Telefunken DC7 Drum Pack6-teiliges dynamisches Mikrofonpaket für Schlagzeug im Studio und auf der Bühne.Das TELEFUNKEN DC7 ist ein 7-teiliges dynamisches Mikrofonpaket für Schlagzeug im Studio und auf der Bühne. Die Mikrofone umfassen das M82 für die Kick Drum, das M80-SH für die Snare, drei M81-SH für die Toms und ein Paar M60 FET für die Overheads.1 x M82 mit Stativadapter1 x M80-SH mit Metall- und Kunststoffhalterung3 x M81-SH mit Metall- und Kunststoffhalterung2 x M60 FET mit Shockmount7 x XLR Kabel mit WinkelsteckerFlightcase

A-Designs REDDI REDDI is a fire-engine red tube direct box with an unquestionable quality of sound. This is best foot forward in giving the audio world a truly remarkable product at an affordable price.The REDDI has been field tested and referred by recording engineers to be the "best tube DI ever made".With wider bandwidth and just the right amount of gain, the REDDI stands clear and clean above the competition.Great for Basses, Guitars, Synths and electronic instruments that require a direct box for recording, the REDDI is READY to give you unsurpassed sound for that perfect recording or live performance.A Designs believes REDDI will set the NEW Benchmark for tube direct boxes!

1073MP FeaturesThis is the mic pre-amp version of the 1073 equaliser having the same well-known characteristic Class A sound with its harmonically rich low end, slight resonant highs, and maintained focused mids.A transformer coupled input, with two selectable impedances makes the 1073MP work well with a variety of microphones.There is also a line input feature for adding depth to 2-bus mixes and a DI input for all passive and active instruments.As a coloured and versatile mic-pre, the 1073MP maintains its sonic signature across a wide bandwidth. All Class A, transformer-coupled design in a 19" 1U chassis. Line level XLR inputs for extra versatility as a line preamp. High impedance DI for guitar and synth. The same Class A components as the 1073 and 1084. Illuminated phase reverse and phantom power push-buttons. Input impedance selector switch between 1200 and 300 ohms. Same modular design and hand-wiring BAE is known for. Regulated linear power supply will run up to four channels. "I just got my 1073MP and I couldn't be happier. I've been using various BAE pres in other studios for years, but never had a pair in my own home studio. I absolutely love this unit being in my rack and now my vibe here at my studio was just elevated so much. Thanks for making some of the best gear out there!!!!" - Mike Castonguay, Lukewarm Freeda Productions

The B2 Bomber ADC from BURL Audio is the most significant piece of audio gear in your studio, and you don’t even own it yet. You’ve spent a fortune on great mics, great mic pres, and a kick ass DAW, but unfortunately you are missing one key component; an ADC with an audio path worthy of your recordings.Open up your best mic pre and look inside. You will see high quality components like tubes, large transformers and high quality capacitors. Open up your ADC and you will find cheap 10 cent capacitors and run-of-the-mill 25 cent op-amps, even when you’ve spent a lot of money on your interface. Most DAW hardware interfaces are designed for interconnectivity with little attention to the analog audio path, or even the conversion, let alone the tone.The B2 Bomber is designed for great specifications, but more importantly, it is designed to give you the ultimate in recording tone. For years now people have been trying to figure out why their digital recordings don’t have the warmth and feel of analog tape recordings. We try using tube mic pres and great compressors, but there is still something missing. There is still that blurriness, that graininess and lack of depth that comes with digital recordings.BURL Audio has solved this problem by designing an analog audio path that is complimentary to your mic pre and to the analog to digital process. By using a revolutionary hybrid circuit with a proprietary transformer, the BURL AUDIO BX1, and a discrete class-A, zero feedback, zero capacitor signal path, we have achieved dynamic and tonal balance.Using a B2 Bomber in the studio is like taking the governor off of your recordings. And, the B2 is not just for tracking. Mix down and mastering were the main focus of the B2's layout and design. With 30 segment peak amplitude and RMS metering, the B2 lets you know exactly how hot you are running your signal which is critical for mastering. The attenuator settings on the front easily allow you to change input headroom giving you the ability to hit the front end hotter or colder depending on what the material calls for. And don’t be afraid to run the B2 Bomber hot, it only sounds better. Couple that with an extremely low jitter clock source, and you have the B2 Bomber ADC, the most significant piece of gear in your studio.     44.1k Hz to 192k Hz, 24 bit, 2 channel ADC     Proprietary, high definition, BURL Audio BX1 transformer input     All class A, discrete transistors signal path with zero feedback, zero caps     Audiophile quality 6 position attenuator with standard headroom settings     High definition metering with simultaneous RMS and peak indication     Two AES and one SPDIF output with dual AES wire support     BNC word clock input with two outputs of extremely low jitter clock     Frequencty resonse at 48kHz sample rate is 12Hz to 22kHz, +/- 0.1dB     Frequencty resonse at 96kHz sample rate is 15Hz to 46kHz, +/- 0.1dB     Frequencty resonse at 192kHz sample rate is 18Hz to 94kHz, +/- 0.1dB     120dB Dynamic Range (A- weighted), 117dB (no weighting)     -100dB THD+N (+4dBU = -15dBFs)     -94 dB THD+N (+18dBU = -1dBFs)     Rugged, Made in USA design

Der Grace Design m900 ist ein kompakter Kopfhörerverstärker mit digitalen S/PDIF, TOSLINK und USB-Anschluss. Der interne DAC sorgt für präzise Auflösung, so dass sich der m900 nicht nur als hochwertiger Kopfhörerverstärker für HiFi eignet, sondern auch seinen Einsatz im professionellen Studio gerechtfertigt. Über den TOSLINK und den S/PDIF Eingang verarbeitet der m900 Audiosignle mit einer Auflösung von max. 24bit und 192kHz. Über die USB-Schnittstelle können Samplingraten bis zu 384kHz sowie DSD64, DSD128 und DSD256 verarbeitet werden. Und als zusätzliches Feature verfügt der m900 zudem noch über zwei analoge Ausgänge für den Anschluss von Aktivlautsprechern. Wie alle Geräte von Grace Design überzeugt der m900 durch seinen neutralen klaren Sound, sowie durch optimal Haptik.

