With the finest ingredients from SPL, the new flagship of SPL's channel strips establishes the basis for world-class recordings and each of its particular processing stages can be inserted into studio environments or DAWs like analog plug-ins! The brand-new Frontliner has all tools on board to record vocals and instruments in perfect quality: it merges a preamp, a de-esser, an EQ and a compressor. Thanks to it's individual analog I/Os, all these powerful, hi-end analog processors can be inserted into any studio by the Frontliner pilot, i. e. to use them also during mixing and mastering. Thus it appears that the Frontliner is not reduced to a frontend device especially DAW based studios get the chance to integrate high-grade analog processing at any stage of the audio production process. The hybrid preamp with discrete transistor stage and separate tube stage combines high performance and neutrality with the option for sound coloration by enhancing the harmonic content with the switchable tube drive. The unique one-knob de-esser employs a phase cancelling technique to reduce sibilants. With three bands, the EQ section covers the complete frequency spectrum efficiently, and a tube saturation control allows to apply distortion to any signal from subtle to reckless levels. The compressor offers all classic parameters and a controllable automation of attack and release which adjusts the setting of time constants to the input signal pretty much like a cruise control. Three separate, individually optimized inputs for microphones, line signals and instruments. Discrete semiconductor/tube hybrid preamplifier to combine the advantages high dynamic range and low noise operation of semiconductors with the musical qualities of tube sounds (appealing top end, beautiful spacial impression). Discrete construction is based upon single transistors instead of integrated circuits (ICs) from industrial production and ensures a higher level of optimization. 250 volts tube circuits in the preamplifier and for tube saturation stages. High-grade operational amplifiers from Burr-Brown at critical positions. The SPL De-Esser applies the method of phase cancellation for reducing sibilants. This innovative approach works much more neutral than traditional compression methods a unique method for unobtrusive results and extremely fast operation. The compressor is operated by SPL s double VCA drive circuitry. A differential stage eliminates side effects and the half load per VCA dramatically reduces THD. The operational amplifiers for the compressor circuitry meet military specifications. Therefore the regulating voltages are extremely precise a precondition for high signal processing quality. Selected condensers for the EQ filters with pleasant sound characteristics. Especially with vocals, amplified frequencies are not sounding too bright, and on the other hand reductions can tame harsh sounds without sounding dull. Central star ground wiring scheme minimizes influences that could affect the ground paths. The audio ground is separated from the ground of the remaining equipment. This leads, in the truest sense of the word clean , to considerably improved tonal quality. The power supply is built around two toroidal transformers, one for the audio voltages and one for the other supply voltages (tube heating, LEDs, micro controller etc.) Mutual interferences are excluded and lavishly over-dimensioned capacities ensure absolutely stable supplies for all audio circuitries.

