Virtual Vocal Instrument (Download)- Performed by soprano Larisa Martinez and tenor Carlton Moe- Offers different variations of vocals in many categories- Sustain contains a series of monosyllabic vocal sounds such as ‘Ah’, ‘Ee’, ‘Eh’, ‘Oh’, ‘Oo’ with mostly velocity-sensitive dynamic layers- Staccato contains 32 vocal instruments- Legato provides true legato intervals up to an octave up or down- Combo combines different articulations with control via the modulation wheel or round robin the combinations of different articulations- Words offers 42 vocal instruments with performances of specific Italian words, distributed chromatically across the keyboard- Phrases contains 36 complete phrases and 84 sub-phrases from popular opera arias from the works of Verdi, Puccini, Mozart, Rossini, Bizet and more- Keyswitch combines different articulations in a preset with switching via keyswitches- New and improved preset and instrument browser with database

The LED operator 4 Air has the same functionality as the popular LED operator 4 but with built-in wireless DMX module and battery operated. This solution is ideal for all 4 channel battery operated spots or bars and gives you the freedom to run an entire system in- and outdoor without using a power or DMX cable. It is equipped with the Wireless DMX transmitter module (from Wireless Solutions) which guaranties the best transmission. The LED Operator 4 AIR is easy to use and has preset RGBW colors and chases with adjustable fade, speed and strobe control or can be activated by sound. With a full battery the LED operatior 4 AIR can be used for 8 hours. Specifications Fixtures: 4 Channels: 16 (4 each fixture) RGB Presets: 9 Preset chases: 9 DMX-512: XLR 3 pole Battery: 7.4V 2200mAh Operation time: 8 hours (full battery) Power supply: 8,2V DC 500mA Power consumption: 20 Watt Power connector: Adapter (included) NOTE: only use the original power supply Dimensions: 325 x 140 x 50 mm (LxWxH) Weight: 1,54 kg

Wagner completed the first version of the opera in 1845 during his tenure as Kapellmeister at the royal court of Dresden, but he continued to redraft and revise it for the rest of his life. The setting is medieval Germany: the minstrel Tannhauser has fallen into sin with the goddess Venus but after a year, in a moment of realisation he demands to leave. He finds himself near his home and is reunited with Elisabeth, a girl he once loved. Elisabeth's uncle, the landgrave, organises a singing competition between Tannhauser and Wolfram, who also loves her. Wolfram's song is simple and moving, while Tannhauser, confused by Venus, outrages the audience by singing of profane love. He is banished to Rome on a pilgrimage to seek redemption, and Elisabeth follows him with Wolfram. After much searching, she gives up and dies, just missing Tannhauser, who Wolfram discovers creeping back to Venus, the Pope having said that it was as impossible for him to be forgiven as for his staff to sprout flowers. Tannhauser sees Elisabeth and casts himself to die by her coffin, and the Pope's staff bursts into bloom. This is the Schirmer edition of the Vocal Score, edited and translated into English by Natalia MacFarren.