Analog inputs - unbalanced, balanced, CUE, talkback mic (additional balanced input available on the m905 Analog) Digital inputs - 2x AES3 (Single or dual-wire), 1 S/PDIF, 1 TOSLINK, ADAT (selectable in 4 pairs, or 2 pairs in S/MUX), USB, DSD128 (5.6448MHz) Audio circuitry designed for completely transparent and musical playback performance Asynchronous Class 2 USB playback supports up to 24 bit/192kHz Mastering quality DAC circuitry with configurable de-emphasis filtering s-lock dual-stage Phase Lock Loop for ultra low jitter clock regeneration Hybrid RCU with hardware switches, large level encoder and graphical LCD LCD display shows input, level, output, SPL and DAC status plus a full calibration menu RCU includes built in microphone for talkback and onboard SPL meter SPL meter features include level, peak, fast and slow modes, A & C weighting Precision .5 dB step level control for speakers and headphones Reference headphone amplifier circuitry, with outputs on both the RCU and ACU Dedicated mono, dim, mute and sub mute switches Mono mode can be set to L+R summed, L only in both channels, or R only in both channels L solo, R solo, L-R and sub solo modes are available 3 available stereo speaker outputs, with two assignable mono sub outputs (or single stereo sub output) Multi-mode SUB/ DAC/ METER out SUB out mode for stereo or multiple mono subwoofer outputs DAC out mode for a fixed DAC output fed by the selected digital input METER out mode fed by selected input signal (digital or analog), configurable with a fixed level or to follow yhe monitor level Detachable RCU tilt base

Analog inputs - unbalanced, balanced, CUE, talkback mic (additional balanced input available on the m905 Analog) Digital inputs - 2x AES3 (Single or dual-wire), 1 S/PDIF, 1 TOSLINK, ADAT (selectable in 4 pairs, or 2 pairs in S/MUX), USB, DSD128 (5.6448MHz) Audio circuitry designed for completely transparent and musical playback performance Asynchronous Class 2 USB playback supports up to 24 bit/192kHz Mastering quality DAC circuitry with configurable de-emphasis filtering s-lock dual-stage Phase Lock Loop for ultra low jitter clock regeneration Hybrid RCU with hardware switches, large level encoder and graphical LCD LCD display shows input, level, output, SPL and DAC status plus a full calibration menu RCU includes built in microphone for talkback and onboard SPL meter SPL meter features include level, peak, fast and slow modes, A & C weighting Precision .5 dB step level control for speakers and headphones Reference headphone amplifier circuitry, with outputs on both the RCU and ACU Dedicated mono, dim, mute and sub mute switches Mono mode can be set to L+R summed, L only in both channels, or R only in both channels L solo, R solo, L-R and sub solo modes are available 3 available stereo speaker outputs, with two assignable mono sub outputs (or single stereo sub output) Multi-mode SUB/ DAC/ METER out SUB out mode for stereo or multiple mono subwoofer outputs DAC out mode for a fixed DAC output fed by the selected digital input METER out mode fed by selected input signal (digital or analog), configurable with a fixed level or to follow yhe monitor level Detachable RCU tilt base

The new m908 Monitor Controller is designed for speaker systems up to 24 channels, from stereo to Dolby Atmos™ 22.2 and all formats in between. Built on our legacy of reference audio design, the m908’s audio performance delivers impeccable clarity and detail. Our latest generation AD / DA converters provide incredible dynamic range and resolution, while all new analog circuitry is designed to be effortlessly transparent and musical. The m908 system consists of a mainframe audio control unit, remote control unit, and a power supply with dual-redundant universal input power modules. The remote control is based on our m905 stereo monitor controller, but scaled up to accommodate added features and playback channel count. Standard features include a total of 68 digital input channels via AES3, TOSLINK, S/PDIF, ADAT Lightpipe, and USB2. Outputs include 16 balanced analog output channels and 24 digital output channels. Up to 16 channels of analog inputs are available with the addition of the optional 8 channel ADC modules, and an additional option module slot provides up to 32 additional digital I/O channels via Dante™ or DigiLink™. Up to 24 input channels can be received simultaneously and routed to the 24 channel processor, and sample rates of up to 192kHz / 24bit are supported. A powerful DSP section allows for room correction EQ on every channel, comprehensive bass management features, and individual channel delay. The m908 is a fully self contained plug and play monitor controller, with a full complement of monitoring features including cue channels, built in talkback mic, mono, mute and dim controls, and an exhaustive list of functions relating to surround and immersive playback systems. It is designed to enable professionals and facilities to update their workflows for immersive audio playback with a minimum of effort and cost. Features: 24 channel AES3 digital I/O / 16 channel analog outputs 16 channel ADAT Lightpipe in / USB 24 channel inputs AES3, S/PDIF, and TOSLINK stereo inputs Optional Dante™ or DigiLink™ module for an additional 32 channels of I/O Optional 8 channel ADC module for 8 or 16 channel analog inputs 4th generation s-Lock pll clocking system for vanishingly low jitter High resolution volume control Powerful room correction EQ Complete bass management capability Channel level and delay calibration Comprehensive downmix control Built in SPL meter and pink noise source Powerful and intuitive remote control unit for access to all system controls and calibration Dual redundant external power supply Reference quality headphone amplifier with cross-feed Flexible talkback system with built-in mic on remote control and mic input for external talkback mics Up to 8 stereo CUE paths 4 General Purpose Input and Output pins for interfacing to external systems

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

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

176 Tube Limiting Amplifier The Retro Instruments Retro 176 Limiting Amplifier has the largest feature set in any variable-mu design. * Precision Knob scales for easy recallability * Continuously variable attack and release time * Four settings of compression ratio from soft compression to limiting (2:1, 4:1, 8:1, 12:1) * Wide-Range Sidechain Highpass Filter * Vocal Assymetry Tool * Hard-wire Bypass Switch * Interstage Transformer Bypass Switch * High Quality VU Meter switchable between Input, Output and Gain Reduction * XLR input and output connections * IEC power connector * 115/230V AC Mains * Integral tube balance test * Easy stereo strapping of two or more units * Selected NOS tubes and components Specifications for the Retro 176 include: * 20 dB of available gain reduction * Signal to noise ratio of greater than 76dB * Flat frequency response within 0.5dB from 20-20,000Hz and Harmonic Distortion of less than 1% from 0-15dB gain reductionFür weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.