The 543 Mono Compressor delivers the unobtrusive, musical-sounding dynamic control and brick-wall limiting made famous in the Portico 5043 to the 500 series format. The 543 features a fully controllable compressor-limiter with feed-forward / feedback modes, Peak / RMS detection and a built in side chain high pass filter. With an unrivaled heritage and a tremendous feature set, the 543 yields a combination of rich warmth, flexibility and precision that is sure to resonate in the ears of sound engineers the world over. Built around Mr. Rupert Neve s custom transformer designs, each 543 module encompasses individually controllable threshold, attack, release, makeup gain, ratio, side chain HPF, Feed-Forward / Feed-back selection and Peak/RMS detection modes. With the compressor inactive, the 543 may be used as a transformer-coupled, high-performance line amplifier, and two 543 may be linked for stereo operation as well. The chassis is built to standard 500 series specifications, with power and I/O provided by the rack. How the Compressor Works In order to control gain, a V.C.A. or Voltage Controlled Amplifier (or Attenuator) is used. There are many types of V.C. including the use of tubes, discrete and integrated solid state circuits and naturally non-linear devices, each one having its characteristic behavior that reflects sonically on the final performance, and gives it a character or signature that can be musically attractive or not! The 543 makes use of a very accurate, low noise, low distortion V.C.A. having, essentially, no signature of its own. A part of the audio signal is rectified and smoothed to produce a suitable control voltage for the V.C.A. which has to respond very quickly and have low distortion. If the response is too fast, low frequency signals will themselves, be gain controlled! If the response is too slow, the signal will overshoot and the first few cycles will not get compressed. The speed and accuracy of the response, known as the attack , and the time frame that gain remains under the initial control, known as release or recovery and plays a large part in the way a compressor sounds. Feed-Forward or Feed-Back The 543 also has the ability to switch between feed-forward and feed-back modes. If the V.C.A. Control voltage is taken from the 543 output, (i.e. after the V.C.A.) it cannot act immediately on the V.C.A. because it has already been modified by settings of the V.C.A. and circuits through which it has passed. This is known as a Feed-Back compressor. The two compression characteristics are quite different; there is more Overshoot and both the attack and recovery ramps are changed, providing the user with powerful choices. In most of Mr. Rupert Neve earliest designs, feed-back detection controlling the VCA with a rectified voltage from the unit output was intrinsic to the musical dynamic response. However, the very nature of a feedback compressor limits the attack time of the compression circuit. To offer faster, more technically accurate response times, feed-forward detection was implemented on Mr. Rupert Neve s more modern designs. With the FF / FB switch, both classic and modern VCA responses are available. RMS or Peak One of the more unique features of the 543 is the new Peak / RMS mode also found in the Portico II Channel. This switch allows the VCA (voltage control amplifier) to respond to both RMS (Root Mean Square) and peak levels. RMS circuits are considered to better mimic the way the ears perceive apparent loudness, while peak circuits tend to directly respond to the waveform voltage which may be more of a concern for prevention of clipping and maximizing levels. In this case, peak mode uses a combination of both methods to get the best of both worlds, and avoids the drawbacks of each method on its own. Ratio and Threshold Above a given THRESHOLD signals are reduced by an adjustable amount ranging from 1:1, (which is linear, or no reduction at all), to more than 40:1 which is a very high ratio, equivalent to that of a Limiter. RATIO is sometimes referred to as Slope because when depicted on a graph, the slope of the graph representing Output versus Input, is what changes. Ratio and Threshold are closely inter-dependent. If a RATIO as high as 40:1 has been set, then if the THRESHOLD is set at 0 dBu, even when a massive signal of 40 dBu (unlikely!) is presented to the input, the output signal will only be 1 dBu. RATIOS as high as this would normally be set somewhere above 0 dBu say at 14 dBu, in order to prevent the output signal level exceeding just over 14 dBu to protect, for example, a digital recorder. Similarly, if a RATIO of 5:1 has been set, an input signal which is 10dB above THRESHOLD will only rise by 2dB above that THRESHOLD at the output. THRESHOLD control covers the Range from below -30dB to 22dBu. When THRESHOLD set at a low level, with a fairly high RATIO the amount of gain reduction will be considerable and it may be necessary to use some GAIN after the compressor to restore the apparent signal level. Attack Time The ATTACK time is the time taken for the compression circuits to start compressing. A long ATTACK time allows short duration peaks to escape and go through uncompressed. This may cause overload on subsequent digital circuits. A very short attack time sounds un-natural and robs the signal of life by removing transients. Some transients are extremely fast and have little effect on the sound quality. Setting a long attack time often means that almost no gain reduction occurs because the transient is history (!) before compression has had time to operate. However, even the fastest circuits take time to operate which means that there is always some Overshoot . Small amounts of Overshoot are musically desirable there are exceptions, of course. Setting the right values of RELEASE and ATTACK is what compression is all about! Once the principles are understood a Compressor-Limiter such as the 543 provides a powerful tool that actually appears to enhance the dynamic range of a recording and so provide greater musical enjoyment. Release / Recovery The notes above explain how the 543 handles signals of constant amplitude such as pure tones. Real program signals, however, are continually changing in level. The way in which a compressor deals with actual program material depends upon the magnitude and duration of peaks in the program level. If the RELEASE TIME is set to be very short, a short duration signal will be compressed but the gain will return to normal very quickly, giving a fluctuating and un-natural sound known as Pumping when the background, or other signals, are forced up and down. The gain will also tend to follow the wave form of low frequency signals. RELEASE TIME should be set long enough for the gain to remain reasonably constant between each bass note or between speech syllables.

The LD Systems MEI 1000 G2 is an advanced LICENSE FREE* 96 channel UHF in-ear monitoring system delivering natural sound with extended dynamics and low crosstalk in both the 823 - 832 and 863 - 865 MHz bands. Switchable mono, stereo and focus modes select the perfect monitoring applications while adjustable EQ and limiterfunctions have been integrated for consistent sound reproduction from 60Hz - 16 kHz with a high S/N ratio and low THD. The LD MEI 1000 G2 allows the use of up to 5 systems simultaneously. The earphones have been designed for a high wearing comfort, and a multifunction display provides all the relevant system information. Operation time exceeds 12h with high quality batteries. A 19 rackmount kit and a rugged ABS plastic carrying case complete the MEI 1000 G2 package. * license free: ISM-Band license free in Europe, please check duplex gap on a country-by-country basis Specifications Model name: LDMEI1000G2BPR Product type: Belt pack receiver Radio frequency range: 823 - 832 and 863 - 865 MHz Channels: 96 (8 groups of 12 channels) Transmission method: FM, stereo Frequency response: 60 Hz - 16 kHz S/N ratio: 80 dB THD: 13 hrs., battery-dependent Width: 65 mm Height: 90 mm Depth: 24 mm Model name: LDMEI1000G2T Product type: Transmitter Radio frequency range: 823 - 832 and 863 - 865 MHz Channels: 96 (8 groups of 12 channels) Transmission method: FM, stereo RF output: 10 mW Frequency response: 60 Hz - 16 kHz S/N ratio: 85 dB Inputs: 2 Input connections: XLR/ 6.3 mm jack (combo) Input impedance: 14 kOhm Antenna connector: TNC Controls: up, down, set, power, volume headphone, input level, pad Indicators: LC display Power supply: 12 - 18 V DC Width: 200 mm Height: 44 mm Depth: 96 mm Accessories (included): Antenna, power supply, headphones

