MENU
Αναζήτηση
-
-
Manufacturer
More
-
-
-
Availability
-
Filters
The Rooster is a valve based design mic/line & DI pre-amp with EQ and a distortion section based around the same 5725 valve used in the ever-popular Culture Vulture.INPUT STAGEThe input stage uses a custom 1200-ohm input Sowter transformer and an ECC81/12AT7 valve.EQ SECTIONThe neatly laid out EQ section has all the Boost or Lift controls on the left, with a broad bass lift control, peaking at 60Hz, and a selectable mid/high lift at 2.5k, 4k ("bell" shaped) and 7k (shelving) respectively. All the Cut controls are on the left hand side, the mid cut is 700Hz, the 6 position bass cut is straight off the Earlybird 2 pre-amp. There is also a switchable LPF ( low pass filter ).'ATTITUDE' DISTORTION SECTIONThe same 5725-distortion tube which is employed in the Culture Vulture is used in the new Rooster. It offers a subtle distortion characteristic in the triode position, more so than a Culture Vulture due to the higher HT voltage, and so has a very low (about 0.01%) distortion when the 'Attitude' control is set to 1. In the pentode mode it generates more 3rd harmonic distortion. Distortion can be pretty radical when the Attitude control is to 'Max' and the input is high.OUTPUT SECTIONThe output valve is ECF80 which combines high output with low impedance (less than 100 ohms). There is +48v phantom power, and phase reverse. The output is unbalanced as standard but a balancing transformer option that is used in the Culture Vulture Mastering will be available.
With its comprehensive design, Trilian brings many different types of Bass together into one extraordinary-sounding virtual instrument. Trilian is designed from the ground up to be the most versatile bass virtual instrument available today with a new level of expressive, real-time performance for acoustic and electric basses – plus cutting-edge synth bass tones with powerful editing and extraordinary sound quality. Trilian is the successor to Spectrasonics’ award-winning Trilogy bass instrument, offering deeper control of musical expression and much greater flexibility of sound shaping. Trilian’s 34GB library is 10-times the size of Trilogy and features all new acoustic, electric and synth basses. Powered by next generation STEAM Engine technology, Trilian is the first instrument to feature core library integration with Spectrasonics flagship Omnisphere® synth – allowing Trilian’s sounds to be used within the Omnisphere environment for further sound design and keyboard/bass splits. “At Spectrasonics, we’ve always loved Bass sounds.” notes Eric Persing, Founder and Creative Director. “When we started 15 years ago, our very first product was the best-selling Bass Legends sample library. Then in 2002, we introduced Trilogy – the world’s first Bass Virtual Instrument. Now we are very pleased to release Trilian, which represents a whole new generation of our Bass development. Trilian is built on the STEAM Engine that powers Omnisphere, which has allowed us to create the most expressive and flexible Bass module we’ve ever made.” PERFORMANCE The new acoustic and electric basses in Trilian are sampled at an extremely high level of detail. The combination of the software’s intuitive, automatic selection of legato and release articulations as the user plays - and the extensive ‘Round-Robin’ variations introduced for natural sounding bass lines with repeated notes - create a more dynamic and subtle playing experience. Newly developed multisampled dynamic slides let notes realistically slide from one to another. Each of the new basses feature multi-channel mixing between phase-locked microphone/amplifier and direct outputs of each bass. BASS INSTRUMENTS Over sixty different 4, 5, 6 and 8 string Electric basses are presented in fingered, picked, fretless, slapped, tapped, and muted technique variations – providing a huge variety of sounds for any musical genre. Highlights of the new Electric Basses include a Music Man™ 5-string Studio Bass, Chapman Stick®, Lakland™ Rock P-Bass, Clean Fender® Jazz Bass, a Hardcore Rock Bass, a Retro 1960’s Epiphone® Viola Bass and much more. Trilian’s stunning new Acoustic Bass is the most detailed instrument Spectrasonics has ever released, with 4 audio channels and over 21,000 samples to create this single instrument! All this combined with Trilian’s high-resolution streaming of the sounds puts a depth of realism into performances that is truly inspiring. SOUND CREATION For Synth sounds, Trilian features newly-developed 4-Pole “Juicy” and “Power” Filter algorithms with oscillating resonance that are ideal for electronic bass. Hundreds of synth soundsources were created using over 30 of the most exotic and coveted hardware synthesizers – from the original Moog® Taurus Pedals to the latest boutique analog modular synthesizers. A multitude of extremely powerful editing controls are available for sound design – including the “FlexMod” modulation system, Dual Filters with more than 19 filter types, 6 multistage looping envelopes, 6 full-featured LFOs, dual morphing modulation, modulatable FX racks and much more. Trilian’s FX racks include all of the renowned FX processors from Omnisphere and Stylus RMX – including a wide variety of amp and speaker models, distortions, dynamics processors, equalizers, chorus, phasers, flangers, delays, reverbs, unique specialty FX and more. LEGACY As Spectrasonics' next-generation bass instrument, Trilian includes enhanced, remastered versions of Trilogy’s core library – taking it to a new level of sound and expression. As a special bonus, Spectrasonics’ original “Bass Legends” multisamples have also been remastered and included in the Trilian library, featuring Marcus Miller, John Patitucci, and Abraham Laboriel (bass sounds which some hardware synth users may remember from popular Roland Xpansion boards and the classic MBD-1 rack bass module). INTEGRATION Trilian is the first virtual instrument to feature core library integration with Spectrasonics award-winning, flagship Omnisphere synthesizer. Trilian’s complete sound library can be opened within Omnisphere for further synthesis and expanded performance possibilities. Trilian’s Arpeggiator features the “Groove Lock” technology Spectrasonics pioneered in Omnisphere and Stylus RMX’s Time Designer – which means that with a simple drag and drop action, the feel of bass patterns created with Trilian’s Arpeggiator can be perfectly synchronized between all three of Spectrasonics instruments. INTERFACE The new Custom Controls interface on the Main page of each patch brings out the most useful and interesting sound modification controls for that specific patch, and a single control can even modify numerous parameters to create unique FX. The Custom Controls are all MIDI Learnable, Automatable and users can create their own configurations of Custom Controls. COMPATIBILITY Trilian is cross-platform compatible with Apple Macintosh OS X 10.4.9 and higher as a native Universal Binary for Intel-Macs and Macintosh G5, and also with Microsoft Windows 7/Vista and XP SP2 and later. 32-bit Audio Units, VST, and RTAS plug-in formats are supported for compatibility with all major host software.