Sta-Level Tube Compression Amplifier The Retro Sta-Level is a replica of the legendary 1956 Gates Sta-Level. The Sta-Level dominated the sound of hit radio in the 1960's. Now these super musical sounding compressors have found their way into today's hits. The Retro Gold Edition celebrates fifty years of the products existence. The Sta-Level uses the coveted 6386 tube in a classic G.E. circuit design. Alternatively, the Gold Edition Sta-Level uses a pair of commonly available 6BJ6 tubes (stock). The customer has the choice to use their own 6386 they provide or the 6BJ6 provided with the purchase of the unit. The choice is yours and the sound is undeniably true to the original either way. The original 6386 compressor developed by G.E., utilized a novel program controlled release circuit. The Sta-Level implementation creates density and consistency while minimizing typical compressor side-effects at up to 40dB of gain reduction! The program path is transformer balanced throughout to cancel control-induced distortion. Push pull circuitry with 6V6 output stage provides wide voltage swing for gain control and line output. The result is that the Sta-Level brings a uniquely familiar intimacy, air and warmth to your tracks. Revisions to the original design include; Tube balance can be instantly aligned without test equipment; Uses 6386 tube or a pair of 6BJ6 tubes; Two or more Sta-Levels can be coupled together for stereo, surround or sidechain operation; XLR transformer balanced input and output; IEC Power Connector; Hand matched audiophile-grade coupling capacitors; High quality, custom wound transformers used throughout; Internal component safety cover.Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.

Royer Labs wurde im Jahre 1998 zur Vermarktung der einzigartigen, modernen Bändchenmikrofone von David Royer ins Leben gerufen. Zur Zeit der Firmengründung waren Bändchenmikrofone fast schon in Vergessenheit geraten, doch die Modelle R-121 und SF-12 des in Kalifornien beheimateten Unternehmens konnten sehr schnell das Interesse von Klangliebhabern auf der ganzen Welt erwecken. Diese neue Generation von Bändchenmikrofonen erwies sich als perfekte Ergänzung zu moderner Studiotechnik, als Toningenieure im Zuge der steigenden Beliebtheit digitaler Aufnahmeverfahren das warme, analoge Feeling und den weichen Klang von Bändchenmikrofonen wiederentdeckten. Heutzutage bietet Royer Labs ein umfangreiches Sortiment an Bändchenmikrofonen für Studio- und Live-Anwendungen, die in Tonstudios und auf Bühnen rund um den Globus zu Hause sind. Produktdetails Hohe Pegelfestigkeit für die Abnahme von E-Gitarren, Blechblasinstrumenten und andere Anwendungen zur Direktabnahme Mehrlagiger Windschutz für einen effektiveren Schutz des Bändchenelements Integrierte elastische Halterung des Bändchenwandlers für eine längere Lebensdauer Passive Schaltung mit speziellem Übertrager für hohe Übersteuerungsfestigkeit Übertrager im Humbucker-Design für extrem geringes Grundrauschen Keine Beeinträchtigung des Bändchenelements durch Hitze und Feuchtigkeit Keine Spitzen im Hochtonbereich, kein „Klingeln“, keine Phasenverschiebungen Gleiche Empfindlichkeit an der Vorder- und Rückseite des Elements Erhältlich als Matched Pair

Royer Labs wurde im Jahre 1998 zur Vermarktung der einzigartigen, modernen Bändchenmikrofone von David Royer ins Leben gerufen. Zur Zeit der Firmengründung waren Bändchenmikrofone fast schon in Vergessenheit geraten, doch die Modelle R-121 und SF-12 des in Kalifornien beheimateten Unternehmens konnten sehr schnell das Interesse von Klangliebhabern auf der ganzen Welt erwecken. Diese neue Generation von Bändchenmikrofonen erwies sich als perfekte Ergänzung zu moderner Studiotechnik, als Toningenieure im Zuge der steigenden Beliebtheit digitaler Aufnahmeverfahren das warme, analoge Feeling und den weichen Klang von Bändchenmikrofonen wiederentdeckten. Heutzutage bietet Royer Labs ein umfangreiches Sortiment an Bändchenmikrofonen für Studio- und Live-Anwendungen, die in Tonstudios und auf Bühnen rund um den Globus zu Hause sind. Produktdetails Hohe Pegelfestigkeit für die Abnahme von E-Gitarren, Blechblasinstrumenten und andere Anwendungen zur Direktabnahme Mehrlagiger Windschutz für einen effektiveren Schutz des Bändchenelements Integrierte elastische Halterung des Bändchenwandlers für eine längere Lebensdauer Passive Schaltung mit speziellem Übertrager für hohe Übersteuerungsfestigkeit Übertrager im Humbucker-Design für extrem geringes Grundrauschen Keine Beeinträchtigung des Bändchenelements durch Hitze und Feuchtigkeit Keine Spitzen im Hochtonbereich, kein „Klingeln“, keine Phasenverschiebungen Gleiche Empfindlichkeit an der Vorder- und Rückseite des Elements Matched Pair

Mit dem 25th Anniversary R-121 feiert Royer das Jubiläum des legendären R-121 mit einer einzigartigen, limitierten Auflage. Das R-121 Distressed Rose bietet unverändert den gleichen Charakter und Klang des klassischen R-121 und fügt ihm eine atemberaubende Lackierung hinzu, die Fans und Sammler des R-121 begeistern wird. Abhängig vom Licht erzeugt die spezielle "Distressed Rose"-Lackierung eine Vielzahl von wunderschönen Farbtönen: Von einer dunklen Bourbon-Farbe bei schwächerem Studiolicht und auf der Bühne bis hin zu einem satten Rosé-Ton bei hellerem Licht. Die Auflage des R-121 Distressed Rose ist auf 500 Stück weltweit begrenzt. Das R-121 wurde 1998 auf den Markt gebracht und war das erste moderne Bändchenmikrofon, das sich radikal von anderen Mikrofonen abhob und damit die Wiedergeburt des Bändchenmikrofons einleitete. Das R-121 ist weltweit ein Standard für Abnahme von E-Gitarren und eines der besten Mikrofone für Blechblasinstrumente, Drum-Overhead, Kick-Drums, Klavier, Snare-Drum, Akustikgitarre, Violine, Percussion, Harfe, Cello... die Liste lässt sich beliebig fortsetzen. Um ein Instrument so natürlich wie möglich aufzunehmen, ist das R-121 die perfekte Lösung. Das R-121 Distressed Rose ist eines der am besten aussehenden und am besten klingenden Mikrofone, sowohl für den täglichen Gebrauch als auch als Sammlerstück. Eigenschaften Limitierte Auflage des R-121 mit "Distressed Rose"-Finish Verträgt hohe Schalldruckpegel Keine aktiven internen Komponenten, die bei hohen Schallpegeln Verzerrungen erzeugen könnten Extrem niedriges Grundrauschen Bändchenelement wird von Hitze und Feuchtigkeit nicht beeinträchtigt Keine hochfrequenten Phasenverzerrungen Gleiche Empfindlichkeit an der Vorder- und Rückseite des Elements Konstanter Frequenzgang (unabhängig von der Distanz) Matched Pair

