RecordProduction.com

Video Mic

Admin — Sun, 25 Apr 2010 15:41:49 +0100

by: Admin

Description: The RØDE VideoMic is a professional grade shotgun microphone. Based on the latest 'Film industry' technology, the VideoMic is designed specifically for use with high quality Digital Video Cameras. The microphone exhibits low noise and an unusually wide bandwidth for its size. It is ultra lightweight, yet rugged due to it's ABS construction. The VideoMic is powered by a standard 9V battery and offers a Low Battery LED status indicator and a switchable high pass filter to reduce unwanted low frequency rumble. The VideoMic attaches to any Camcorder that has the standard camera-shoe fitting and utilizes a stereo mini jack for audio output. Studio recording quality Condenser microphone 9V battery powered Integrated shock mounting Two step High-Pass Filter - Flat or 80Hz Three step PAD - 0, -10, -20dB Rugged reinforced ABS construction Windshield included 3.5mm mini-jack output Integrated cold shoe mount, 1/4" and 3/8" thread

NT1A

Admin — Tue, 10 Nov 2009 22:14:18 +0000

by: Admin

Description: Up until the late 80's, high-quality condenser mics were only offered by boutique manufacturers at boutique prices. None but the biggest corporate recording studios could afford them (What about the AKG 414? Ed). Around the same time, many bands were abandoning the "big-studio" model and adopting DIY production ideals made popular by the hardcore punk scene. More musicians recorded and released their own music, and Rode recognized new demand. Starting in 1990, their now-legendary NT1 condenser mic brought studio-quality performance to the emerging, budget-conscious home-studio market. For today's Do-It-Yourselfer, Rode's anniversary edition NT1-A continues the tradition of quality and affordability, with redesigned features for the latest digital recording methods. Most low-cost condenser mics use an electret design, where a small electrical bias, or charge, is permanently attached to the condenser element. This technique is cost effective, but it can't match the quality of the traditional condenser design. Unlike electret mics, the NT1-A is a true condenser microphone, externally biased like its boutique cousins, but at a fraction of the cost. State-of-the-art surface-mount electronics and transformerless circuitry used in the NT1-A make it one of the quietest microphones in the world - at any price range. The internal shockmount system further isolates the mic from its environment to prevent floor vibration and handling noise from entering the signal path. With a self-noise rating of just 5.5 dBA, any audio source can be captured with sparkling brilliance and clarity. Your recorded tracks will be filled with the subtle characteristics that used to only come out of professional studios. You may worry the NT1-A is too quiet, too pristine for your needs. After all, digital production techniques leave no place for mistakes to hide. Fortunately, Rode designed the mic with a cardioid pickup pattern. Ambient noise from the back and sides of the condenser element are automatically rejected, leaving nothing but your intended source. You get all of what you want, and none of what you don't. Your tracks will be clean and tight, making the editing and mixing process much smoother. Project studios live and die by their output quality and quick turnaround. The NT1-A gives you more of both. The specs As with any home recording gear, a microphone must be versatile if it wants to stay in the budget. The NT1-A gives professional results with any input source. It features a wide 132 dB dynamic range and a maximum Sound Pressure Level of 137 dB to cover the quietest cymbal chimes to the boomiest bass parts with equal clarity and presence. The full-range frequency response from 20 Hz to 20 kHz is capable of reproducing whatever you record with spot-on accuracy. Use it as a room mic for rhythm and instrument tracks, then prop it up on a boom stand for rich, warm vocals. Why spend your money on a bunch of 'source-specific' mics, when the NT1-A will do it all? Get a matched set: For many engineers, the quickest way to a great-sounding track is to set up a pair microphones and record the music in stereo. The thinking is, capture what your ears normally hear and you can't go wrong. If this sounds good to you, Rode offers the NT1-A as an acoustically matched pair. You'll receive a certificate of testing to ensure proper balance and equal sensitivity on each mic. There's no need to compensate between one mic and the next, just set 'em and forget 'em. NT1-A's require 48v phantom power, so be sure your mixer or preamp supports this feature.