JBL JRX215 15 Two-Way Sound Reinforcement Loudspeaker System Affordable, Reliable, High Quality Sound The JRX215 Loudspeaker is a portable, fifteen-inch, two-way speaker system designed specifically for applications in live music, music playback, and reinforcement of speech. With the smooth, natural sounding mid-range of the system, the JRX215 does a great job projecting live vocals, solos and speech. The extended lows and great top-end make it at home for music playback in DJ applications or anywhere live sound reinforcement is needed. Features include the dual-angle, 36 mm pole-mount socket as well as Neutrik Speakon and 1/4 input connectors. JBL s JRX200 Series delivers the performance and the prestige that JBL is known for at an affordable price point. Features: JBL 15 in low frequency driver with a 64 mm (2.5 in) diameter edgewound ribbon voice coil which provides more crosssectional wire area in the voice coil gap than round wire designs, for greater efficiency and power handling. JBL 2414H-C 25 mm (1 in) polymer diaphragm compression driver improves high frequency performance as well as system reliability.. The advanced network topology crossover design shapes the frequency response to deliver coherent summation in thecrossover region. High-voltage capacitors and inductors with massive cores and heavy gauge wire enable the crossover network to handle high power without saturating. Progressive Transition highfrequency waveguide provides superior coverage control, reduced distortion, and smoother frequency response. The rugged, acoustically superior enclosure is constructed from 19 mm (.75 in) MDF (Medium Density Fiberboard) using advanced adhesives and mechanical fastener technology for extreme durability and improved low-frequency performance. SonicGuard protects the highfrequency driver from excess power without interrupting the performance. Non-resonant, all-steel handles are used. Attractive 18-gauge hexagon perforated, steel grille protects components from damage. Dual-angle pole-mount socket allows the speakers to tilt 10° for more uniform audience coverage. Specifications: * Power Rating : 250 W / 1000W * Frequency Range (-10 dB) : 41 Hz - 18 kHz * Frequency Response (3 dB) : 59 Hz - 13 kHz * Sensitivity (1w/1m) : 99 dB SPL * Nominal Impedance : 8 ohms * Recommended Amplifier Power : 250 W to 500 W into 8 ohms * Maximum SPL : 129 dB * Nominal Dispersion : 90 x 50 * Crossover Frequency : 2.2 kHz * Dimensions: (H x W x D) : 699 mm x 460 mm x 432 mm / (27.5 in x 18.1 in x 17 in) * Weight : 27.4 kg (60.5 lb) * High Frequency Driver : JBL 2414H-C , 1 exit compression driver mounted on Progressive Transition Waveguide * Low Frequency Driver : JBL M115-8A * Input Connectors : Parallel Neutrik Speakon NL-4 (x1); .25in TS phone jack (x1) * Grille : 18-gauge, powder-coated steel * Mounting and Suspension : 36 mm, dual-angle pole-mount socket

JBL JRX218S Dual 15 Two-Way Sound Reinforcement Loudspeaker System Affordable, Reliable, High Quality Sound The JRX218S is an 18 compact direct-radiation subwoofer designed to supplement and extend low frequency performance of full-range systems in live sound and music playback applications. The JRX218S is driven by a massive JBL 18 woofer with a stamped steel frame and 3 voicecoil. Its rated at 350 watts (continuous) and 1400 watts (peak) - based on JBL Professionals 100 hour extended life test. Features:18 in. compact subwoofer. 350 W (continuous), 1400 W (peak) power capacity. The rugged enclosure is constructed from 19 mm (.75 in) MDF (Medium Density Fiberboard) using advanced adhesives and mechanical fastener technology for durability and improved low-frequency performance. The enclosure is covered in black carpet. A top mounted, cast aluminum 36 mm pole mount receptacle can receive an optional SS3BK pole to facilitate use of the JRX218S as a base for a midhigh speaker cabinet. Non-resonant, all steel handles are used. Attractive 18-gauge perforated steel grille protects components from damage. Specifications: * Power Rating : 350 W / 1400 W * Frequency Range (-10 dB) : 34 Hz - 250 Hz * Frequency Response (3 dB) : 53 Hz - 250 Hz * Sensitivity (@1m) : 98 dB * Nominal Impedence : 4 ohms * Recommended Amplifier Power : 350 W to 700 W into 4 ohms * Maximum SPL : 133 dB peak, @1 m (3.3 ft) * Dimensions: (H x W x D) : 605 mm x 508 mm x 551 mm / (23.8 in x 20.0 in x 21.7 in) * Net Weight : 32.2 kg (71 lb) * Low Frequency Driver : M118-4 * Input Connectors : Neutrik Speakon NL-4 (x2); parallel * Grille : 18-gauge, powder-coated steel