The Series 68 analog consoles have been developed to deliver the core feature set most often needed for analog recording. The 68’s are Split/lnline consoles with individual channels in 8-way panels. Using an 8 subgroup configuration and incorporating 6 Aux sends, its routing options are vast and simple to use. Connections are fast and easy with DB-25’s throughout the board and XLR’s for Master and Main outputs. With a flexible yet powerful 3 band EQ at its core, including selectable channel inserts and monolithic preamps driving the inputs, the Series 68 consoles offer a wide array of summing and mixing options. The sonic quality and compact footprint of the 68’s are able to meet any demand. Modularity Throughout The 68’s by design are manufactured to be a more cost effective variant of the fully modular 78’s. Incorporating a similar chassis design and the LED meter bridge, the 68’s have a rugged and proven core. Using a simi-modular design the 68’s are able to effectively reduce their overall costs without a significant sacrifice to serviceability. All input channels are individual boards, faders included, each in a 8 channel pack. Subgroups are individual boards, faders included, each in a 8 channel pack. Master Channel is an individual channel separated from all others. Split/Inline Console: Since the inception of this configuration by Trident Audio on the A-Range console in the late 1960’s it has been adopted throughout the industry and remains a standard configuration for our consoles today. Dual Inputs to the channels with line and monitor inputs 3 Band EQ with sweeping mid bands and selectable low and high bands 27dB of headroom Channel Inserts Selectable EQ Path Microphone Preamp: The 68’s incorporate a new high-quality wide bandwidth preamp design. These preamps have lots of headroom with very low noise, low distortion, a high slew rate, and high gain fully capable of driving ribbon microphones. 65dB gain preamp Balanced inputs Balanced inserts with full bypass Input Reverse Switch Mic/Line Switch Phantom Power Switch Flexible EQ: The 68’s incorporate an all-new 3 Band EQ derived from the Series 80 Console EQ. As the main channel EQ throughout the console. A three band Trident EQ with overlapping frequency ranges is provided along with a switchable high pass filer. The HIGH and LOW sections of the equalizer have a shelving response and the MID has a peaking (bell) response with two selectable bandwidth settings. Sweepable high band between 1k and 15k Sweepable mid band between 200Hz and 3k Sweepable low band between 40Hz and 650Hz Selectable mid bandwidth between 1 and 1/3rd octave50Hz High Pass Filter Master Section: The master section of the 68’s are laid out for ease of use and have all the necessary features to manage your monitors, talkback, and stereo returns.The 68’s master channel is an independent from the rest of console to ensure that your console’s master output functions can be easily and quickly serviced with little or no downtime. Main & Alt Monitor Control Mute, Dim & Mono Controls Onboard Headphone with Gain 8 Subgroups Two 2 Track Returns Subgroup Monitor Returns 1 Stereo AUX 8 Stereo FX Returns 1/8″ TRS Selectable Input Onboard Talkback Selectable Insert Return

The Trident 78 all analog consoles are all Trident through and through. The Trident 78 is a cost effective mixing console tailored for engineers, studio owners, educational facilities, houses of worship, and live sound applications. The 78’s are Split/lnline consoles with individual channels in 4-way panels. Using an 8 subgroup configuration and incorporating 6 Aux sends, its routing options are vast and simple to use. Connections are fast and easy with DB-25’s throughout the board and XLR’s for speaker and main outputs. With the 80B EQ at its core, including selectable channel inserts and discrete preamps driving the inputs, the Trident 78 consoles offer a wide array of summing and mixing options. The uncompromised sonic quality and compact footprint of the 78’s are able to meet any demand. Features found throughout the 78 make for a straightforward and powerful package, but paramount to all else is The Sound. Among the many styles, preferences and methods of recording exists the expectation that a board must have the ability to be pushed hard and sound big. This is a hallmark of the series 80 consoles and the 78 carries that tradition forward. Bottom line: The Trident 78 was created with all of this in mind so that you can use it to make great sounding tracks. Modularity Throughout The 78’s by design are manufactured to be a more cost effective variant of the fully modular 88’s. Incorporating a similar chassis design and the same meter bridge, the 78’s have a rugged and proven core. Using a simi-modular design the 78’s are able to effectively reduce their overall costs without a significant sacrifice to serviceability. All input channels are individual boards, faders included, each in a 4 channel panel. Subgroups are individual boards, faders included, each in a 4 channel pack. Master Channel is an individual channel separated from all others. Split/Inline Console: Since the inception of this configuration by Trident Audio on the A-Range console in the late 1960’s it has been adopted throughout the industry and remains a standard configuration for our consoles today. Dual Inputs to the channels with line and monitor inputs 4 Band EQ with sweeping mid bands and selectable low and high bands 27dB of headroom Channel Inserts Selectable EQ Path Microphone Preamp: The 78’s incorporate the same high quality Class A Discrete preamp as the 88’s. These preamps have lots of headroom and high gain fully capable of driving ribbon microphones. 60dB gain discrete preamp Balanced inputs Balanced inserts with full bypass Input Reverse Switch Mic/Line Switch Phantom Power Switch Powerful EQ: The 78’s incorporate the iconic Series 80B console EQ as the main channel EQ throughout the console. This EQ is known throughout the industry for its musicality and ease of use. Selectable high bands at 8k and 12k Sweepable High and Low Mids Selectable low bands at 60Hz and 120Hz 50Hz High Pass Filter Selectable Channel Insert Master Section: The master section of the 78’s are laid out for ease of use and have all the necessary features to manage your monitors, talkback, and stereo returns.The 78’s master section is an independent channel from the rest of console to ensure that your console’s master output functions can be easily and quickly serviced with little or no downtime. Main & Alt Monitor Control Mute, Dim & Mono Controls 2 On board Headphone connections with Gain 8 Subgroups 8 Stereo FX Returns Two 2 Track Returns Subgroup Monitor Returns 2 Mono and 1 Stereo AUX Subgroup Stereo FX Returns 1/8″ TRS Selectable Input Onboard or External Talkback Mic Selectable Output Transformer Option