2-Way 7" Active Monitor The SC207 is our mid-range two-way monitor speaker. The SC207 will be attractive to a large range of listeners, as its size and form factor make them appropriate for a lot of different rooms. Are you a home recording musician or producer? Not a problem. The SC207 has great power efficiency that will let you clearly examine what's happening in your music. Are you a post production professional working in a tight or smaller room? Not a problem. The modest and elegant size of the SC207, along with its quality precision, will make it great in your setup without overwhelming your working area. Whatever you're doing, the SC207 will be there for you. Tech Talk With the SC207, you will get an extended bass frequency response (down to 44 Hz), courtesy of our 6.5" SilverCone honeycomb structured woofer and driven by our 1.5" voice coil. The result is a very tight and dynamic bass, along with the usual greater linear excursion. A PWM amplifier, with protection-limiting and capable of delivering a short-term output power of 100W, guarantees that the SC207 will never run out of juice. And with a maximum output level of 106 dB (SPL @ 1m), you can be sure that there is plenty of power to make critical and precise judgements over your mixes. The SC207 is also the first EVE model monitor that uses our proprietary AMT (Air Motion Transformer) RS2. That means it can deliver a higher output level that is due to a bigger magnet system inside. As with every other EVE Audio speaker, you get both balanced XLR inputs and unbalanced RCA inputs for greater convenience. DSP With every EVE Audio speaker, you also get high resolution DSP electronics. One push knob operation and you will have access to accurate volume control and several different filter settings that will help you tailor your monitors to the way you work. And if you always avoid digital processing, we've got you covered. The DSP engine is supported with a high quality A/D converter from Burr-Brown, which delivers a pristine signal to the DSP section. And since the PWM amplifiers are directly connected to the DSP, no additional conversion is necessary. Please visit our DSP page to learn more about our DSP philosophy. Bass Port Design It's all in the geometry. One of the downside effects of port compression is bass distortion. As you turn up the volume, the efficiency of the port reduces and distortion will increase. We opted for a large rear rectangular port with no hard edges for our bass port designs. That's one of the reasons EVE monitors have a high efficiency on the lower frequencies. The results? High sound pressures with tight and punchy bass frequencies that don't cause port distortion. Crank up the volume, and EVE will deliver a round bass. And with no holes to look at every time you glance at your speakers. The price is referred to one unit. Price per unit.
The Distressor is an automatic gain (or volume) control device (AGC in engineering terms) designed for pro audio (music) applications. Basically, it electronically controls the volume of just about any source in a very pleasing, and "musical" manner - adding fullness, intelligibility, and especially in the Distressor's case - excitement.This type of device is often called a "limiter" or "compressor" by audio industry people. Its most probable uses will be in recording studios, live sound situations, movie sound production, and radio broadcast production.
Specifications Weight : 3.45kg Maximum load : 40 kg Minimum height :56 cmMaximum height : 97 cm
The Electro-Voice® ZX3 offers an unprecedented level of lightweight, 12-inch, two-way, loudspeaker performance for the widest variety of portable and installed applications. Featuring the new DVX3121 12-inch woofer and the ND2 neodymium compression driver, the ZX3 continues the groundbreaking innovation of the EV DVX woofer program, joining the ranks of EV's ZX series between the eight-inch ZX1 and the 15-inch ZX5.When it comes to problem and solution versatility, the ZX3 is in a class of its own. In addition to the highest performance drivers available, a complete range of optional accessories, including the CB-5 array kit, MB3 wall and ceiling-mount bracket, HA-3 handle adapter for use with the VSA-1 strong arm mount, and TCA-1 truss clamp adapter allow the ZX3 to be easily and precisely configured in multiple box arrays, mounted on trusses or tripods, deployed as monitors, or used as system mains with a subwoofer.