AWS 900+ SE

Admin — Tue, 10 Nov 2009 21:15:40 +0000

by: Admin

Description: The AWS 900+ SE is the latest incarnation of the popular compact Solid State Logic Superanalogue console. With around 500 consoles sold to date the AWS has redefined the analogue console paradigm. By combining a traditional world class analogue production console with a comprehensive DAW controller within a single product, SSL has shaped expectations for session workflow within today’s and indeed tomorrows’ production environments. Already used by leading international recording artists, producers and engineers, the AWS has now undergone an exciting upgrade and is now in its 3rd incarnation, the AWS 900+ SE. This new SE version introduces the “Logictivity Browser“ concept first seen on the larger format SSL Duality console. This allows the AWS to connect via a standard Ethernet connection. The Browser software is a simple Java application that runs on both Mac and PC. Currently supported functionality includes the saving, naming and restoration of Total Recall and AWSomation data (previously done via MIDI SYSEX), the ability to add names to the Channels’ scribble strips, and a number of other studio session project management tools. Archived console data can be treated as standard computer data and sent via email, transferred to a USB stick, etc. greatly simplifying data exchange between sessions. A further advantage of a direct console computer Ethernet connection, is that now all MIDI data is passed through Ethernet rather than traditional 5 pin MIDI cabling. This greatly simplifies installation and set up, removes the need for an external MIDI interface and provides a tighter integration with your chosen DAW. Furthermore all future console software updates will take place via Ethernet, thus significantly improving the speed of AWS console software upgrades. Other new features in the AWS 900+ SE include AUTOCUE functionality, MONITOR VOLUME POT CALIBRATION, SOLO ISOLATE, the ability to control two DAWS simultaneously, addition of SOFT BOOT power cycling. Already established features of the AWS include ultra clean SuperAnalogue mic pre’s, precise twin curve E+G Eq, classic SSL Dynamics processing, 5.1 Mixing and Monitoring, motorised faders, and established analogue sound to bring a difference to your digital audio. The AWS allows you take command of the modern studio by fully integrating traditional analogue signals with all inclusive DAW mastery. All existing AWS 900 and AWS 900+ consoles can be benefit from the feature set of the AWS 900+SE, by the purchase on an upgrade kit available January 2009. The AWS 900+ SE Upgrade will be sold through SSL Console Distributors. To locate your local SSL Console Distributor visit SolidStateLogic.com.

8250A Bi-Amped DSP Active Monitoring System

Admin — Tue, 07 Jul 2009 09:03:24 +0100

by: Admin

Description: The Genelec 8250A Bi-Amped DSP Active Monitoring System (pair). Highly respected, 24 Bit/192 kHz, Bi-amplified DSP monitor system ideal for large recording studios, broadcast and surround installations, mastering suites and TV and post-production houses.

HS50M monitors

Admin — Mon, 06 Jul 2009 23:42:32 +0100

by: Admin

Description: 2-way bass-reflex bi-amplified and designed to be a true studio reference monitor Bi-amplified near-field studio monitor with 5 inch cone woofer and 3/4 inch dome high-frequency unit 70 watts dynamic bi-amplified power

S4A monitors

Admin — Mon, 06 Jul 2009 23:37:13 +0100

by: Admin

Description: The S4A monitors are the first to incorporate the A.R.T. Midrange unit which provides excellent dispersion and less colouration. The S4A is more than adequate for use as main monitors in smaller studios or midfield monitors in larger studios.

MPS-300

Admin — Mon, 06 Jul 2009 23:35:08 +0100

by: Admin

Description: The MPS-300 uses the same professional series component structure as the infamous 2510 / 2510 PK monitors, but tuned for wall mounting. The 11 guage steel baffle provides an incredibly rigid platform for uncomprimised sonic performance. Suitable for use as both a main monitor or as a direct-radiating (monopole) surround speaker, the MPS-300 provides an exceptional dynamic range and high power handling capability in a package that literally takes up no floor space.

1036A studio monitor system

Admin — Mon, 06 Jul 2009 23:33:05 +0100

by: Admin

Description: The Genelec 1036A is an extremely powerful monitor system, designed for large control rooms. It consists of a 430 net litre speaker enclosure and a 19" electronics rack, which contains active crossovers, three channel power amplifiers and sophisticated protection and diagnostic circuitry.

MB2-A monitor system

Admin — Mon, 06 Jul 2009 23:30:19 +0100

by: Admin

Description: For small to medium size recording, mixing or mastering rooms, MB2-A would be appropriate, with the XBD added for additional low frequency SPL.