The Trident 78 all analog consoles are all Trident through and through. The Trident 78 is a cost effective mixing console tailored for engineers, studio owners, educational facilities, houses of worship, and live sound applications. The 78’s are Split/lnline consoles with individual channels in 4-way panels. Using an 8 subgroup configuration and incorporating 6 Aux sends, its routing options are vast and simple to use. Connections are fast and easy with DB-25’s throughout the board and XLR’s for speaker and main outputs. With the 80B EQ at its core, including selectable channel inserts and discrete preamps driving the inputs, the Trident 78 consoles offer a wide array of summing and mixing options. The uncompromised sonic quality and compact footprint of the 78’s are able to meet any demand. Features found throughout the 78 make for a straightforward and powerful package, but paramount to all else is The Sound. Among the many styles, preferences and methods of recording exists the expectation that a board must have the ability to be pushed hard and sound big. This is a hallmark of the series 80 consoles and the 78 carries that tradition forward. Bottom line: The Trident 78 was created with all of this in mind so that you can use it to make great sounding tracks. Modularity Throughout The 78’s by design are manufactured to be a more cost effective variant of the fully modular 88’s. Incorporating a similar chassis design and the same meter bridge, the 78’s have a rugged and proven core. Using a simi-modular design the 78’s are able to effectively reduce their overall costs without a significant sacrifice to serviceability. All input channels are individual boards, faders included, each in a 4 channel panel. Subgroups are individual boards, faders included, each in a 4 channel pack. Master Channel is an individual channel separated from all others. Split/Inline Console: Since the inception of this configuration by Trident Audio on the A-Range console in the late 1960’s it has been adopted throughout the industry and remains a standard configuration for our consoles today. Dual Inputs to the channels with line and monitor inputs 4 Band EQ with sweeping mid bands and selectable low and high bands 27dB of headroom Channel Inserts Selectable EQ Path Microphone Preamp: The 78’s incorporate the same high quality Class A Discrete preamp as the 88’s. These preamps have lots of headroom and high gain fully capable of driving ribbon microphones. 60dB gain discrete preamp Balanced inputs Balanced inserts with full bypass Input Reverse Switch Mic/Line Switch Phantom Power Switch Powerful EQ: The 78’s incorporate the iconic Series 80B console EQ as the main channel EQ throughout the console. This EQ is known throughout the industry for its musicality and ease of use. Selectable high bands at 8k and 12k Sweepable High and Low Mids Selectable low bands at 60Hz and 120Hz 50Hz High Pass Filter Selectable Channel Insert Master Section: The master section of the 78’s are laid out for ease of use and have all the necessary features to manage your monitors, talkback, and stereo returns.The 78’s master section is an independent channel from the rest of console to ensure that your console’s master output functions can be easily and quickly serviced with little or no downtime. Main & Alt Monitor Control Mute, Dim & Mono Controls 2 On board Headphone connections with Gain 8 Subgroups 8 Stereo FX Returns Two 2 Track Returns Subgroup Monitor Returns 2 Mono and 1 Stereo AUX Subgroup Stereo FX Returns 1/8″ TRS Selectable Input Onboard or External Talkback Mic Selectable Output Transformer Option

Trident 88 Console Overview The Trident 88 is a classically styled, in-line, eight-buss analog console and an advancement in lineage of the revered Series 80 mixing desks. Designed with manufacturability in mind, the 88 is artfully constructed for ease of use and workhorse reliability. Available in stock configurations of 16, 24, 32, and 40 channels. The model 88 is sized to fit the modern, high end facility – whether private, institutional, or professional. Along with the pleasingly familiar routing and feel of a classic Trident desk, are modern refinements that serve to improve functionality, workflow and performance specifications. For example, integration with outboard processors and mic pre’s, such as the 500 format, is provided simply and elegantly by means of an exclusive, switchable input. This bypasses the channel preamp circuitry and allows for insertion of external signal sources directly to the channel equalizer. Being a Trident, the equalization is of course, wonderful, and on the 88 – it is also plentiful. Always available on the channel, monitor, effects returns and group sections. In the area of customization, the 88 has options for vu metering, transformer I/O, automation, short loading and channel configurations exceeding 40 inputs. Features found throughout the 88 make for a straightforward and powerful package, but paramount to all else is The Sound. Among the many styles, preferences and methods of recording exists the expectation that a board must have the ability to be pushed hard and sound big. With 27dB of headroom, the 88 is designed to be pushed hard and sound big. This is a hallmark of the series 80 consoles and the 88 carries that tradition forward. Bottom line: The Trident 88 was created with all of this in mind so that you can use it to make great sounding tracks. Fully Modular Design: Designed with manufacturability in mind. The Trident 88 was made from the ground up to be a rugged and reliable console. We went to great lengths to make sure that the 88’s are easy to build and equally easy to maintain. The 88 is designed so that the entire console can be serviced with a single screw driver. Motherboards are shock-mounted with rubber standoffs to isolate them from the chassis and provide additional protection from structure born stresses. A channel can be swapped in matter of minutes and the console will continue to function if one or more channels are removed. Faders, channels, groups, and master section are individually removable. All rear connections are also removable. Split/Inline Console: Having a Split/Inline console effectively will double your inputs to your stereo buss. This has become more and more a common configuration for recording consoles in today’s market. We took it a step further and added an EQ to the monitor path that can also be swapped with the main channel EQ. Dual Input to the Channels – line and monitor Four band, sweepable channel EQ, is switchable with monitor Tilt EQ. Dual Inserts to each Channel at the preamp, or the main channel EQ. 8 Auxes: 6 mono and 2 Stereo 27dB of headroom Microphone Preamp: Incorporating a Discrete Class A preamp to the 88’s is a departure from previous Trident console preamps in the 80 Series. This give’s the 88’s a higher quality stock preamp from the start and also incorporates the option to add a Lundahl input transformer to any channel desired. Discrete Class A 65dB gain Balanced inputs, with optional Lundahl transformers Full bypass insert Input Reverse Switch Mic/Line Switch Phantom Power Switch Console EQ: Expanding the great success of 80 Series recording consoles is only logical. Taking the highly regarded 80B EQ and improving on it with the 80C EQ was a great step forward for its time. The 80C EQ took all of the great sound of the 80B and gave it even more control. Keeping the 80C EQ as the brawn of the 88’s was a decision that required no second thought.Adding more EQ to the 88 was the next step forward for a more versatile analog recording console’s progression. Having EQ to the vast majority of the inputs to the 88 console means more analog controls at your fingers. High and low shelving Low/high mid peaking 4 Sweepable bands boost/cut to +/-15dB. 50Hz high pass filter Insert pre/post eq Monitor in: Tilt EQ Group FX Returns: 12kHz and 80hz shelving Group Monitor Returns: 12kHz and 80hz shelving Master Section: Keeping control of your workflow with ease and speed is the core function of an analog recording console. Your time spent setting up a mix and the ability to have tactile control with immediate effect over your work is essential and time saving. The 88’s are designed to give you maximum control and routing options all onboard at your fingertips. Making your creative process more effective and saving you time in the process. 8 Subgroups 3 Monitor Controls 8 Monitor returns with high and low EQ 8 Auxes; 6 Mono 2 Stereo 8 Stereo FX Returns with high and low EQ 8 Stereo Aux Returns assignable to the Stereo FX Returns 1/8″ TRS Input Onboard Talkback to Auxes in pairs, Groups, or Studio Built in Oscillator selectable at 1k or 10k