The 160 watt AH200 features a multitude of audio connections. XLR, jack and phono all feature with Hi and Lo impedance options.The AH200 also comes with 16 different custom digital effects, with independent send controls on each channel.Add to this a 'designed for the road' solid construction and kickback cabinet with top and side handles, and you have the ideal solution for gigging or rehearsal.Features Power RMS : 165 WattsChannel 1 Lo-Z XLR & Hi-Z 1/4' Jack Channel 2 Lo-Z XLR & Hi-Z 1/4' JackChannel 3 Hi-Z & Line level 1/4' Jack Channel 4 & 5 2x Line level 1/4' Jacks Channels : 5 Equalisation Bass & Treble controls per channel, and Global Bass, Mid, TrebleReverb 16 Program Custom DSP with Independent send level on each Channel Line Out : Yes Record Out : Yes Speaker connections : YesFX Loop(s) : YesDrivers : 1x15' Celestion Driver & HF Horn Cabinet Design Carpet covered, dual position kickback construction with kick-proof metal grille, metal corners, flip side handles and strap handle.Kick Proof Metal GrillYes Weight : 27.5 Kg Dimensions : Width 502 x Height 551 x Depth 461
The IBERIA is a guitar manufactured entirely from mahogany if we exclude the top from solid German spruce. It lends in the guitar certain particular characteristics and attributes unique as the timber that used.Duration in the passage of time, deep and full sound but simultaneously “warm” these are the attributes that it acquires the guitar with the use of mahogany.Of course nothing from all these would not have importance if Alhambra did not have the essential know-how to processe suitably the timbers and elects their distinguished attributes. Fingerboard is manufactured from Indian rosewood and it has resistance, is particularly “fast” and comfortable, while it does not present no imperfection in the touch, ideal for fast passages and “difficult” repertory. Specification Top:Solid german spruce Back and sides:Mahogany Neck:Mahogany Fingerboard:Indian rosewood Gold plated tuners
The Finger" uses a single medium diaphragm transducer to provide detailed sound with smooth transparent highs, optimal presence and natural low-end response with a unidirectional polar pattern. "The Finger" has a unique body design with an integrated tapered reflector which reduces resonances, removes reflections and optimizes the microphone's cardioid polar pattern. Integrated damping of the transducer reduces stand rumble, outside infrasonic interference and mechanical shocks.The Black Finger, w/ Optional FRR Reflection Ring & PSM Shockmount The optional and unique FRR Reflection Ring (shown here) is a reflector disc which can be positioned at the head or anywhere along the body of the microphone to alter the polar pattern, frequency response and sensitivity. Positioning the FRR at the end point of "The Finger's" reflector alters low-frequency response and adds proximity effect. The FRR can also be used to separate the front and rear sides of the capsule and to reduce reflections and reverberation from reaching the capsule. Positioning the FRR on the capsule head's top produces a polar pattern closer to a half-sphere pattern with less coloration at different angles, less proximity effect and adds sensitivity to all except high frequencies. It is even possible to use 2 FRRs, positioning one on the top of the head and one elsewhere on the body for effect. "I bought Violet's 'Black Finger' and it is now a permanent fixture, set up in my studio to mic an upright Bass." Randy Kohrs Artist/Producer/Engineer "The Finger" is available in 2 styles. "The Black Finger" has polished nickel-plated hardware and a matte black body. "The Gold Finger" has polished gold-plated hardware and a matte black body.Matched stereo pairs can be special ordered. Applications: "The Finger" microphone suits a wide range of studio and stage situations. It is ideal for capturing vocals, speech, choir, and musical instruments as well as orchestral and most other sound sources. It is an excellent choice for broadcast radio and television, film production, sound reinforcement and other professional applications.In the home studio where there are generally fewer microphones available, it offers superb performance giving it outstanding value. Use of a studio pop filter and/or polyurethane open-cell foam windscreen is necessary for close voice applications, to protect the capsule from plosive sounds and breath, pop or wind noise. Matched stereo or surround sets can be special ordered to provide balanced recordings.
"The Pearl" Series of professional electrostatic microphones are designed for studio vocal recording and now hand-held stage applications, where sound quality and musical character is of the utmost importance.The Pearl Standard uses a medium single-diaphragm transducer, which provides a modern, detailed vocal sound with airy highs, extended vocal presence and optimized low-end response.The Grand Pearl uses a large dual-diaphragm transducer, which provides the warm, classical vocal sound usually associated with vintage vocal studio microphones.The Pearl Vocal is specifically designed to be the ultimate condenser hand-held stage microphone. The newly developed medium-sized single diaphragm capsule provides high acoustic transparency and can handle sound pressure levels up to 144db without overload. These innovative microphones introduce a new physical design with a rear-ported spherical head and a special narrow tapered form reflector to reduce internal resonances and reflections and optimize the unidirectional cardiod polar pattern. A soft center band around the circumference of the head minimizes shock and handling noise. Rugged microphone construction and internal shockmounts effectively reduce stand rumble, outside infrasonic interference and mechanical shocks. The internal phantom powered preamplifier’s Class 'A' fully discrete transformerless circuit provides high output, flat audio response and ultra low distortion and noise.The output connectors are gold plated for best possible signal transfer. "The Pearl" is ready for noise-free handheld or stand use. A flexible stand holder is supplied with microphone. FRR is an optional unique reflection ring accessory which is used as a tool to slightly alter directional characteristics and frequency response by positioning at different points along the microphone body. Applications: The Pearl Standard and The Grand Pearl microphones are designed primarily for vocalists, but are also capable of capturing piano, guitars, drums, percussion, strings, wind and many other instruments.The larger diaphragm of The Grand Pearl is specially tuned to provide a deep warm vocal tone ideal for jazz or pop music. These are unidirectional cardioid microphones and should be mounted so that the rear openings behind the capsule are not obstructed. In vocal applications, best results are obtained when the microphone is 1" to 6" away.Microphone overload is not a problem, however, we recommend the use an optional pop filter in the studio for further protection from plosive sounds and breath, pop or wind noise.The Pearl Vocal has been tuned specifically for a modern, detailed vocal sound with extended vocal presence and optimized low-end response. The newly developed advanced suspension system effectively reduces handling noise to an absolute minimum and the unidirectional cardioid polar pattern has been optimized for maximum side and rear rejection while providing maximum gain before feedback.This is the ideal microphone for live jazz, pop and rock vocalists but also will provide superior sound for brass, woodwinds, percussionists, drummers and in capturing guitar amplifiers.