Type 515 studio monitor system

Admin — Mon, 06 Jul 2009 23:26:35 +0100

by: Admin

Description: This bass reflex loudspeaker cabinet uses a 400mm (16') driver for LF, a 75mm soft dome for MF and a 25mm soft dome for HF. It is designed for critical monitoring in small to medium sized control rooms where the mix position is not more than 4m from the monitors where it will provide accurate low distortion monitoring of all SPL’s up to 122dB peak per pair with music material, at 4m, in half space. The cabinets are fully active and digitally controlled by a BSS 24bit 96kHz processor providing excellent performance with comprehensive room matching facilities and driver protection systems. The system may be driven with a stereo digital input. The amplifiers are by Chevin Research, type Q6. This is a 4 channel high performance amplifier and is used to power all current Exigy systems.

1034B Main Control Room Monitoring System

Admin — Mon, 06 Jul 2009 22:42:47 +0100

by: Admin

Description: The Genelec 1034B is a powerful monitor system, designed for large control rooms. It consists of a 160 litres speaker enclosure and a 7U 19" equipment rack which contains active crossovers, three channel power amplifiers and driver protection circuitry. The speakers are designed for flush mounting in the control room wall, although they may be used free standing and can produce peak sound pressure levels in excess of 125 dB.

8030A Bi-Amplified Monitoring System

Admin — Mon, 06 Jul 2009 22:40:05 +0100

by: Admin

Description: The very compact 8030A is a powerful bi-amplified nearfield monitor system ideal for project and home studios, workstations, installations, and surround sound monitoring. The MDE™ (Minimum Diffraction Enclosure™) enclosure has rounded edges and a gently curved front and sides to achieve a very smooth frequency response and superb imaging qualities with minimized cabinet edge diffraction.

Audio A7 monitors

Admin — Mon, 06 Jul 2009 22:38:28 +0100

by: Admin

Description: The A7 matches the A.R.T. tweeter with a state of the art 6.5“ woofer that introduces a new cone material combining high rigidity and high internal damping with low weight, resulting in an extremely accurate monitor with all the clarity, detail and spectacular imaging traditionally associated with the ADAM name. The A7 is powered by two 50W RMS amps (one per driver). The front panel sports both a power switch and volume control. The rear panel houses controls for tweeter level and two shelving filters for high and low frequencies. The unit also features both balanced (XLR) and unbalanced (RCA) input connectors, allowing it to be used in almost any audio application.

Professional Twin6 Be

Admin — Mon, 06 Jul 2009 22:34:50 +0100

by: Admin

Description: The Twin6 Be is a near/ midfield analogue monitor that's designed for either horizontal or vertical placement and features a three-way actively amplified design. There are three speakers and three amplifier stages contained within each cabinet – two 6.5-inch drivers and one BE (beryllium) inverted dome tweeter. Each speaker has its own amp: one 150W amp for the LF; one 150W amp for the LF/MF; and a 100W amp for the HF, with a crossover set at 2500Hz.

AMR 24 mixing console

Admin — Mon, 06 Jul 2009 22:23:32 +0100

by: Admin

Description: Very popular 80's and 90's split mixing console. Was an affordable and good sounding console found in many good mid-range studios.

VR mixing console

Admin — Mon, 06 Jul 2009 22:20:53 +0100

by: Admin

Description: Very popular mixing console was the first to introduce Recall to a Neve and also featured Flying Faders moving fader automation. Still a very popular console but known to suffer from 'dried out' capacitors so need to be bought from studios with good maintenance.

Redd 51 mixing console

Admin — Mon, 06 Jul 2009 22:17:36 +0100

by: Admin

Description: Super classic mixing console associated with many Beatles recordings. Have you used one of these amazing consoles? If you have, please add your review below.

TG mixing console

Admin — Mon, 06 Jul 2009 22:13:14 +0100

by: Admin

Description: A very rare console built by EMI for their studios around the World. Regarded as a super classic console with sky high price tags when on the market.

SL4000G Series mixing console

Admin — Mon, 06 Jul 2009 22:09:09 +0100

by: Admin

Description: Possibly one of the most popular mixing consoles of all time. It followed the E Series console featuring Total Recall and later on Ultimation Automation.

TSM mixing console

Admin — Mon, 06 Jul 2009 22:06:12 +0100

by: Admin

Description: This console is an absolute dream for many engineers and this model of Trident has been used to record top artists such as Kiss, Pink Floyd, Barbara Streisand, David Bowie, Queen and hundreds more! Regarded as one of the best sounding consoles ever built.