Trident 88 Console Overview The Trident 88 is a classically styled, in-line, eight-buss analog console and an advancement in lineage of the revered Series 80 mixing desks. Designed with manufacturability in mind, the 88 is artfully constructed for ease of use and workhorse reliability. Available in stock configurations of 16, 24, 32, and 40 channels. The model 88 is sized to fit the modern, high end facility – whether private, institutional, or professional. Along with the pleasingly familiar routing and feel of a classic Trident desk, are modern refinements that serve to improve functionality, workflow and performance specifications. For example, integration with outboard processors and mic pre’s, such as the 500 format, is provided simply and elegantly by means of an exclusive, switchable input. This bypasses the channel preamp circuitry and allows for insertion of external signal sources directly to the channel equalizer. Being a Trident, the equalization is of course, wonderful, and on the 88 – it is also plentiful. Always available on the channel, monitor, effects returns and group sections. In the area of customization, the 88 has options for vu metering, transformer I/O, automation, short loading and channel configurations exceeding 40 inputs. Features found throughout the 88 make for a straightforward and powerful package, but paramount to all else is The Sound. Among the many styles, preferences and methods of recording exists the expectation that a board must have the ability to be pushed hard and sound big. With 27dB of headroom, the 88 is designed to be pushed hard and sound big. This is a hallmark of the series 80 consoles and the 88 carries that tradition forward. Bottom line: The Trident 88 was created with all of this in mind so that you can use it to make great sounding tracks. Fully Modular Design: Designed with manufacturability in mind. The Trident 88 was made from the ground up to be a rugged and reliable console. We went to great lengths to make sure that the 88’s are easy to build and equally easy to maintain. The 88 is designed so that the entire console can be serviced with a single screw driver. Motherboards are shock-mounted with rubber standoffs to isolate them from the chassis and provide additional protection from structure born stresses. A channel can be swapped in matter of minutes and the console will continue to function if one or more channels are removed. Faders, channels, groups, and master section are individually removable. All rear connections are also removable. Split/Inline Console: Having a Split/Inline console effectively will double your inputs to your stereo buss. This has become more and more a common configuration for recording consoles in today’s market. We took it a step further and added an EQ to the monitor path that can also be swapped with the main channel EQ. Dual Input to the Channels – line and monitor Four band, sweepable channel EQ, is switchable with monitor Tilt EQ. Dual Inserts to each Channel at the preamp, or the main channel EQ. 8 Auxes: 6 mono and 2 Stereo 27dB of headroom Microphone Preamp: Incorporating a Discrete Class A preamp to the 88’s is a departure from previous Trident console preamps in the 80 Series. This give’s the 88’s a higher quality stock preamp from the start and also incorporates the option to add a Lundahl input transformer to any channel desired. Discrete Class A 65dB gain Balanced inputs, with optional Lundahl transformers Full bypass insert Input Reverse Switch Mic/Line Switch Phantom Power Switch Console EQ: Expanding the great success of 80 Series recording consoles is only logical. Taking the highly regarded 80B EQ and improving on it with the 80C EQ was a great step forward for its time. The 80C EQ took all of the great sound of the 80B and gave it even more control. Keeping the 80C EQ as the brawn of the 88’s was a decision that required no second thought.Adding more EQ to the 88 was the next step forward for a more versatile analog recording console’s progression. Having EQ to the vast majority of the inputs to the 88 console means more analog controls at your fingers. High and low shelving Low/high mid peaking 4 Sweepable bands boost/cut to +/-15dB. 50Hz high pass filter Insert pre/post eq Monitor in: Tilt EQ Group FX Returns: 12kHz and 80hz shelving Group Monitor Returns: 12kHz and 80hz shelving Master Section: Keeping control of your workflow with ease and speed is the core function of an analog recording console. Your time spent setting up a mix and the ability to have tactile control with immediate effect over your work is essential and time saving. The 88’s are designed to give you maximum control and routing options all onboard at your fingertips. Making your creative process more effective and saving you time in the process. 8 Subgroups 3 Monitor Controls 8 Monitor returns with high and low EQ 8 Auxes; 6 Mono 2 Stereo 8 Stereo FX Returns with high and low EQ 8 Stereo Aux Returns assignable to the Stereo FX Returns 1/8″ TRS Input Onboard Talkback to Auxes in pairs, Groups, or Studio Built in Oscillator selectable at 1k or 10k

