individual level control. A special 3-band filter lets you EQ the tone to help compensate should the mix going to the headphones from the loudspeaker need to be adjusted. The EQ filter can also be assigned to one set of headphones should two different types be used at the same time. Connection to the H-Amp is done with a standard Neutrik Speakon 4 pole connector. A second Speakon acts as a thru-put to allow multiple H-Amps to be used in tandem for larger groups such as orchestra or press conference.As with all Radial products, the H-Amp is able to handle the abusive environment of global touring. 14-gauge I-beam steel construction ensures maximum rigidity while the innovative book-end design creates a protective barrier around the switches, potentiometers and connectors. A full-bottom no slip pad provides mechanical isolation while providing plenty of 'stay put' for the most vibrant drum risers!The Radial H-Amp… now you can add a set of headphones to any situation with ease!Features:     Connect your headphones to any loudspeaker     Run a series of headphones from one amplifier     100% passive - does not require any local powering     Cost effective monitoring solution for large orchestras

The 2Control with its unique Crossfeed control allows to judge a stereo panorama on headphones just like with loudspeakers. The unit's concept is consequently based upon duality: Two channels, two sources, two loudspeaker sets, two headphones—2Control. The speakers and headphones monitoring center The 2Control combines loudspeaker and headphone monitoring in a compact, user-friendly and high quality control device. Control near-field monitors, full-range speakers and headphone monitoring for two listeners from one central unit! Analog volume control for your DAW A majority of D/A converters and sound cards provide nothing in the way of analog level monitoring control, and this means the necessity of varying signal levels at the converter outputs. The result is a lowered bit rate in the monitoring signal, which can lead to commensurate loss of audio quality.  Two excellent headphone amplifiers Friends, colleagues, customers: in the end there’s always someone else who wants to listen in, too. With the 2Control you also have the second headphone under control – and can rely on first-class quality. Crossfeed control With it's innovative crossfeed control, the 2Control allows to adjust the stereo width on headphones. Now headphone monitoring can be compared to speaker monitoring, making it possible to also mix on headphones. Extend the range of headphone applications Some exemplary benefits of the crossfeed control: at home, nocturnal engineers now have an alternative to full range monitors for judging stereo imaging in their mixes. Furthermore, the headphone monitoring is not restricted for analytical listening only, but can serve as full stereo monitoring alternative. And the compact housing makes it easy to transport the 2Control to have familiar monitoring conditions at foreign places. High-grade balancing stages We use custom made balancing stages to drive long distances reliably and for first class common mode rejection values. Note that only balanced connections exclude hum and interferences. We recommend to establish balanced connections wherever possible – especially connections over long distances (e. g. to speakers). Unbalanced connections (e. g. RCA, TS Jack) You can establish unbalanced connections easily and without adaptors – for example from CD-Players with RCA outputs or to (HiFi) power amplifiers with RCA inputs. It is important to pay attention to the correct polarity of the three XLR wires.Connections to RCA and TS Jack inputs or outputs are always unbalanced. Connections to TRS inputs or outputs may be balanced or unbalanced. In any case we recommend to use readily configured cables from XLR to the respective RCA or TS/TRS connector to dispense with adaptors. Ask your dealer for configured cables. With the XLR pin configuration diagram in our manuals any audio expert can ensure to select or configure appropriate cables. Separate mono speaker output In addition to two stereo speaker sets you can also connect a mono speaker or a subwoofer. Tip for working with headphones: Listen with subwoofer to enjoy the physical impact of the low end.

Speaker & Subwoofer You can listen to your production via two switchable pairs of speakers. A subwoofer is also switched on and off with speaker pair A. In the middle position of the switch, the speakers are switched off, which is convenient because you don’t have to turn the volume control back.   Two Stereo Inputs Two analog stereo inputs can be connected to the Control One for sources such as a DA converter, CD player, mixing console, synthesizer or analog tape machine/tape deck, which can also be listened to mixed together (1+2).   Line Out The selected input signal is output unchanged at the Line Out. This allows the Control One to be looped between devices without “losing” an output. If, for example, several people are to listen in via headphones, a headphone amplifier can simply be connected to the Line Out. You can also record the signal analog or send it to a mixer for further processing.   Three Monitoring Modes are offered by the Control One. In the middle is the default setting “Stereo”. To check the mono compatibility set the switch to “Mono”. The special feature is the channel swap function: L/R > R/L reverses the stereo image. L/R becomes R/L. This is especially important and extremely time-saving when you are searching your sound library for samples in video dubbing that should match a scene with direction of movement. If the direction is not correct, you usually have to load the sample into the DAW to switch channels before you can hear if the sample fits. With the L/R > R/L function this is no longer necessary. You can now simply swap the direction of movement while prelistening samples in the library.   The Headphone Power Amp Poor sound over headphones?Not enough juice? Not here. Control One delivers a rich headphone sound and it can get really loud. The output stage of the headphone amplifier is designed as a push-pull amplifier in class AB mode. The bipolar transistors share the amplification of the positive and negative half-waves, which produces a higher gain and a higher output voltage than in Class A operation, where only one transistor amplifies both half-waves. The output stage transistors are thermally coupled and thus run particularly coherently, which contributes to a consistent and stable sound image. The power supply has a buffer circuit with low source resistance, ensuring generous current reserves even when driving low-impedance headphones.   The Revolution in the headphone amplifier is the Phonitor Matrix, with adjustable crossfeed, thanks to which you can create mixes with headphones that sound the same on speakers. The Phonitor Matrix in its largest expansion stage has three parameters: Crossfeed, Speaker Angle and Center Level. In the Control One, the center level is preset to -1 dB and the speaker angle to 30°. These are the most commonly used values. The crossfeed function determines the so-called interaural level difference. The intensity of the crossfeed is fully variable. At the beginning of the control path the crossfeed circuit is not in the audio path. Dialing the control in switches on the crossfeed circuit via relay (hysteresis circuit). The audio signal therefore does not pass through the crossfeed stage if this is not desired.