JH 500 Series mixing console

Admin — Mon, 06 Jul 2009 22:03:09 +0100

by: Admin

Description: This model was the first fully featured design incorporating in-line principles for monitoring - a concept soon copied by SSL and many others. It has very comprehensive facilities including full stereo and quad buses and 6 auxes. It features VCA control on the main fader that can be bypassed if required. It immediately strikes the listener with its capability to faithfully reproduce a rich and dynamic sound – tuneful and harmonic.

JH 400b mixing console

Admin — Mon, 06 Jul 2009 21:59:40 +0100

by: Admin

Description: A classic mixing console with click EQ settings and early automation system. The original console had no return on the monitor path during mixdown but vatios mods could be done to fix this. The MCI 400 was used to record many classic tracks, notable ones include early Police records.

1176 peak limiter

Admin — Mon, 06 Jul 2009 21:53:05 +0100

by: Admin

Description: George Shillings Review It is over two years since I reviewed the Purple Audio MC76, an enhanced recreation of the Urei 1176LN, my absolute favourite desert-island compressor/limiter. Perhaps awakened by the continued demand for this design, the two sons of original designer, the late M.T. "Bill" Putnam, sprang into action to reissue the original model under its original brand name. And a pretty good job they appear to have made of it. Every last detail has been faithfully reproduced: even the manual cover has been copied, including the textured paper. The spec-sheets make similar reading, with virtually every figure identical, and the circuit diagrams show a similar design, although they are no longer hand-drawn. The front panel is black, recreating the look of the more favoured versions of the original 1176. The originals went through several revisions, designated A to G: this unit has been based on the D/E black-faced models. Later units replaced the Class A output stage with a Class AB push-pull stage, and the transformer input was replaced with a differential op-amp circuit. All controls feel similar, the unit featuring wonderfully large Input and Output knobs, and Attack and Release pots, which are all smooth in operation, the Attack retaining its bypass click-off setting. This removes any compression, but leaves the gain controls active, turning the unit into a characterful line amplifier. The illuminated meter is similar in appearance to later Urei designs, with the re-created UA logo featured, and a recessed trim pot across the other side of the panel for re-calibrating zero. And old-fashioned radio-bands style pushbuttons all work exactly the same as on the originals, except that they feel a little stiff and 'new'. Ratios of 4:1, 8:1, 12:1 and 20:1 are available with the central row of buttons, and on the right are selections for meter: Gain Reduction mode, Output Level at +4 or +8, and by pressing the bottom button the unit is powered off. The OFF legending had been mysteriously stickered with on/off symbols, no doubt to satisfy some pernickety modern safety rules. Although, talking of safety, upon removing the cover, I was surprised to see unshrouded bare wires on the mains connections - a nuisance for any service engineer. However, the approach is admirable: the circuit layout looks similar in every respect, with plug-in transistors inserted into sockets mounted on the board. On the rear panel are tag connectors, exactly like the original, with connections for signal and also remote metering, although I would imagine this to rarely be required. Apart from a fuse holding IEC mains socket, the only addition to the original design is a pair of XLR signal connectors. The previously available Model 301 bolt-on box attached to the tag strip to provide XLRs, but many owners made their own modifications and attached sockets directly to the case. The phono socket for stereo operation is retained. This is labelled 1176SA, and the stereo adapter must be connected between two units for stereo operation. The timing capacitors are in parallel, so doing this doubles the fastest speed of the Attack time, and stereo operation is fiddly to set up, especially between units of different vintage, due to differing transconductance in the FET. Perhaps the 1176SA circuitry could have been included inside the case, as with the Purple model. In use the unit feels very much like one of the originals. I was fortunate to have the luxury of David Gilmour's Astoria studio, which boasts several original black faced and grey Haeco-badged 1176s examples for comparison, not to mention excellent monitoring for comparisons. The 1176 uses a FET as a variable resistor to control gain, (there are no valves here), and this is the main reason for its unique character. All units were slightly different, but the new model's Output gain pot was noticeably changed, with perhaps a slightly different value - I had to turn it further clockwise to match levels. However, in most other respects, operation was identical, and the sound was very similar, with perhaps a little extra clarity from the new unit. Vocals sounded wonderfully enhanced by this compressor, and in normal use it was hard to hear any difference between the new and old models. Attack and Release characteristics seem to have been accurately retained, with an Attack range of 20 to 800ms and Release times of 50 to 1100ms. The only really obvious sonic difference was in overdrive mode - the legendary technique of pressing all four Ratio buttons in simultaneously to give a really over-the-top distorted compression. The character of the new unit in this situation was quite different from any of the older models, with much brighter and nastier distortion, and less warmth, especially on fast settings. By backing off the Release speed, a more similar sound could be achieved, but there was still an obvious difference, and although the older units may have been somewhat out of alignment, this was the sound I preferred. The 1176LN sounds great, but the lower-priced Purple competitor is sonically very similar, and features many improvements over the original design. However, as a 'strictly authentic' official reissue with indisputable credentials, the UA is the box to have.