Trident 88 Console Overview The Trident 88 is a classically styled, in-line, eight-buss analog console and an advancement in lineage of the revered Series 80 mixing desks. Designed with manufacturability in mind, the 88 is artfully constructed for ease of use and workhorse reliability. Available in stock configurations of 16, 24, 32, and 40 channels. The model 88 is sized to fit the modern, high end facility – whether private, institutional, or professional. Along with the pleasingly familiar routing and feel of a classic Trident desk, are modern refinements that serve to improve functionality, workflow and performance specifications. For example, integration with outboard processors and mic pre’s, such as the 500 format, is provided simply and elegantly by means of an exclusive, switchable input. This bypasses the channel preamp circuitry and allows for insertion of external signal sources directly to the channel equalizer. Being a Trident, the equalization is of course, wonderful, and on the 88 – it is also plentiful. Always available on the channel, monitor, effects returns and group sections. In the area of customization, the 88 has options for vu metering, transformer I/O, automation, short loading and channel configurations exceeding 40 inputs. Features found throughout the 88 make for a straightforward and powerful package, but paramount to all else is The Sound. Among the many styles, preferences and methods of recording exists the expectation that a board must have the ability to be pushed hard and sound big. With 27dB of headroom, the 88 is designed to be pushed hard and sound big. This is a hallmark of the series 80 consoles and the 88 carries that tradition forward. Bottom line: The Trident 88 was created with all of this in mind so that you can use it to make great sounding tracks. Fully Modular Design: Designed with manufacturability in mind. The Trident 88 was made from the ground up to be a rugged and reliable console. We went to great lengths to make sure that the 88’s are easy to build and equally easy to maintain. The 88 is designed so that the entire console can be serviced with a single screw driver. Motherboards are shock-mounted with rubber standoffs to isolate them from the chassis and provide additional protection from structure born stresses. A channel can be swapped in matter of minutes and the console will continue to function if one or more channels are removed. Faders, channels, groups, and master section are individually removable. All rear connections are also removable. Split/Inline Console: Having a Split/Inline console effectively will double your inputs to your stereo buss. This has become more and more a common configuration for recording consoles in today’s market. We took it a step further and added an EQ to the monitor path that can also be swapped with the main channel EQ. Dual Input to the Channels – line and monitor Four band, sweepable channel EQ, is switchable with monitor Tilt EQ. Dual Inserts to each Channel at the preamp, or the main channel EQ. 8 Auxes: 6 mono and 2 Stereo 27dB of headroom Microphone Preamp: Incorporating a Discrete Class A preamp to the 88’s is a departure from previous Trident console preamps in the 80 Series. This give’s the 88’s a higher quality stock preamp from the start and also incorporates the option to add a Lundahl input transformer to any channel desired. Discrete Class A 65dB gain Balanced inputs, with optional Lundahl transformers Full bypass insert Input Reverse Switch Mic/Line Switch Phantom Power Switch Console EQ: Expanding the great success of 80 Series recording consoles is only logical. Taking the highly regarded 80B EQ and improving on it with the 80C EQ was a great step forward for its time. The 80C EQ took all of the great sound of the 80B and gave it even more control. Keeping the 80C EQ as the brawn of the 88’s was a decision that required no second thought.Adding more EQ to the 88 was the next step forward for a more versatile analog recording console’s progression. Having EQ to the vast majority of the inputs to the 88 console means more analog controls at your fingers. High and low shelving Low/high mid peaking 4 Sweepable bands boost/cut to +/-15dB. 50Hz high pass filter Insert pre/post eq Monitor in: Tilt EQ Group FX Returns: 12kHz and 80hz shelving Group Monitor Returns: 12kHz and 80hz shelving Master Section: Keeping control of your workflow with ease and speed is the core function of an analog recording console. Your time spent setting up a mix and the ability to have tactile control with immediate effect over your work is essential and time saving. The 88’s are designed to give you maximum control and routing options all onboard at your fingertips. Making your creative process more effective and saving you time in the process. 8 Subgroups 3 Monitor Controls 8 Monitor returns with high and low EQ 8 Auxes; 6 Mono 2 Stereo 8 Stereo FX Returns with high and low EQ 8 Stereo Aux Returns assignable to the Stereo FX Returns 1/8″ TRS Input Onboard Talkback to Auxes in pairs, Groups, or Studio Built in Oscillator selectable at 1k or 10k

Overview The legendary A-Range® equalizer holds a unique place in audio history, with a stunningly musical sound that resulted from its all-discrete transistor circuitry and the use of inductors in the upper and lower mid bands. The A-Range® is a faithful re-creation of the original four band Trident A-Range® equalizer in a 500 module format, that will add the unique Trident signature to any programme material. Introduction The legendary A-Range® equaliser holds a unique place in audio history, with a stunningly musical sound that resulted from its all-discrete transistor circuitry and the use of inductors in the upper and lower mid bands. The A-Range® s a faithful re-creation of the original four band Trident A-Range® equaliser in a 500 module format, that will add the unique Trident signature to any programme material. The mid frequency EQ sections are “peaking”, while the high and low frequency sections are “shelving”. A distinguishing feature of both the original A-Range® console and this module, is the use of faders for level adjustment, rather than rotary potentiometers. These faders feature a useful centre detent at mid travel to denote zero boost or cut of the selected frequency. The use of faders makes it very easy to see not only how much equalisation is being applied. Each band is rotary-switch-selectable to one of four frequencies, while individual push buttons engage the three high pass and three low pass filters. An LED peak level indicator is included to warn when levels get too high. The Line level input and output are balanced for maximum signal integrity & high output levels with minimum distortion. The difference between shelving and peaking equalisers are as follows. A shelving equaliser boosts or cuts all frequencies equally, above or below a certain frequency, usually the point where it effectively reaches its “shelf” state. A “high shelf” EQ boosts or cuts high frequencies and a “low shelf” type boosts or cuts low frequencies. This type of circuit is very popular in hi-fi systems but is also actually highly musical when applied in a recording environment. In contrast, a peaking equaliser is one that, as its name implies, has a centre frequency that is boosted or attenuated more than others. The frequency range over which it reaches its peak and then falls down is known as the bandwidth (or “Q”). Because this type of design reaches a peak and then falls away, it is possible with this type of circuit to “home in” on particular frequencies and make adjustments without affecting those around them. This can be particularly useful when working with instruments such as bass guitars and snare drums. By incorporating both shelving and peaking equalisers into the design of the versatile A-Range®, it is possible to get the best of both types of design.

DeBoom: More Thud, Less MudBased on Eventide's patented Structural Split™ technology, DeBoom is a one knob wonder. The secret to this new, powerful approach to corrective low-frequency EQ is its unique signalseparation process.DeBoom represents a new path forward in resolving common low-frequency problems. Eventide's Structural Split technology makes it possible to surgically sculpt low-frequencycontent in ways never before possible.Tame low-frequency muddiness without losing the thump, remove resonance but keep the punch, and enhance your low-end utilizing this new dimension of sonic sculpting. The NEW Approach to Resolving Common Low Frequency Problems DeBoom is a purpose-driven tool for surgically addressing common low frequency equalization problems. Kick drums, bass, and similar sound sources can contribute to low frequency "muddiness."Traditional EQs 'solve' the problem but cause collateral damage - the drum's thump goes out with the boom. The bass attack gets tossed with its resonance. DeBoom solves this problem by using Eventide's patented Structural Split technology to EQ the tonal portion of the sound separately from the transient. Power users have been doing exactly this using the full-featured SplitEQ plug-in. Eventide put the power of SplitEQ in DeBoom and reduced it to a single, powerful, one knob gesture.DeBoom – Applications  Repair: DeBoom quickly and easily removes low-frequency muddiness without sacrificing impact. It's a powerful, yet simple, tool for repairing audio that otherwise require extensive, clumsy traditional tools. Reshape: DeBoom surgically "shapes" low frequencies without causing collateral damage. Enhance: DeBoom can be used to tighten up the low frequencies to better refine their balance. DeBoom – FeaturesStructural SplitThe beating heart of DeBoom is the same groundbreaking technology found in SplitEQ and Physion. Whatever instrument you process, DeBoom analyzes the incoming audio and separates these components into their respective Transient (noise, pops, mic plosives, vocal sibilance, attacks) and Tonal (sustained notes, harmonics, tone, ambiance) elements. DeBoom uses this information to apply specially crafted EQ curves to the tonal layer of the incoming audio, removing boom and reshaping sounds instantly.Just One KnobA straightforward user interface focused specifically on what matters: De-booming without dethuding.Turn the dial, lose the mud and keep the thud. DeBoom's user interface also includesundo/redo, input gain and built-in bypass.