StompLab IG / IB / IIG / IIBModeling Guitar/Bass Effect ProcessorsPowerful sounds and a sophisticated appearance!The new StompLab series - shattering expectations for compact multi-effect unitsFeaturesA total of 100 preset programs are categorized into styles such as rock, blues, metal, and popEasy to use interface; even novice users can instantly access the sounds they want!StompLab IG provides 103 types of modeling effects, StompLab IIG provides 104 types, StompLab IB provides 60 types, and StompLab IIB provides 61 typesEach effect model boasts a sound engine that has been distilled from the worldwide best-selling VT series of modeling amps as well as the ToneLab series of multi-effect units.Edit and save 20 of your own user programsUp to 8 effect models can be used simultaneouslySophisticated appearance that was unimaginable for older effect units.The StompLab IIG and IIB provide an expression pedal that lets you control a variety of effect parameters including wah and volumeTwo-way power; works on batteries or on the AC adapter (separately sold)Built-in auto chromatic tuner with bypass and mute functionsThe StompLab series of effect pedals are impressive new contenders that pack powerful sounds into compact and sophisticated looking metal bodies. Sound variations are categorized by style, such as rock, blues, and ballad, making it easy for even novice users to recall the desired sound. In addition to the StompLab IG s dedicated guitar modeling and the StompLab IB dedicated bass modeling, the lineup also includes the StompLab IIG and IIB which provide an expression pedal. With high-quality looks, plus its high quality sound, the StompLab series will be a great companion for the guitarist or bassist for years to comeFirst check out the sounds!Multi-effects units contain an incredibly diverse array of sounds that range from distorted to clean, and the sheer number of these sounds can be staggering. Although having a large number of sounds is a great advantage, it can also overwhelm the novice user, causing difficulty or confusion. The StompLab series is designed to be easily usable, even by novice players. Since each program is named with a musical style, such as rock, blues, or metal. You ll be able to find the perfect sound without being concerned with specific effect names. The musical styles are categorized into ten types, and cover everything from straight-ahead traditional styles to quirky, unusual sounds. There are ten variations for each category, so you're sure to find sounds you like.Create your own original sounds!Simply playing the preset sounds is a lot of fun, but you'll definitely want to create some of your own original sounds as well. The StompLab IG contains 103 types of modeling effects, the StompLab IIG has 104, the StompLab IB has 60, and the StompLab IIB has 61. These effects are categorized as pedal, amp, drive, cabinet, modulation, delay, and reverb effects. When noise reduction is included, you can use up to 8 of them simultaneously. Each effect type provides multiple parameters that you can deeply edit to create your perfect sound. Since the sound engine is equivalent to those featured on the worldwide best-selling VT series of modeling amps and the ToneLab series of multi-effect units, you need no further guarantee of quality. Sounds you create can be saved as 20 user programs.It looks great!The StompLab series was designed with great care, not only for its sounds, but also for its superb aesthetic. You'll never get tired of the cool metallic exterior. The pedal design is reminiscent of the vintage VOX wah pedals, which is sure to boost inspiration. One of the attractions of the StompLab series is the high-quality appearance, which is unheard of among other compact multi-effect units. It sounds excellent, it looks great and it s compact enough to fit into a gig bag, so you can take it along with you anywhere your music takes you, quickly and easily.Use the expression pedal for realtime control!The StompLab IIG and IIB are equipped with an expression pedal that can be used to control wah and volume, and also the