"The Black Knight" uses a large dual-diaphragm, side-terminated, condenser capsule. It possesses a natural musical sound with transparent highs, smooth midrange with a subtle vocal presence bump at 3kHz, flat low-frequency response and a unidirectional cardioid polar pattern. The acoustically open transducer head minimizes internal resonances and reflections so that even the most minute sound details are authentically captured. An integrated swivel-mount allows for fast and handy positioning of the transducer head. The internal phantom powered preamplifier's Class 'A' fully discrete transformerless circuit provides very high output, flat audio-response and ultra-low distortion and noise. Gold-plated contacts on the output connector provide a noise-free connection. "[The Black Knight] sounded great on anything I put it in front of. The swiveling head is the most convenient feature I've ever seen on a mic." Connor Smith The Studio Files "The Black Knight" microphone is also available in matched stereo or surround sets as a special order. Applications: "The Black Knight" microphone has a very detailed and uncolored sound. It is perfect for overheads, acoustic guitar and many other instruments as well as vocal applications. The swivel mount head allows for easy minor re-positioning, without adjusting the stand. It is an excellent solution for broadcast studios, film and video production, sound reinforcement and other professional applications. It has a very open, single layer head grill so use of a pop-filter or foam windscreen is recommended when working the microphone closely.
"The Wedge" condenser microphone from Violet Design is meticulously designed for the highest quality of studio recording. Re-engineered from Violet's original "Dolly" model, The Wedge produces deep, dimensional sound, and boasts a wider range of applications than its predecessor. Its multi-layered, wedge-shaped head effectively reduces plosive sounds and other noises such as wind or breath. The Wedge's capsule is made of high-quality, 6-micron Mylar film, and it's innovative freestanding design results in a more open and detailed sound. The critical first stage circuit is located close to the capsule to further improve sound quality. The large dual-diaphragm is precisely tensioned, adjusted on back plates, and sputtered with Violet's exclusive gold alloy mixture. This process allows The Wedge to give a faster impulse transient response without sound coloration or low-frequency reduction, and also makes it capable of handling high sound pressure levels. The internal solid-state preamplifier of The Wedge is a Class-A fully discrete transformer-less circuit, built using high quality, hand selected components. The circuit is designed to achieve the highest audio standards and provides flat frequency response, high dynamics, low self-noise, and very low audio distortion of all types. The Wedge should be used with high quality, regulated 48V phantom power. Gold-plated pins on the XLR output provide a clean and noise-free connection. The Wedge has a dark red body with black trim and comes in a fine hardwood box. Applications: The Wedge has a warmer tone with very high output and low noise. It is designed for a wide range of studio recording situations. The fast transient response, crystal clear highs and loud SPL handling make it excellent for recording drums, especially for snare drum, overhead and hi-hat. The recommended placement is 2" to 4" from the drum rim, but you will want to experiment with different positions and angles. It is also excellent for piano, electric and acoustic guitars, bowed strings and brass instruments. For the clarinet and soprano saxophone use the microphone 4" to 12" above the horn and lowest pads. For other saxophones place the microphone 2" to 6" in front of the lip of the bell. For the flute place the microphone above the middle of the instrument. Place within 20" from the bell of trumpets, trombones, French horns, tubas and other brass instruments. When used as a vocal microphone, position The Wedge 1/2" to 4" away to get the best results. There is no need to worry about overload but using a pop-filter in the studio or a foam windscreen in live applications can help reduce plosive sounds and breath, pop or wind noises.
"The Amethyst" Series of studio microphones utilize capsules with 6-micron gold sputtered Mylar diaphragms tensioned and adjusted on precisely made brass backplates. They possess very fast impulse transient response without sound coloration or low frequency reduction, as well as the ability to handle louder sound pressure levels. "The Amethyst Standard" has a dark amethyst red body and uses a single large-diaphragm center-terminated capsule to provide a modern, detailed sound with airy highs, medium vocal presence and accentuated low-end response. The internal phantom powered preamplifier is a fully discrete Class 'A' transformerless circuit which provides high output, flat audio response and ulta-low distortion and noise. "It's clear to me that Violet Design has a winner on its hands with the Amethyst Vintage." Randy Poole Pro Sound News "The Amethyst Vintage" has a grey/blue body and uses a dual large-diaphragm, center terminated dual back plate capsule which provides a classical, wide-spectrum, vintage microphone sound. Both models have a unidirectional cardioid polar pattern with minimal proximity effect and are linear over the wide frontal incidence angle. An acoustically transparent head construction reduces internal resonances and reflections. The internal capsule shockmount along with the massive body construction, reduces stand rumble, outside infrasonic interference and mechanical shocks. Both microphones can be mounted directly on a standard microphone stand or in the optional ASM elastic shockmount. Gold plated contacts on the output XLR connector provide a noise-free connection. Applications: The handy compact size and versatile mounting, combined with high SPL capability make these microphones ideal for close instrumental situations. "The Amethyst Standard" is particularly recommended for percussion and stringed instruments. For vocal applications "The Amethyst Standard" is more oriented for a male voice and "The Amethyst Vintage" for a female voice. Use them up close, within 2" to 4" to get best results. The internal amplifier and capsule are hard to overload and are well suited for close miking of vocals.