Mutator

Admin — Mon, 06 Jul 2009 21:49:40 +0100

by: Admin

Description: The Mutator is effectively the filter section of an analogue synth stuck inside a 2U-high,19-inch rackmount box. To a synth player, the filtering is the source of major fun, and to the recording engineer a similar filter opens up possibilities rarely exploited in a professional unit.

VHD (Variable Harmonic Drive) X Rack Module

Admin — Mon, 06 Jul 2009 21:46:10 +0100

by: Admin

Description: "The VHD Input Module expands the power of X-Rack as a tracking system, bringing a collection of controllable warmth and grit characteristics to the recording engineer's palette that will really make sounds cut through a mix."

Thermionic Culture Vulture valve distortion unit

Admin — Mon, 06 Jul 2009 21:38:29 +0100

by: Admin

Description: The black 2U front panel includes a host of vintage style knobs and toggle switches. The meters aren't VUs, but ammeters, measuring current flow through the valves. The unit's construction is similar to the Phoenix, with a sealed metal base section containing smaller components, on top of which are mounted the larger parts. These include a large old-fashioned bobbin mains transformer and an array of obscure valves, almost conceivably from the designer's attic. This top section is covered with a metal mesh casing. The unit is surprisingly lighter than it looks, especially as this is an all-valve unit. There are no ICs in sight, and not even any printed circuit boards.

Thermionic Culture Phoenix tube compressor

Admin — Mon, 06 Jul 2009 21:30:25 +0100

by: Admin

Description: The appearance of the Phoenix is striking. It is a hefty 3U rackmounter, with startling square VU meters. The upper casing is fashioned from bare steel sheeting punctured with a mesh of large holes, through which the major components are clearly visible. These comprise six valves (of three different, relatively uncommon types), three huge transformers, four potentiometer shafts (for service adjustments) two massive capacitors, and the aforementioned meters, all mounted on a bare metal base section. It is a measure of the design philosophy that huge shafted potentiometers are used for trims rather than the tiny trimpots found more commonly. The smaller electronic components and wiring are enclosed within the base. These are accessed by removing the bottom metal panel, which reveals familiar electronic components, but, astonishingly, no PCBs. Components are either attached to the casing or mounted on one of three solder-tag strips. This method of construction is almost unheard of in these days of computer design. The rear of this section includes the IEC mains socket, fuses, and two pairs of XLR connectors for input and output. The rough casing construction could be from a school metalwork class, but has a rugged appeal.

2-LA-2 Levelling Amplifier

Admin — Mon, 06 Jul 2009 21:26:59 +0100

by: Admin

Description: You might need an aircon upgrade to cope with the extra heat, but the 2-LA-2 pours warmth into your music. This really is magic: two LA-2As in a box. Sounds as good as two LA-2As for less money; Matched stereo linking. Be warned, it gets hot and requires empty rack space above (and preferably below)

1176LN compressor/limiter

Admin — Mon, 06 Jul 2009 21:21:01 +0100

by: Admin

Description: The front panel is black, recreating the look of the more favoured versions of the original 1176. The originals went through several revisions, designated A to G: this unit has been based on the D/E black-faced models. Later units replaced the Class A output stage with a Class AB push-pull stage, and the transformer input was replaced with a differential op-amp circuit.

MC76 limiter

Admin — Mon, 06 Jul 2009 21:19:12 +0100

by: Admin

Description: The Purple features the same sets of pushbuttons as the 1176: ratios of 4:1, 8:1, 12:1 and 20:1, and (Power) Off, +8 level, +4 level or GR (Gain Reduction) metering and a similarly illuminated VU meter. Choose carefully though: the manual states that there may be some colour variation between units!