parameters of each effect. You'll be free to create unique original sounds that you've never heard before.Packed with convenient functions including a tuner!The StompLab series has a built-in chromatic tuner, so you won't need to provide one separately. The three-LED indicator makes tuning easy. For convenience on stage, there's a mute function that lets you tune without being heard by others. Headphones can also be connected, so you'll be able to play at home late into the night without disturbing anyone. Battery operation makes these units easily portable, letting you enjoy serious sound from your guitar or bass wherever you go. VOX StompLab SpecificaitonsEffect Type - StompLab IG/IIGPedal (8): COMP, FIX WAH or WAH *IG=FIX WAH, IIG=WAH , AUTO WAH, BRN OCTAVE, ACOUSTIC, U-VIBE, TONE, RING MODAmp(44) : BTQ CLEAN, PURE CLEAN, JAZZ CLEAN 1, JAZZ CLEAN 2, CALI CLEAN 1, CALI CLEAN 2, CALI CLEAN 3, CALI CLEAN 4, VOX AC4, VOX AC15TB, VOX AC15, VOX AC30TB, VOX AC30HH, VOX CRUNCH, US BLUES 1, US BLUES 2, US BLUES 3, US BLUES 4, US 2x12 1, US 2x12 2, US 2x12 3, US 2x12 4, UK ROCK 1, UK ROCK 2, UK ROCK 3, UK ROCK 4, BTQ OD, VOX NT15, VOX AC30BM, UK METAL 1, UK METAL 2, UK METAL 3, UK METAL 4, US HIGAIN 1, US HIGAIN 2, US HIGAIN 3, US HIGAIN 4, US METAL 1, US METAL 2, US METAL 3, US METAL 4, BTQ METAL 1, BTQ METAL 2, BTQ METAL 3Drive (18): TONE DRIVE, BLUE DRIVE, TREBLE BOOST, GOLD DRIVE, TUBE OD, BRIT LEAD, FAT, METAL DIST, ROCK PLANET, TUBE DX, ORANGE DIST, CLASSIC , GERMANIUM FUZZ, BIG FUZZ, VOX TONE BENDER, OCTA FUZZ, TECHNO FUZZ, CRUSHERCabinet (12): TWEED 1x8, TWEED 1x12, TWEED 4x10, BLACK 2x10, BLACK 2x12, VOX AC15, VOX AC30, VOX AD120VTX, UK H30 4x12, UK T75 4x12, US V30 4x12, CUSTOMModulation (9): CE CHORUS, MULTI CHORUS, FLANGER, ORG PHASE, TWIN TREM, G4 ROTARY, PITCH SHIFT, FILTRON1 (AUTO), FILTRON2 (MANUAL)Display (8): ANALOG DELAY 1, ANALOG DELAY 2, ANALOG DELAY 3, ANALOG DELAY 4, ECHO 1, ECHO 2, ECHO 3, ECHO 4Reverb (3): ROOM, SPRING, HALLNoise Reduction (1)Volume (*IG Only) Effect Type - StompLab IB/IIBPedal (9): COMP, EXCITER, FIX WAH or WAH *IB=FIX WAH, IIB=WAH , AUTO WAH, BRN OCTAVE, ACOUSTIC, U-VIBE, TONE, RING MODAmp (10): VALVE 1, VALVE 2, CLASSIC, SCOOPED, LA STUDIO, GOLD PANEL, JAZZ, STUDIO, AC100, UK MAJORDrive (8): TUBE OD, FAT DIST, ORANGE DIST, SHRED DIST, FUZZ, OCTA FUZZ, TECHNO FUZZ, CRUSHERCabinet (12): LA 4x10, LA 1x18, METAL 4x10, UK 4x12, UK 4x15, CLASSIC 8x10, MODERN 4x10, STUDIO 1x15, JAZZ 1x15, AC 2x15, COMBI, CUSTOMModulation (9): CE CHORUS, MULTI CHORUS, FLANGER, ORG PHASE, TWIN TREM, G4 ROTARY, PITCH SHIFT, FILTRON1 (AUTO), FILTRON2 (MANUAL)Delay (8): ANALOG DELAY 1, ANALOG DELAY 2, ANALOG DELAY 3, ANALOG DELAY 4, ECHO 1, ECHO 2, ECHO 3, ECHO 4Reverb (3): ROOM, SPRING, HALLNoise Reduction (1)Volume (*IIB Only) Program CategoryStomLab IG / IIG BALLAD 0, JAZZ/FUSION 0, POP 0, BLUES 0, ROCK and ROLL 0, ROCK 0, HARD ROCK 0, METAL 0, HARD CORE 0, OTHER 0, USER 0StompLab IB / IIBJAZZ/FUSION 0, POP1 0, POP2 0, ROCK1 0, ROCK2 0, HEAVY 0, FUNK1 0, FUNK2 0, DANCE 0, OTHER 0, USER 0Technical SpecificationsThe number of Effect:StompLab IG=103StompLab IIG=104StompLab IB=60StompLab IIB=61 The number of Program: 120 (User = 20 / Preset = 100)Audio Input: 1 (Monaural Standard)Audio Output: OUTPUT/PHONES (Stereo Standard)Signal processing: A/D conversion: 24-bit / D/A conversion: 24-bitTuner: Measurement Range: A0 - E6Calibration Range: A=438 Hz - 445 HzPower: AA battery x 4 DC 9V (Option: AC Adapter)Battery Life: 7.5 hours (Alkaline battery)Dimensions (W x D x H): StompLab IG / IB = 145 x 125 x 57 / mm, 5.7 x 4.92 x 2.24 / inchStompLab IIG / IIB = tbcWeight:StompLab IG / IB = 590 g / 20.8 ozStompLab IIG / IIB = tbcIncluded items: AA battery x 4 for verifying proper operationOptions: AC Adapter