JBL JRX212 12 2-way Stage Monitor Loudspeaker System Affordable, Reliable, High Quality Sound The JRX212 is a portable, twelve-inch, two-way speaker system designed specifically for live performance stage monitoring applications. With enough sensitivity and power handling to cut through performance volume on stage, the JRX212 has a smooth response so it can deliver maximum gain before feedback. It also includes JBL s dual-angle pole socket making it equally at home as a front-of-house speaker. JBL s JRX200 Series delivers the performance and the prestige that JBL is known for at an affordable price point. Features: JBL 12 in low frequency driver with a 64 mm (2.5 in) diameter edgewound ribbon voice coil which provides more cross-sectional wire area in the voice coil gap than round wire designs, for greater efficiency and power handling. JBL 2414H-C 25 mm (1 in) polymer diaphragm compression driver improves high frequency performance as well as system reliability. The advanced network topology crossover design shapes frequency response and delivers coherent summation in the crossover region. High-voltage capacitors and inductors with massive cores and heavy gauge wire enable the crossover network to handle high power without saturating. Progressive Transition high frequency waveguide provides superior coverage control, reduced distortion, and smoother frequency response. The rugged, acoustically superior enclosure is constructed from 19 mm (.75 in) MDF (Medium Density Fiberboard) using advanced adhesives and mechanical fastener technology for extreme durability and improved low-frequency performance. SonicGuard protects the high frequency driver from excess power without interrupting the performance. Non-resonant, all-steel handles are used. Attractive 18-gauge hexagon perforated, steel grille protects components from damage. Dual-angle pole-mount socket allows the speaker to tilt 10°for more uniform audience coverage. Specifications: * Power Rating : 250 W / 1000 W * Frequency Range (-10 dB) : 60 Hz - 20 kHz * Frequency Response (3 dB) : 80 Hz - 18 kHz * Sensitivity (@1m) : 98 dB SPL (1w/1m) * Nominal Impedance : 8 ohms * Recommended Amplifier Power : 250 W to 500 W into 8 ohms * Maximum SPL : 128 dB * Nominal Dispersion : 90 x 50 * Crossover Frequency : 2.1 kHz * Dimensions: (H x W x D) : 584 mm x 399 mm x 325 mm / (23 in x 15.7 in x 12.8 in) * Weight : 19.5 kg (43 lb) * High Frequency Driver : JBL 2414H-C 1 exit compression driver mounted on Progressive Transition Waveguide * Low Frequency Driver : JBL M112-8 * Input Connectors : Neutrik Speakon NL-4 (x1); .25 in TS phone jack (x1); parallel * Grille : 18-gauge, powder-coated steel * Mounting and Suspension : 36 mm, dual-angle pole-mount socket

Absorber Tiles- Set of 16- Acoustic foam tiles improve room acoustics absorbing middle and high frequency sound waves- Ideal for recording studio, vocal booth, home cinema, office etc.- Noise Reduction Coefficient (NRC): 0.85- Fixing material not included in delivery (options are for example, FlexiFit, StudioTape or acoustic adhesive)- Dimensions (one piece) L x W x H: 300 x 300 x 50 mm- Colour: Blue- Includes set of 16 pieces- Suggested fixing method: Acoustic adhesive Article Nr. 177265

PRO MEDIA DI/ PLI-04. With the new PRO MEDIA DI/ PLI-04, Palmer introduces a DI-box, produced with the discerning needs of the computer-age media in mind. Using this uncomplicated method, personal computers and other consumer equipment with unbalanced outputs can be converted to balanced, in order to carry out, e.g., a presentation over a professional PA system. The PLI-04 accommodates all the common input types, TRS jacks accepting mono or stereo plugs, RCA phono sockets and a 3.5mm stereo jack input for use with the headphone output of a Laptop or similar device. The outputs are conventional transformer balanced XLR sockets, as used in professional PA systems, guaranteeing an electrically decoupled signal, a prerequisite to ensure noise-free operation. One other special feature which should not be forgotten! Although the PLI-04 is primarily a stereo unit, it can be switched to mono, with the two stereo signals summed and fed to both XLR outputs. The PLI-04 manifests a mechanically robust unit combined with outstanding technical specifications, adding to the list of high quality products that have come to be expected from Palmer.