4090 Omni Mic, Hi-Sens, P48 natural and open sound suitable for instrument miking applications in the studio or on the stage lends itself to acoustic guitar, strings, piano and wind instruments The DPA 4090 is a high quality omnidirectional condenser microphone. Due to its uniquely natural and open sound, the 4090 is suitable for instrument miking applications in the studio or on the stage. The 134 dB SPL handling means it can be used with essentially any instrument from acoustic guitar and strings to piano and wind instruments. Due to their remarkably linear frequency response in the 20 Hz to 20 kHz range, sound system engineers can also use these mics for sound system alignment, testing and tuning. The rugged and compact design features a 5.4 mm diameter pre-polarized condenser capsule in a tapered body measuring just 12 cm (4.75 in).
4080 Miniature Cardioid Microphone, Lavalier * excellent speech reproduction * discreet, compact design * fits both left and right buttoned shirts * works with most wireless systems Combining high audio quality and low visibility, the DPA 4080 is well suited for broadcast, conference, and other live performances in the studio or in the field. It is acoustically pre-equalized, offering a 4 dB presence boost, which makes the voice more distinguishable and improves speech intelligibility.Professionals will appreciate the light weight and the excellent speech reproduction. DPA 4080 is delivered with a pre-mounted pop filter in a holder with an integrated shock mount, fixed on a clip.Because of the flexible and practical mounting solution, the microphone can easily be turned in all directions and fits both left and right buttoned shirts. All parts of the microphone are manufactured in highly resistant materials and designed to perform under stress.
4099G Clip Microphone for Guitar, Dobro, and more Superior gain-before-feedback Wireless compatible Flexible and easy one-hand mounting Holder gentle to the instrument Perfect for PA amplification and live recording of acoustic guitar, mandolin, banjo and dobro, the 4099G offers practically unlimited placement possibilities as well as a sound that is considerably more natural than an internal microphone or pick-up. The 4099G is a unique clip microphone inheriting the sonic approach from the legendary DPA studio microphones to a new instrument microphone.The 4099 microphone and mounting system is meticulously designed and optimized for the guitar family.This is to ensure the best possible mount and audio reinforcement is achieved when performing live. The 4099G fits instruments with a body depth between 35 mm (1.4 in) and 122 mm (4.8 in).Representing years of research and development, the 4099 condenser microphones feature supercardioid polar patterns for superior gain-before-feedback. Fully capable of handling the guitarΆs dynamic range and subtle details, these microphones live up to their pedigree with sound as accurate as DPAΆs other world-class microphones. Despite its tiny, discreet size and elegant, lightweight design, 4099G is extremely rugged.The versatile gooseneck provides stable and repeatable positioning. The mics can be easily unclipped and repositioned or moved to another instrument with only one hand, while the mounting system is designed never to mar or scratch the finish of your instrument. Reduce cable clutter on stage by using the DAO4099-G Guitar Double Cable.The cable carries both the 4099 mic extension cable and a pick-up jack connection in one dual cable run in a nylon sock. The jack uses high quality Mogami cable and gold Neutrik connectors. At the instrument end there is a right-angled connector.The microphone extension is the DPA miniature cable.Through the use of our extensive adapter system, the 4099 is compatible with virtually any wireless system and can also be used as a standard 48V phantom powered microphone via the included XLR connector. Fleet owners of 4099s will appreciate the multiplicity of using the microphone for a number of different instruments simply by moving the microphone/gooseneck part to another instrument clip from the range. With its very flexible design for a wide variety of mounting and positioning possibilities along with its extremely natural sound, the 4099 is truly a musicianΆs mic without equal. Continuing DPAΆs heritage of sonic excellence, this series of microphones achieves the purest reproduction of your instrument and therefore your full range of expression.
4099G Clip Microphone for Guitar, Dobro, and more Superior gain-before-feedback Wireless compatible Flexible and easy one-hand mounting Holder gentle to the instrument Perfect for PA amplification and live recording of acoustic guitar, mandolin, banjo and dobro, the 4099G offers practically unlimited placement possibilities as well as a sound that is considerably more natural than an internal microphone or pick-up. The 4099G is a unique clip microphone inheriting the sonic approach from the legendary DPA studio microphones to a new instrument microphone.The 4099 microphone and mounting system is meticulously designed and optimized for the guitar family.This is to ensure the best possible mount and audio reinforcement is achieved when performing live. The 4099G fits instruments with a body depth between 35 mm (1.4 in) and 122 mm (4.8 in).Representing years of research and development, the 4099 condenser microphones feature supercardioid polar patterns for superior gain-before-feedback. Fully capable of handling the guitarΆs dynamic range and subtle details, these microphones live up to their pedigree with sound as accurate as DPAΆs other world-class microphones. Despite its tiny, discreet size and elegant, lightweight design, 4099G is extremely rugged.The versatile gooseneck provides stable and repeatable positioning. The mics can be easily unclipped and repositioned or moved to another instrument with only one hand, while the mounting system is designed never to mar or scratch the finish of your instrument. Reduce cable clutter on stage by using the DAO4099-G Guitar Double Cable.The cable carries both the 4099 mic extension cable and a pick-up jack connection in one dual cable run in a nylon sock. The jack uses high quality Mogami cable and gold Neutrik connectors. At the instrument end there is a right-angled connector.The microphone extension is the DPA miniature cable.Through the use of our extensive adapter system, the 4099 is compatible with virtually any wireless system and can also be used as a standard 48V phantom powered microphone via the included XLR connector. Fleet owners of 4099s will appreciate the multiplicity of using the microphone for a number of different instruments simply by moving the microphone/gooseneck part to another instrument clip from the range. With its very flexible design for a wide variety of mounting and positioning possibilities along with its extremely natural sound, the 4099 is truly a musicianΆs mic without equal. Continuing DPAΆs heritage of sonic excellence, this series of microphones achieves the purest reproduction of your instrument and therefore your full range of expression.