Trakker mono compressor/limiter

Admin — Mon, 06 Jul 2009 21:14:00 +0100

by: Admin

Description: The Trakker is a new mono compressor/limiter from Cranesong. Although similar in appearance to the STC-8 Stereo Compressor, the designer has taken a somewhat different approach. However, there are also some similarities, such as Class A electronics, solid construction from steel and aluminium, and bluey-green knobs.

165 compressor

Admin — Mon, 06 Jul 2009 21:12:31 +0100

by: Admin

Description: The DBX 165 is a solid state compressor/limiter with VU metering & like other dbx compressors, is known for its 'over easy' trademark compression sound.... the compression can be transparent, even when applying a significant amount of compression.

160s compressor

Admin — Mon, 06 Jul 2009 21:10:07 +0100

by: Admin

Description: If you really wanted savage compression then this black box was the one to do the business. Other variations with more features such as the 165A came along, and these were popular but less common than the standard 160 with its fixed auto attack and release settings. In the early eighties came the 160X, a 1U, LED-packed box, still black and still fairly brutal, but a little bit smoother sounding than its predecessor. And even smoother in "OverEasy(R)" mode, which is the registered dbx name for soft knee compression. There must be thousands of these superb units in studios and live racks around the world, and a budget version (the 160XT) built in Hong Kong has continued to sell well.

S6R Active Studio Monitors

Admin — Sun, 05 Jul 2009 12:47:05 +0100

by: Admin

Description: The sonic performance of the S6R belies its size, the low frequency response being more than adequate for many applications, however, when an extended bass response is required the infinite baffle cabinet design facilitates perfect integration with SB10R sub-woofer which will extend the frequency response down to 25Hz. The S6R is phase coherent with the S7R and S8R, enabling it to be used in combination with both in multi- channel systems. Some typical applications include: speech recording, component in multi-channel systems, postproduction, Audio workstations and location recording.

NS10M studio monitor loundspeakers

Admin — Sun, 05 Jul 2009 12:20:26 +0100

by: Admin

Description: Classic studio monitors

Melbourne

Admin — Sun, 05 Jul 2009 12:16:52 +0100

by: Admin

Description: Classic Neve mixing console now commonly used as a 'side car' mixer or for producer studios requiring a limited number of inputs.

Duality mixing console

Admin — Sun, 05 Jul 2009 12:11:42 +0100

by: Admin

Description: Duality is an analogue large format music console that carries the DNA of the SSL E, G & K Series that through the decades have defined and redefined what a music console can be. Much more affordable than previous large format consoles Duality can be bought as a 24, 48, 72 or 96 channel configuration. Bays of 24 channels can be added later at any time and the console has built in power supplies so no external racks are required.

RMX 16 reverb unit

Admin — Sun, 05 Jul 2009 12:05:39 +0100

by: Admin

Description: An industry classic, the RMX16 offers a depth in various reverb sounds beyond anything offered by plug ins. For those classic 1980's and 1990's reverb sounds that bring the voice and drums alive look no further.

Gain Brain

Admin — Sun, 05 Jul 2009 12:00:11 +0100

by: Admin

Description: Valley People gain brain's are now quite rare however there is a strong following for them as they offer a unique sound.

Lunchbox

Admin — Sun, 05 Jul 2009 11:34:55 +0100

by: Admin

Description: API's famous 6 slot Lunch Box can house up to 6 x 500 series modules. Choose a rack and mix & match modules for the classic API sound.

Mynx

Admin — Sun, 05 Jul 2009 11:29:13 +0100

by: Admin

Description: Mynx is a desktop mini X-Rack that allows you to load your choice from the X-Rack module range into a simple two module slot desktop box. It measures a mere 105mm x 190mm x 185mm and has two X-Rack Module capacity. Power supply to the modules is via an external supply and audio connections are made directly to the back of your selected modules.

Duende Mini FireWire DSP Processor

Admin — Sun, 05 Jul 2009 11:24:13 +0100

by: Admin

Description: The SSL Duende Mini puts the legendary Solid State Logic sound within your DAW in a portable package that is more affordable than ever. The Mini is a stylish little 'one third rack width', all metal construction, desktop box that hooks up to your computer via Firewire. This rugged unit is ideal for small studios or laptop based DAW users. Mini makes a stack of DSP processing power available to drive up to 16 mono channels of plug-in processing (at sample rates up to 96kHz) within your host application. Duende Mini is upgradeable to 32 channels of processing power and you can run two Duende units on a single computer system for up to 64 channels of processing.