New Features at a glance A new ratio Eleven , which emulates a favorite classic compressor setting. New Two Color Front Panel Improved Logic Separate TRACKING LED, more intuitive display. Backwards stepping when a front panel button is held. New extended stereo link functions. More choices of how to lock compressors. Cooler running Logic Circuitry, resulting in an overall cooler operating temperature. Improved overall noise floor, due to lower logic power consumption. THE FAT GOES TO ELEVEN ELEVEN is a new compressor for the Fatso, replacing the old GP Ratio, and emulates the famous UREI 1176LN in 20:1, with the slowest attack, and fastest release. This 1176 setting has been used on countless hit records through the decades. With the slower 1176 attack, the transients keep the dynamics present, while the high ratio, can radically limit the dynamic range of any source, making it present and sitting in a nice little place in your mix. One can slam it, or just touch it with a few dB of compression. You will find it great on Vocals, Bass, acoustic guitars, drum room mikes, pianos etc. The ELEVEN ratio took several months of experimentation, and required a rather radical attack mod to get close. It was one of those projects that Dave Derr, the designer, thought would only take a few days, but upon initial research and listening tests, subtleties emerged which required starting over several times. I got in one of these design loops, where you would get one thing right, then change another parameter or component, and find that it changed the first thing you thought you had right. It was actually a long frustrating series of changes, that slowly spiraled towards the desired result. Any kind of math calculations or scaling seemed useless. In addition, while testing 1176 s, I discovered issues that I m quite sure were not intended by the original designers, and probably things of which they were not even aware. But using modern digital oscilloscopes and analyzers, along with digital workstations, and our good old ears, we could see artifacts that the original designers couldn t. Heck, they may have even tried to fix the little imperfections that gave the 1176 its unique character, had they the tools to see them. Thank gosh they didn t, right Anyway, the design loop was frustrating, but like anything that takes you to unexpected places, hopefully you come out a little bit wiser, and with a great product. I hope our customers find the new ELEVEN ratio fun to use, and discover it can add some more magic to your music. NOTE: ALL existing older Fatso Jr s can be modified to change the GP ratio to the new ELEVEN ratio. In addition, all Fatsos shipped from Empirical Labs since June 2013 have had the ELEVEN ratio already installed in the circuit, under the GP ratio, so if you bought a Fatso recently, you probably already have the equivalent EL7-X circuitry. NEW LOGIC AND INTERFACE OPERATION The original Fatso Jr could operate quite warm. Since heat is the enemy of reliability, we decided to do what we could to cool the unit down in this re-design. By replacing discrete logic with a microprocessor, and eliminating warm running and often unreliable display circuitry, the current draw was dropped over 20%, allowing the power supply and analog circuitry to benefit from a cooler running product. The new FATSO also has greatly improved interface operation. Holding any button in for a second will make the control step backwards, so the user doesn t have to cycle around to go back one step in setting one parameter. In addition, the Stereo Link is improved and offers a second link method by holding in both COMP buttons. It locks the compressors and Bypass logic together, and allows either channels buttons to control the settings. Much more foolproof. There is now a separate LED for the TRACK (Tracking) compressor, so that two LEDs do not have to be used, and interpreted by the user. SPANK is now a Blue LED delineated from the other compressors off to the side, to indicate that it is different and can be used in conjunction with the other ratios. Customers will find compressor selection more obvious and FUN. FATSO S FOUR TYPES OF PROCESSING Harmonic Generation and Soft Clipper (Distortion Generation) - this class A circuit gently rounds the peaks like saturated tubes or tape. High Frequency Saturation (Warmth) - a one-of-a-kind dynamic low pass filter which softens high frequencies when they pile up on a source. Transformer and Tape Head Emulation - a simulation of the effect of input and output transformers of older devices, which adds the low frequency harmonics that characterize them, as well as analog tape.. Classic Knee Compression - your typical automatic leveling device found on just about every instrument and vocal track as well as on the overall buss, done Empirical Labs compression smooth and sweet, but in your face!

A Total Tuning Triumph PolyTune Clip is much more than just a clip-on tuner, it's a revolution! Perfectly combining state of the art tuning technology with an unprecedented attention to aesthetics and functionality, PolyTune Clip gives a tune-up that's unmatched in speed, precision and grace. Not only is PolyTune Clip the best PolyTune we've ever made - we believe it's the best tuner by any measure. State of the art Clip-On Tuner Polyphonic perfection: The best polyphonic tuner to date New strobe tuner with /- 0.02 cent accuracy The Holy Tuning Trinity PolyTune Clip is designed to be your trusty tuning companion, whether you're going for a quick onstage tune-up or an ultra-precise setup of your instrument. PolyTune Clip sports three distinct tuning modes ranging from the game-changing polyphonic tuning mode that lets you tune all 6 strings at once, to your trusty chromatic tuner and all the way to an ultra-precise strobe tuner mode, which offers /-0.02 cents of tuning precision. No matter what method you choose to use, the tuning trinity of PolyTune Clip will always guide you to pitch perfection. Dressed To Impress Developed with a luthier-like attention to detail, PolyTune Clip is the perfect combination of beauty and brains. With its carefully chosen high-quality components and stunning clean looks, PolyTune Clip is designed to complement you and your instrument, while containing the most advanced tuning technology to date. Through a massive engineering feat we managed to condense our proprietary PolyTune algorithm, shrink key components and increase battery life all while creating a tuner more powerful than any PolyTune released before it. The new tuning standard has just been defined and its name is PolyTune Clip! In Tune With You As musicians we are all different. We play different instruments in different styles on different stages around the world, which is why it's a shame that all clip-on tuners are so set in their ways until now! With its adaptive display, PolyTune Clip is designed to be in tune with you and your needs by automatically switching between polyphonic and chromatic tuning modes. By adjusting to however you want to use it; left handed, right handed, horizontally, vertically, electric, acoustic, guitar or bass; PolyTune Clip's got your back! PolyTune Clip's Resume: - State of the art Clip-On Tuner - Polyphonic perfection: The best polyphonic tuner to date - New strobe tuner with /- 0.02 cent accuracy - Ultra-bright and easy to read display - Adaptive screen: ensures a perfect readout no matter where you place PolyTune Clip - Elegant yet durable design - High quality stainless steel clip - Flat Tunings and Capo Mode - Chromatic Only Mode - Up to 18 hours of usage via a standard Lithium Coin Battery (CR2032)