* Superior gain-before-feedback* Wireless compatible* Flexible and easy one-hand mounting* Holder gentle to the instrument Violin and viola players will appreciate how gently the 4099 Violin adheres to a prized instrument while its elegantly lightweight, unobtrusive design keeps it from getting in the way of a passionate performance.
Boom microphone stand with telescopic boom and folding tripod base.
Boom microphone stand with telescopic boom and folding tripod base.
Βάση μικροφώνου δαπέδου με οριζόντιο βραχίονα και βάση 3 ποδιών. Χρώμα μαύρο
The Radial J48 has been designed from the ground up to deliver the most natural tone. As a direct box manufacturer, we do not believe it is our task to alter the sound of your prized '1962 Fender Jazz Bass', but retain and transfer the true character of the instrument to the mixing console without adding distortion or introducing artifact. This design philosophy has gained a tremendous following from many of the world's most demanding musicians.Using only 48V phantom power, the Radial J48 is an active direct box that produces an exceptionally linear response that extends from 20Hz up to well above 40kHz. Low distortion of all types is achieved via a unique digital switching power supply that raises the internal operating rail voltage for added headroom and improved signal handling. The results are truly amazing. The J48 delivers an ideal even-order harmonic cascade and a sonic performance that outperforms DIs costing several hundreds more.And like all Radial products, the J48 is both feature-rich for studio and made tough to handle the road. This includes a -15dB input pad to tame extra loud signals, 180º polarity reverse for feedback control on stage and a ground lift to help reduce hum & buzz caused by ground loops. Special features include a merge function that elegantly mixes left-right signals to mono without phase cancellation. To minimize resonant feedback with acoustic instruments, the J48 is also equipped with an 80Hz high-pass filter (low-cut). When engaged, this also increases headroom by eliminating unneeded bass frequencies.Radial's innovative book-end design protects switches and connectors from abuse while the internal I-beam construction eliminates stress on the PC board. This serves to reduce solder joints from going 'cold' and delivers trouble-free performance for years. A full-bottom no-slip pad provides mechanical and electrical isolation while providing plenty of 'stay-put' for rockin' stages!The Radial J48 is used by artists as diverse as acoustic guitarist Tommy Emmanuel; super-star engineer Joe Chiccarelli; and one of the most successful bands of all time Fleetwood Mac. The Radial J48… the world's finest 48V phantom powered active direct box.Features:Ultra low distortion of all typesExceptional headroom & dynamic rangeRetains instrument's natural soundPowered by 48V phantom
DI box παθητικό.
Παθητικό DI για εξομάλυνση σήματος
The QL-642 is part of Quik-Lok's "Pro Series" keyboard stand line. These stands are the choice of professional musicians the world over because of their adjustability, strength and reliability. Features include "The Original" locking disc system and super heavy duty 30 mm x 30 mm steel tube bracing for extra sturdiness and structural integrity. The "Pro Series" stands are capable of holding the heaviest keyboards safely and securely. The QL-642 offers a tilt adjustable second tier.Features "The Original" locking disc systemSuper heavy duty 30 mm x 30 mm steel tube bracingTremendous weight capacityTilt adjustable second tierFront to back leg depth 26" - 66cmFront to back tier depth 17.9" - 42.5cmFront to back 2nd tier depth 12" - 30.5cmTop to bottom height positions 38" (96.4cm), 34.5" (89.8cm), 32" (81.2cm), 27.8" (70.6cm), 23" (58.5cm)Side to side width 15.5", (39.4cm), 20.9" (53.2cm), 25.9" (65.8cm), 30.4" (77.1cm), 34.1" (86.5cm)Second tier angles 90, 81, 72 63, 54Folded height 40.4" - 102.7cmWeight capacity 260 lb - 117 kg2nd tier weight capacity 75 lb - 33.7 kgWeight 18.2 lb - 8.2 kgBrace tube size 30mm x 30mm (x2)Tier tube size 30mm
Foldable, closed-back professional headphones with Aluminium nameplates and Ultra Soft Cable (USC-cable)With PRO Box (hardcase) for safe transportation and storage, incl. accessoriesTechnologies:S-Logic™ Natural Surround Sound PlusMU Metal shielding (ULE-technology)Safer hearingTechnical specificationsS-Logic™ Natural Surround SoundDynamic principleFrequency range 8-35.000 HzImpedance 40 OhmSound pressure level 94 dBMU Metal bufferboard, reduced field emissionsin accordance with ULE (=Ultra Low Emission) standardDriver 40 mm titanium-platedWeight 295 g (without cord)