    Depth controls the intensity of the effect. 100% adds the delayed signal to the dry signal. -100 % subtracts the dry signal from the delayed signal     Three distinct flavors of flanging. Set the Mode switch for Shallow, Deep or Wide     Manual control allows you to control the ‘comb’ effect by turning the Big Knob     Oscillator drives the flanging at a user defined rate     Envelope Follower drives the flanging based on the signal’s amplitude     Remote maps the flanging control to a mod wheel for tactile manipulation     Bounce mimics the distinctive effect of the tape machine’s capstan motor “hunting” for its proper speed when the engineer's thumb was lifted from the tape reel flange     “Side Chain” allows for triggering the Envelope Follower from any source in the mix for inter-track mingling     Exercise total control of the Oscillator with Sync and Retrig     Tame the intensity by removing low frequencies from the flanged signal with the Low Cut control

Introduced in 1971, the Omnipressor rack unit was widely used on hit records throughout the last four decades. One of our first customers was a young Brian May, lead guitarist of Queen. With the Omnipressor in his rig, his sound was never the same again.Features  Dynamics processing for creating otherwordly sounds Gating, expansion, compression, limiting, and Dynamic Reversal Intuitive interface makes it simple to operate with the use of a Function dial

Sheen Machine: A One Knob WonderBased on Eventide's patented Structural Split™ technology, Sheen Machine makes it easy to accentuate the "airy" quality of any signal without adding nasty sibilance or harshness.The secret behind Sheen Machine's magic is its ability to separate the transient and tonal parts of any audio signal. It offers a new path forward for adding tonal high-end without boostingtransients. Add vocal sheen, not sibilance. Add air, not harshness. Make dull signals shine.Eventide's Structural Split™ technology lets you surgically sculpt high-frequency content in ways never before possible.The NEW Approach to Adding Tonal SheenSheen Machine is a purpose-driven tool for adding smooth and airy high-end to sound sources without introducing the high-frequency harshness often generated by a traditional high-shelfboost. Using Eventide's patented Structural Split technology, Sheen Machine provides a simple solution for resolving complex problems often introduced when adding "sheen" to a signal,allowing for independent control over the transient and tonal layers of a signal without implicitly impacting the entire audio signal like a traditional EQ would. Power users have beendoing exactly this using the full-featured SplitEQ plug-in. We’ve put the power of SplitEQ in Sheen Machine and reduced it to a single, powerful, one knob gesture.Sheen Machine – Applications  Repair: Sheen Machine makes it easy to add tonal high-end to an otherwise dull recording or add "airiness" to vocals helping them shine brightly in a mix. Rebalance: From subtle to dramatic, musically rebalance vocals, synths, and other instruments by surgically adding tonal-high end without causing harshness. Enhance: Enhance the high-frequency information of incoming signals, adding vibrance to sound sources with ease. Sheen Machine – FeaturesStructural SplitThe beating heart of Sheen Machine, built on the same ground-breaking technology found in SplitEQ and Physion. Whatever instrument you process, Sheen Machine analyzes the incomingaudio and separates these components into their respective Transient (noise, pops, mic plosives, vocal sibilance, attacks) and Tonal (sustained notes, harmonics, tone, ambiance)elements. Sheen Machine uses this information to apply specially crafted EQ curves to the transient and tonal layers of the incoming audio, adding “airiness” and “sheen” without addingharshness.Just One KnobA straightforward user interface focused specifically on what matters: Adding tonal sheen to incoming audio. Turn the dial, hear the added sheen. The Sheen Machine user interface alsoincludes undo/redo, input gain and built-in bypass.

Novel chaotic oscillator has 8 types: Double Pendulum, Vortex, Pulsar, Discharge, Turbine, Helix, Crescent, and Magma Wavefolders based on the Buchla 259 Complex Waveform Generator, Fractals, and a special Animated Equation Low Pass Gate based on the Buchla 292 adds controls for POLES and RESONANCE Modulate all controls with MIDI/MPE, two Looping Envelopes, two LFOs, Sample and Hold/Random, and a Step Sequencer Innovative modulation UI allows modulation over almost every control from the main page, allowing up to 957 modulation routings in a single pane Innovative EQ, Chorus, Delay, Reverb, and Limiter effects to turn the sounds into magic MPE support allows amazing control from expressive controllers All mod sources have multiple outputs generated at once, and they can modulate each other, just like a modular synth Animations! The Double Pendulum, Wavefolder, and Low Pass Gate modules each have animations to show how each module responds to your input, and to modulation Color Schemes! Don’t like the look of it, change it Resizable UI Over 600 Presets, including many renowned artists

This mic is an exact replica of C12 and involves a modern style power supply with integrated pattern switch. As standard, it is equipped with Tim Campbell's CT12 capsule - great choice if you are considering the clones of original CK12. The mic is equipped with 6072 tube. The transformer is our own replica of original . Considering the sound, it is simply "Rolls-Royce". In some applications this mic will seem somewhat neutral, but it benefits will stand out during mixdown. It's fantastic for vocals, acoustic instruments as well as ambient miking. Those, who have not experienced, will not believe. Includes: microphone in wooden box, power supply, cable with swivel mount connector

A Trident Console for Your 500 Series Rack. The Trident Audio Developments 80B packs the sound of the company's storied '80s-era consoles into a full-featured 500 Series module. This pristine-sounding, transformer-coupled mic pre captures sources with an ultra-fast transient response, near-imperceptible self-noise, and minimal distortion. For added studio flexibility, the 80B includes a balanced line input and a front-panel hi-Z input, along with separate microphone and line-level controls.

This mic is an exact replica of C12 and involves a modern style power supply with integrated pattern switch. As standard, it is equipped with Tim Campbell's CT12 capsule - great choice if you are considering the clones of original CK12. The mic is equipped with 6072 tube. The transformer is our own replica of original . Considering the sound, it is simply "Rolls-Royce". In some applications this mic will seem somewhat neutral, but it benefits will stand out during mixdown. It's fantastic for vocals, acoustic instruments as well as ambient miking. Those, who have not experienced, will not believe. Includes: microphone in wooden box, power supply, cable with swivel mount connector