SPECIFICATIONS - Key Layout : Recorder type - Sound Generator : PCM synthesizer - Tones : 6 - Effect : Reverb - Controllers : Breath sensor - Performance keys - Octave keys - Function button - Bluetooth Ver 4.2 Profile Support: A2DP (Audio), GATT (MIDI over Bluetooth Low Energy) Codec: SBC (Support to the content protection of the SCMS-T method) - Connectors : PHONES/OUTPUT jack: stereo mini phone type - USB COMPUTER port (micro B Type, support Power supply) - Internal Speaker : 2.8 cm, 1.5 W - Power Supply : USB AC adaptor (sold separately) - Ni-MH battery (AA, HR6) (sold separately) x 4 - Current Draw : 400 mA - Battery life for continuous use (differs depending on the conditions of use)Ni-MH batteries: approximately 10 hours (When using batteries having a capacity of 1,900 mAh.) * Carbon-zinc or alkaline batteries cannot be used Accessories : - Owner's manual - Mouthpiece cap - Neck strap - Band - USB cable (Power (Type A))Options (sold separately)Replacement Mouthpiece:OP-AE01MP, OP-AE05MPH SIZE AND WEIGHT - Width43 mm 1-3/4 inches - Depth 76 mm 3 inches - Height444 mm 17-1/2 inches - Weight (including batteries)500 g 1 lb 2 oz

Enjoy private dance lessons anytime An ultra-miniature music player that you wear in your ear SyncDancing is an ultra-miniature music player for ballroom dance practice that you wear in your ear like an earphone. In addition to metronome functionality, it has 20 built-in standard ballroom dance songs, so you can practice at any time while listening your favorite dance songs. This one unit provides everything you need for improving your dancing skills, sharpening your sense of rhythm, and becoming familiar with dance songs. You can practice by yourself, or synchronize the tempo via infrared so that two people can each wear a unit and practice together. * The lineup also includes the In-EarMetronome and SyncMetronome that are ideal for practicing your instrument, and the StrokeRhythm that's ideal for improving your golf stroke. Choose the model that best meets your needs. Practice dancing while listening to the rhythm or song directly in your ear SyncDancing is a unique style of music player and metronome that you use by wearing it directly in your ear. Since the speaker unit fits directly in your ear, you can practice dancing with the correct rhythm while hearing the music directly in your ear. Because you can concentrate on the sound without being distracted by nearby sounds, this is ideal for personal practice at home as well as for practice in a large dance studio or hall. SyncDancing is extremely small and lightweight, so you can dance without any distraction. The keys to improving your ballroom dance skills are to acquire steps and technique, nurture your sense of rhythm, and become able to express yourself by dancing to the music. With SyncDancing, you can experience rhythms and music anytime and anywhere for effective practicing. Twenty standard ballroom dance songs are built-in A total of twenty standard songs for ballroom dances such as waltz, tango, rhumba, and cha-cha-cha are built-in, and you can play them back while switching between the metronome and the song (*). Each of the internal songs was created by a professional arranger who actually produces music CDs for ballroom dance. The tone generator section also takes advantage of KORG's many years of experience in developing synthesizer technology, packing a high-quality sound engine into the smallest possible size. Since these songs play back as SMF, you can freely change their tempo. With SyncDancing, you can enjoy serious dance practice with CD-quality songs. * The songs provide a one-measure count-in before they start playing. Infrared tempo synchronization, ideal for practicing as a couple SyncDancing supports not only individual practice but also practicing dance as a couple. Simply click two SyncDancing units together and press the sync button to synchronize the tempo and timing via infrared (*1). Even while wearing the unit directly in your ear, both partners can practice while hearing exactly the same tempo. The timing (delay) from the moment of synchronization until playback begins can be set in a range of 0--90 seconds (*2). This gives you flexibility to meet the needs of various situations. For example you can specify a shorter delay if you're synchronizing the units and then immediately starting a lesson, or use a longer delay if you need time to get into your position in a large hall. *1 There is no upper limit on the number of units that can be synchronized. *2 The selectable intervals are 0, 5, 10, 15, 30, 60, and 90 seconds. One count is sounded at each second. Specifications Tempo Range: 30 - 252/min (BPM) Beat Settings: 0 - 9 beats Rhythm Settings: Quarter Notes, Duplets, Triplets, Triplets with inner beat omitted, Triplets with the third beat omitted, Quadruplets, Quadruplets with middle beats omitted, Quadruplets with the third and fourth beats omitted Songs: 20 songs Volume Settings: 4 levels Delay Settings 0, 5, 10, 15, 30, 60, 90 seconds Tone Settings: Metronome, Metronome and Voice Counts, Voice Counts Tempo Accuracy /- 0.1 Synchronization Communications Method: Infrared Speaker : 13mm Dynamic Speaker Switch Controls: Mode/Power, Sync/Mute, Jog Up/Down Display Modes Song, Volume, Delay, Tempo, Beat, Rhythm, Sync Power Supply: CR2032 lithium battery (3V) Battery Life: Approximately 5 hours (continuous use at Tempo = 120, Beat = 4, Rhythm = Quarter Notes, Volume = Low) Dimensions : (W x D x H) 49 x 22 x 22 mm / 1.93 x 0.87 x 0.87 Weight: 10 g / 0.35 oz. (including battery) Earphone Diameter: 16 mm / 0.63 Included Items : CR2032 lithium battery (3V), Ear Pad, Carrying Case