Foldable, closed-back professional headphoneswith Aluminium nameplatesand Ultra Soft Cable (USC-cable)With PRO Box (hardcase) for safetransportation and storage, incl. accessoriesS-Logic™ Natural Surround Sound PlusMU Metal shielding (ULE-technology)Safer hearingTechnical specificaions:S-Logic™ Natural Surround Sound PlusDynamic principle, closedFrequency range 6-42,000HzImpedance 40 ohmSound pressure level 96 dBMU Metal bufferboard, reducedfield emissions in accordancewith ULE (Ultra Low Emission) standardDriver 40 mm titanium-platedWeight 295g (without cord)
Ultrasone DJ-1 headphone,S-Logic Natural Surround Sound Plus sound system,foldable,dynamic,closed,impedance 64 Ohm,frequency range 10-22.000 Hz,sound pressure level 103 dB,coiled cord,,cord lenght 3m with 3,5mm stereo jack,screwable gold-plated plug 6,3mm,weight without cord 265g,incl. headphone bag
Foldable, open-back high-quality headphones in black, silver and grey with Aluminium nameplates and finest 3-dimansional sound reproductionTechnical specifications: S-Logic™ Natural Surround Sound Dynamic principle, open-back Frequency range 10-25.000 Hz Impedance 70 Ohm Sound pressure level 94 dB MU Metal bufferboard, reduced field emissions in accordance with ULE (=Ultra Low Emission) standard Driver 40 mm gold-plated Weight 292 g (without cord) Detachable straight cord (length ca 3m) 6.3 mm gold-plated plug Velvet transportation bag Demo CD Instruction manualLong-term availability of spare parts
Foldable, closed-back high quality headphones with very exclusive design and extraordinary sound, offering the highest standards.Technical specifications: S-Logic™ Natural Surround Sound Plus Dynamic principle Frequency range 10-22.000 Hz Impedance 32 Ohm Sound pressure level 101 dB MU Metal bufferboard, reduced field emissions in accordance with ULE (=Ultra Low Emission) standard Driver 50 mm Mylar Weight 285 g (without cord) Straight cord (length ca 3m) 3,5/6,3 mm screwable gold-plated plug Transportation bag Demo CD Instruction manualLong-term availability of spare parts
The Dave Smith Instruments Prophet '08 Pot Edition Eight-Voice Analog Synthesizer offers an alternative with 38 of the 52 front panel parameters controlled by pots (potentiometers); rotary encoders are still used for the remainder of the controls.The Dave Smith Instruments Prophet '08 Pot Edition is exactly the same as the non-pot version. The difference is strictly in the controls themselves. Encoders are “endless”—they have no minimum or maximum limit. The advantage to that is that when you edit a preset parameter, the change begins at the preset value and increases or decreases, depending upon the direction turned.Pots typically have about 270° of travel and have definite limits. The advantage to that is that you know, by feel, where the minimum and maximum limits are and you can sweep through the entire value range in less than one full turn.The Prophet Ά08 PE features three edit modes for the pots: Relative, Passthru, and Jump. In Relative mode, the value change is relative to the preset value. In Passthru mode, turning the pot has no effect until after the edited value equals the preset value (that is, until the edited value “passes through” the stored value). Jump mode uses an absolute value based upon the position of the pot when edited; turn a pot and the value jumps immediately from the stored value to the edited value.The Dave Smith Instruments Prophet '08 Pot Edition Main Features Include: 38 of the 52 front panel parameters controlled by pots Encoders are “endless”—they have no minimum or maximum limit Three edit modes for the pots: Relative, Passthru, and Jump Pots typically have about 270° of travel and have definite limits Two analog oscillators per voice Classic Curtis analog low-pass filters Extensive modulation routing capabilities Four-on-four splits and layers with separate stereo outputs for each layer Arpeggiator, gated 16 x 4 step sequencer, and LFOs all syncable 5-octave keyboard with semi-weighted action, velocity, and aftertouch Spring-loaded pitch wheel and assignable mod wheel 256 fully editable Programs (2 banks of 128) with 2 Layers (2 separate sounds) in each Program 16 x 4 gated step sequencer Arpeggiator 2 digitally controlled analog oscillators (DCOs) per voice with selectable sawtooth, triangle, saw/triangle mix, and pulse waves (with pulse-width modulation), and hard sync White noise generator 1 Analog Curtis low-pass filter per voice, selectable 2- and 4-pole operation (self-resonating in 4-pole mode) 3 Envelope Generators: filter, VCA, and assignable (four-stage ADSR + delay); Envelope 3 can loop 4 LFOs Glide (portamento): separate rates per oscillator Analog VCAs MIDI In, Out, Thru, and Poly Chain Main stereo audio output: 1/4" unbalanced Output B stereo audio output: 1/4" unbalanced Sustain pedal input: accepts normally on or normally off momentary footswitch Pedal/CV input: responds to expression pedals or control voltages ranging from 0 to 5 VDC (protected against higher or negative voltages) Headphone output: 1/4" stereo phone jack Includes power supply for 110V – 240V AC operation (13-15 VDC, 400 mA) and operation manual.