UCA202 USB Audio Interface

Admin — Sun, 05 Jul 2009 11:21:24 +0100

by: Admin

Description: High-resolution 48 kHz converters for high-end audio quality. Works with your PC or Mac. No setup or drivers required. Stereo headphone output with dedicated level control lets you monitor both input and output. Additional S/PDIF optical output for direct digital conversion. Powered via USB bus,no external power supply needed

Fast Track Ultra USB 2.0 Audio Interface

Admin — Sun, 05 Jul 2009 11:15:56 +0100

by: Admin

Description: The M-Audio Fast Track Ultra 8 x 8 audio/MIDI interface takes Featuring both analog and digital I/O, it allows recording on all eight channels simultaneously with 24-bit/96kHz and low-latency drivers. The on-board MX Core DSP mixer processes eight hardware inputs and eight software returns to the eight hardware outputs, delivering flexible routing and monitoring with delay and reverb.

Fast Track Pro USB Audio Interface

Admin — Sun, 05 Jul 2009 10:53:00 +0100

by: Admin

Description: The Fast Track Pro delivers all the mobile recording flexibility of the Fast Track USB, plus even more professional features. You get 2 front-panel mic/line inputs complete with phantom power for condenser microphones, inserts for outboard effects balanced and unbalanced analog outputs, S/PDIF digital I/O, MIDI I/O, and more. Fast Track Pro also features near-zero latency direct hardware monitoring and low-latency ASIO software monitoring, plus an A/B source switch and dual output pairs for DJ-style cueing. Fast Track Pro is compatible with most popular PC and Mac music software. USB connection and bus power along with class compliancy for Mac OS X* make it a breeze to set up. * Class compliancy supports up to 16-bit/48kHz 2 x 4 operation on OS X 10.3.9 and higher. Driver installation required to access more I/O.

D12 E microphone

Admin — Fri, 03 Jul 2009 23:00:04 +0100

by: Admin

Description: The dynamic transducer with its special “Bass Chamber” is handmade. The Bass Chamber boosts the lower frequencies in the 60 to 120 Hz range. The large diaphragm provides full, rich bass and ensures clean, undistorted reproduction at high sound levels. Its shock mount prevents pick-up of impact and structure-borne noise. A compensation winding rejects hum induction (from power lines, amplifiers, etc.) and a built-in windscreen eliminates pop noise.

TLM 103 microphone

Admin — Fri, 03 Jul 2009 22:53:17 +0100

by: Admin

Description: The TLM 103 is the ideal large diaphragm microphone for all professional and semi-professional applications requiring the utmost in sound quality on a limited budget. By utilizing the tried and true transformerless circuit found in numerous Neumann microphones, the TLM 103 features yet unattained low self-noise and the highest sound pressure level transmission. The capsule, derived from that used in the U 87, has a cardioid pattern, is acoustically well-balanced and provides extraordinary attenuation of signals from the rear.

UM 900 UM-900 Tube microphone

Admin — Fri, 03 Jul 2009 22:48:17 +0100

by: Admin

Description: The Microtech Gefell UM900 Phantom is a low-noise large diaphragm vacuum tube microphone with 5 selectable polar patterns. The Microtech Gefell UM-900 is the first LD, multi-pattern tube mic in the world to omit the 'ball & chain' hassle of a designated power supply. The distinctive appearance incorporates form and function, combined with a state-of-the art internal pre-amplifier for exceptional dynamics and detail. The Gefell UM-900 is a first-rate studio microphone with the warmth and smoothness that is associated with a vintage tube mic. The Microtech Gefell UM-900 produces a wonderful timbre with a euphonic presence peak and an extended bottom-end. Applications are limited only by your imagination. Pictured with Gefell EA92 shock mount; other mounting options are available.

4003 Omni microphone

Admin — Fri, 03 Jul 2009 22:44:06 +0100

by: Admin

Description: The DPA line of high-performance microphones, formerly known as Breul & Kjaer, emerged into prominence among studio professionals and audiophile recordists as a direct result of superior performance under every imaginable kind of recording circumstances. DPA/B&K microphones are legendary among recording engineers devoted to the cleanest possible musical signal pick up.

MD 421 microphone

Admin — Fri, 03 Jul 2009 22:36:44 +0100

by: Admin

Description: A highly popular microphone for micing toms etc.