16A CEE Plug Yellow- 3-Pin- Screw connection with seal- Strain relief and cable bend protection- Housing made of PA6 with threaded plug- Current: 16 A- Voltage: 110 V- Hertz: 50-60 Hz 4h- Connection method: Screw contact- Contact: Brass- Protection class: IP44

Set of 8 Acoustic Foam Absorbers- Acoustic foam tiles improve room acoustics absorbing middle and high frequency sound waves- Ideal for recording studio, vocal booth, home cinema, office etc.- Noise Reduction Coefficient (NRC): 0.85- Fixing material not included in delivery (options are for example, FlexiFit, StudioTape or acoustic adhesive)- Dimensions (one piece) L x W x H: 600 x 600 x 50 mm- Colour: Grey- Includes set of 8 pieces- Suggested fixing method: Acoustic adhesive Article Nr. 177265

Set of 8 Acoustic Foam Absorbers- Acoustic foam tiles improve room acoustics absorbing middle and high frequency sound waves- Ideal for recording studio, vocal booth, home cinema, office etc.- Noise Reduction Coefficient (NRC): 0.85- Fixing material not included in delivery (options are for example, FlexiFit, StudioTape or acoustic adhesive)- Dimensions (one piece) L x W x H: 600 x 600 x 50 mm- Colour: Blue- Includes set of 8 pieces- Suggested fixing method: Acoustic adhesive Article Nr. 177265

It looks awesome, but what is it Primarily, it is a voice processor which in itself is not a novel idea, but the time had come to pull out all the stops and make a truly professional high-end statement. One that covered the needs of the project songwriters and big-time major studios alike. One whose all-tube signal path could bring every instrument and overdub to life. One that, plain and simple, sounded unquestionably better than the rest, provided flexibility, simplicity, and well thought-out ergonomics. Full of features, timeless style, robust build quality, and that world-famous Manley Sound, we present to you the MANLEY VOXBOX®.That s nice. What s it good for While we were designing the VOXBOX® we couldn't help but notice how well it works on other instruments besides voice. There are some great settings for drums, bass, guitar, and keys and the two separate sections can be used together or independently. Stereo using two VOXBOXes You know we couldn t resist planning for that as well. There are Stereo Links for both the compressor and the De-Ess/Limiter sections, special compression settings and super-sweet EQ frequencies for your mix or pre-mastering. So don't just use it for voice. The name VOXBOX® represents only the beginning...MICROPHONE PREAMPLIFIER SECTION : The preamplifier is a clone of a highly regarded and popular mic pre: the Manley Mono Microphone Preamplifier! The mic input transformer is our own design wound in-house at the Manley Labs factory. High current 48V Phantom power is switchable from the front panel. A simple and effective passive BASS CUT switch kills rumble and reduces popping. The INPUT ATTENUATOR is a variable pad control situated before the first tube stage allowing the preamplifier to accommodate 4 line level signals via the balanced LINE INPUT and instruments via the front panel 1/4 DIRECT INPUT. These inputs are selected in the middle position of the dual-function phase invert switch. We provide both transformer balanced XLR output as well as a transformerless audiophile 1/4 phone jack output. The Gain switch is actually a clever variable feedback control that changes not only the gain but the slew rate and flavour of the circuit. With it you can choose how laid back and mellow or how up-front and aggressive you want it to get. See Notes on Variable Feedback for more info. Headroom is a strong point in this circuit, 31dBu capable. This is 5 to 10 dB better than almost all other pro gear. The music passes through only our super-clean pure Class A vacuum tube circuitry. There are obvious advantages to our purist approach and foremost is the un-electronic final sound that carries emotion into the digital realm. COMPRESSOR SECTION : This cool compressor design takes our opto-isolator approach of the Manley ELOP® Limiter to the max. We adjusted the Ratio down to 3:1 to turn our ELOP into a compressor and added ATTACK and RELEASE controls for more versatility. What is clever is how the signal is compressed before it hits the tubes with no detrimental effect on distortion or frequency response. This way, it can prevent mic-pre clipping and eliminate whole stages of electronics. This cuts the typical path of mic to tape in half! We also pioneered new thinking in the sidechain by using up to four different time constants simultaneously and controlling them with familiar simple attack, release and threshold controls. We call the approach Parametric Compression. We developed optimum settings or presets based our favorite Vactrols that we use in our own fast ELOP® Limiter, the quick LA-2A's T-4 module, the slower LA-3A and then created more complex special settings. This extended range and method of timing delivers fresh sounds from powerhouse punching drums to super-solid bass yet can also emulate the way good engineers delicately ride a fader while recording. It is transparent and liquid-smooth on vocals, easy to use and accurate. Also rare for an opto-based dynamic processor, this compressor works great on mixes. Of course, you ll be needing two VOXBOXes linked in stereo... EQ SECTION : Lots of folks requested that we include the Pultec Mid Frequency Equalizer in the VOXBOX®, but they wanted MORE.... Now we ve extended it to 33 frequencies in 3 bands with 6 new frequencies from 20 Hz to 150 Hz, and 6 more in the highs from 6.4 KHz to 20 KHz. Ever notice that only EQs with real inductors have the bottom end magic or that only Class A circuitry can keep the top end sweet This is for you. The EQ INPUT switch patches in the Line Input, Preamp Output, or the INSERT return. This switch serves double-duty acting as a bypass switch for the preamp and/or external processors or for processing two different tracks. DE-ESSER and LIMITER SECTION : Designed by folks with admittedly large gaps between their two front teeth, (Hutch and EveAnna) the VOXBOX® combo also includes a de-esser and peak limiter based on our original ELOP® Limiter design but with an added passive LC network to handle the de-essing four carefully chosen notch frequencies from 3KHz to 12KHz. (That 3KHz setting really tames those annoying frequencies!) The fifth position gives you a limiter which totally mimics the famous LA-2A. This means you can both compress pre-EQ then limit here post-EQ. Another cool feature is the ability to insert this de-esser silently and smoothly as the music plays, using it as needed. The METER is a full size illuminated Sifam VU meter. A five-position switch shows three audio levels: the line input, the preamp output and the final output. It also shows compressor gain reduction and the de-esser/limiter action. Other clever innovations incorporated into the VOXBOX® combo include warm-up muting circuitry, extensive magnetic field containment, smart -grounding , and silent switching. The sum-total is more than the separate parts: consider the reduced patching, the short path to tape and you having this much immediate control.As engineers, we choose what we use not based entirely on features and functions there is a sound, a texture we reach for and the VOXBOX® combo puts the Manley Sound together with Your Sound . FEATURES AND SPECIFICATIONS* MANLEY transformers w/nickel laminations in mu-metal cases* 2 Kohm MIC INPUT Z w/High current 48V Phantom power built-in* Hi-Z (100K) Direct Instrument Input* LINE and INSERT INPUTS (balanced XLR and 1/4)* PREAMP and EQ outputs LO-Z (50W)* Transformer balanced XLR outputs* Transformerless unbalanced 1/4outputs* STEREO LINK for Compressor and De-esser/Limiter* SIDE CHAIN MONITOR for De-Esser* Large ILLUMINATED Sifam METER with FIVE readout modes(older units before serial number MVB**1359 shipped before 9/2003 use: 12V 1.2W FESTOON LAMPS; Manley's Part Number: VAR016C) Order spare bulbs using our parts order form.(newest units after serial number MVB**1359 shipped after 9/2003 use yellow LED lighting) * THD N (1KHz @ 20 dBu): 0.3%* Maximum output: 31dBu Manley VOXBOX Combo Specifications:* MIC PRE* Frequency Response: ±1dB 20Hz - 60KHz* Noise Floor (A-weight): -86 dB* Signal to Noise Ratio: 113 dB* Tube complement: 12AX7LPS and 6414* Gain: 40 to 60 dB* EQ* Frequency Response: 10 Hz 100KHz* Noise Floor (A-weight); -89 dB* Signal to Noise Ratio: 116 dB* Gain: unity* COMPRESSOR* Ratio: 3:1* Maximum Reduction: 16 dB* Attack Times: 4mS to 70mS* Release Times: .3, .5, 1, 2, 5 Sec* DE-ESSER and LIMITER* Ratio: 10:1* Maximum Reduction: 32 dB* Attack Times: 2mS* Release Times: .5 Sec* De-Ess Notch Frequencies: 3, 6, 9, 12KHz, none (LIMIT)* General Info:* THD N (1KHz @ 20 dBu): 0.3%* Maximum output: 31dBu* Power Consumption: 24-watts* Mains Voltage Frequency: 50 60Hz* Dimensions: 19 x 5.25 x 10 (occupies 3U)* Shipping weight: 21 lb.