The Phantom Classic, like its predecessor the Phantom C (Cardioid), embodies reduction to the absolutely essential without compromise in performance. The design philosophy of this large diaphragm FET microphone - which works purely in cardioid characteristic, guarantees a sound quality otherwise found only in our tube microphones. Its capsule is based on the ideal of the VM1 giving the Phantom C a very natural and pristine sound character.The Phantom's success was most recently augmented through the release of the limited edition Phantom AE (anniversary edition). This edition was released to mark the occasion of the company's 10-year anniversary and was comprised of 1000 nickel colored as well as 1000 black microphones. After the paramount success of the limited Phantom anniversary series, we now deliver the legitimate successor of the Phantom C with the Phantom Classic.Specifications:Equivalent Noise: < 11 dB A (IEC651)Signal to Noise: > 83 dB (1 Pa/1 kHz-Cardioid)Sensitivity: 28 mV / Pa-CardioidPattern: CardioidFrequency Range: 20 Hz - 22 kHzMaximum SPL: 142 dB SPL 0,3 % THDPower Supply: 48 V phantom power
First class components, excellent dynamics and exceptionally low self noise exemplify Brauner microphones. This of course, holds true for the Valvet, a tube microphone based on the already legendary VM1, which provides a unique, finely balanced character.Our objective with the Valvet was to create a tube microphone that would be ideally suited to be used as a spot microphone through small construction and the use of a newly developed microphone suspension.The Valvet produces excellent recordings even under difficult acoustic conditions due to its directional characteristics, leaning slightly towards hyper-cardioid while maintaining a high level of back rejection. In omni though, it becomes the perfect choice for ambience recordings. In 1999, the Valvet received the SSAIR Award for best microphone in its category as the VM1 did the year before.The Valvet, boasting the same naturalness and openness as the VM1, produces recordings with wonderful spatial qualities and pleasing proximity and warmth. The Valvet uses the most common directional characteristics - omni and cardioid - and has a phase reverse switch for the use with non-standard pre-amplifiers.Specifications:Equivalent Noise: < 11 dB A (IEC651)Signal to Noise: > 83 dB (1 Pa/1 kHz-Cardioid)Sensitivity: 28 mV / Pa-CardioidPattern: Omni, CardioidFrequency Range: 20 Hz - 22 kHzMaximum SPL: 142 dB SPL 0,3 % THDPower Supply: 115 V or 230 V
The VM1 was the fulfillment of Dirk Brauner's dream to build his vision of the perfect sounding tube microphone. A microphone that captures the spirit of the classic vintage tube microphones and at the same time, meets the high technical standards of today's modern microphones. The VM1 was awarded the SSAIR Award in 1998, marking the beginning of a tradition of excellence in design philosophy, engineering and precision.In our humble opinion, no other microphone has played a greater role in the renaissance of the tube microphone. As the archetype of all Brauner microphones it continues to serve as the inspiration for all Brauner products. The VM1 has a completely natural, modern sound with the highest resolution of sonic detail. Its transparent open character is predestined for vocal and instrumental recordings and is the first choice microphone of top artists and sound engineers all over the world. The power supply of the VM1 allows infinite adjustments of the directional characteristics as well as a 10 dB reduction through a switchable attenuator.Specifications:Equivalent Noise: < 11 dB A (IEC651)Signal to Noise: > 83 dB (1 Pa/1 kHz-Cardioid)Sensitivity: 28 mV / Pa-CardioidPattern: all, infinitely variableFrequency Range: 18 Hz - 24 kHzMaximum SPL: 142 dB SPL 0,3 % THDPower Supply: 115 V or 230 V
Whereas the VM1 represents the natural sounding part of the VMA (which combines two microphones in one), the VMX offers the full character sound of the VMA in a single microphone and yields highest detailed resolution with a soft and silky top end. Slight accentuation of the low mid and bottom end as well as a soft upper mid range grant this reference quality tube microphone a unique and completely charming sonic character.The VMX excels in vocal and narration recordings through its well-balanced tonal appearance and pleasant proximity. It adds its own character without recognizably tainting the sound source. The VMX is also eminently suitable for instrumental recordings, through the reproduction of the finest details; giving string instruments for example the noticeable appearance of vicinity and warmth. Maximum flexibility in the fine-tuning of the respective recording is achieved through the possibility of infinitely adjustable directional characteristics.Specifications:Equivalent Noise: < 11 dB A (IEC651)Signal to Noise: > 83 dB (1 Pa/1 kHz-Cardioid)Sensitivity: 28 mV / Pa-CardioidPattern: all, infinitely variableFrequency Range: 20 Hz - 20 kHzMaximum SPL: 142 dB SPL 0,3 % THDPower Supply: 115 V or 230 V
Avid Artist Transport, Weighted, optically encoded jog wheel and shuttle ring, 7 ergonomic transport/navigation keys with multi-color status LEDs, 6 programmable Soft Keys, 16 numeric keys for time code/marker navigation, Control multiple applications & workstations via Ethernet, Supports HUI and Mackie Control protocols. Dimensions: 231 x 238 x 30 mm (WxDxH), Weight: 2.4 kg.
Connect eSATA drives to your new Mac®Get full speeds from eSATA drivesDaisy chain Thunderbolt devices
Lipinski power amplifiers are dual topology, which means there are two separate power amplifiers Inside.The L-400 subwoofer amplifier works in parallel mode, which significantly enhances damping factor - the most important parameter to control low frequencies.This surpasses commonly used bridge mode which significantly lowers the damping factor. SPECIFICATIONS Output power: 1 channels: 200W @ 8ohm, 300W @ 4ohm, 400W @ 2ohm,1 Ohm stable,Gain: 30-40dB,Bandwidth: 1Hz–150Hz,Integrated low pass filter optimized for L-505A/L-707,THD+noise: 0.01% THD @ 50W, 1000 below 100Hz,Input impedance: 10kohms,Inputs: 2x XLR, 2x RCA,Multi color front glass light,Dimensions: 17.3"H x 3.1"W x 8.7"D (44cm x 8cm x 22cm),Weight: 33 lbs (15 kg).
Lipinski Powered Stands feature the new L-401 power amplifier built into the stand rather than the speaker, enabling short speaker cable length while allowing easier amplifier setup, especially in a surround environment.Cut for the total height of 30" (75 cm) and 36" (90 cm) to drive treble straight to the discerning ear of a listener at his/her sitting position. Just as all Lipinski Sound products, the stands are stable, rigid, and of fine quality.
Lipinski Powered Stands feature the new L-301 power amplifier built into the stand rather than the speaker, enabling short speaker cable length while allowing easier amplifier setup, especially in a surround environment.Cut for the total height of 30" (75 cm) and 36" (90 cm) to drive treble straight to the discerning ear of a listener at his/her sitting position. Just as all Lipinski Sound products, the stands are stable, rigid, and of fine quality.