Made from a lightweight and sturdy thermoplastic- Quadratic basic dimensions easily fit into ceiling grids- Colour: White, which can be painted or sprayed (only with water-based paints)- Fixing methods: Tacks, staples, glue or double sided tape for acoustic elements- Dimensions: 600 x 600 x 150 mm- Includes: 1 Piece

The HA-609A is a boutique two channel compressor and limiter based on classic diode bridge designs. With three transformers per channel (by Carnhill/St. Ives) and a fully discrete, class A signal path, the HA-609A delivers punch, weight, and just the right amount of color to your mixes, buses, or tracks. Heritage Audio rounded out this classic design by adding a transformer-coupled '73 style gain circuit (just for the compressor makeup gain), new fast settings for both the compressors and the limiters, and new operational modes (stereo link, dual mono). And like all of the products in their Elite range, the HA-609A is built with the most cutting edge methods in manufacturing and design, without ever compromising audio quality or cutting corners all at the Heritage headquarters in Spain. BULLET POINTS: All discrete, class A design featuring three Carnhill/St. Ives transformers per channel. Unique diode bridge design allows compression curve/response to be precisely matched from channel to channel within hundredths of a dB. Extended range for both the compressor and limiter threshold increases flexibility for the modern workflow. Standard and fast attack times allows the HA-609A to work well in recording and on individual tracks, in addition to mixing and mastering duties. True bypass on each channel in addition to bypass on individual compressor and limiter functions. All handmade in Spain at the Heritage Audio factory.