A contemporary development of the legendary U 67. K 67 capsule, new circuit design, which closely reproduces the U 67 sound characteristics, three directional pattern, pre-attenuation and high-pass filter. Novel Neumann dual-color design. In the world of studio microphones, the numbers 47 , 67 and 87 have associations that inspire enthusiasm among professionals in the field. It is of course no coincidence that the name of the new TLM 67* contains the number 67 . In many respects, the TLM 67 is based on the workhorse of the 1960s, the legendary U 67. Like the U 67, the TLM 67 incorporates the K 67 capsule. In addition, the special new circuit design closely reproduces the sound characteristics of the classic U 67, without the use of tubes. Similar Neumann circuit technology has already proved very successful in the TLM 49.The TLM 67 is extremely versatile. Its three switchable directional characteristics (omnidirectional, cardioid and figure-8), selectable 10 dB pre-attenuation and high-pass filter permit detailed adjustments to be made, depending upon the specific recording situation.Exterior designThe TLM 67 is a large-diaphragm condenser microphone in the classic Neumann style, with a unique dual-color design. The stylish pearl-gray of the microphone body combined with the classic Neumann nickel lends the microphone a touch of distinctive individuality.The legendary, frequently imitated design of the Neumann U 67 was the first to be developed by Neumann employees in collaboration with the famous German designer, Wilhelm Braun-Feldweg. The design of the TLM 67 represents a contemporary development of that of the U 67, transferring its positive impact to the present era. The enhanced exterior design thus links past and future microphone design trends.On the occasion of its 80th anniversary, the Neumann company is honoring its founder, Georg Neumann, with a three-dimensional metal emblem on the front of the TLM 67. The distinctive Neumann attraction is conveyed in every detail of the microphone.ApplicationsDue to its extensive control features, the TLM 67 is suitable for a wide range of applications. In addition to its primary role as a vocal microphone for all types of music and spoken voice, in orchestral recordings the TLM 67 can be used as a main microphone and as a spot microphone for individual instruments.Acoustic featuresThe microphone is addressed from the side on which the Neumann logo is located.A large wire mesh grille encloses the elastically mounted double diaphragm capsule. The directional characteristics omnidirectional, cardioid or figure-8 can be selected via a switch below the grille. The selected setting is indicated by a symbol shown in a window above the switch.Electrical featuresThe letters TLM stand for transformerless microphone . In the TLM 67, an electronic circuit is used rather than a conventional output transformer. Like a transformer, the circuit ensures good common mode rejection, effectively suppressing interference signals that affect the balanced modulation line. The microphone can operate at sound pressure levels of up to 105 dB without distortion, and has a dynamic range of 94 dB (A-weighted), without the use of the pre-attenuation switch.Filter and pre-attenuationThe pre-attenuation switch on the back of the microphone can be used to reduce transmission levels by approx. 10 dB. It should be used only when there is a risk of overloading following devices due to very high sound pressure levels. Use of the switch does not increase the dynamic range of the microphone, but rather shifts it by 10 dB, to higher sound pressure levels. The other switch on the back of the microphone can be used to change the cutoff frequency of the built-in high-pass filter, so as to suppress the effects of impact sound and wind noise, or to compensate for the proximity effect.Operational reliabilityElastic mounting of the capsule supplies protection from the transmission of structure-borne noise. If required, the EA 87 elastic suspension and WS 87 windscreen are available as accessories, for further suppression of structure-borne and wind noise. The PS 15 or PS 20 a popscreen can be used if the microphone is to be addressed at close range. SpecificationsAcoustical operating principle Pressure gradient transducerDirectional pattern Omni/cardioid/figure-8Frequency range 20 Hz ... 20 kHzSensitivity at 1 kHz into 1 kohm 10/18/9 mV/PaRated impedance 50 ohmsRated load impedance 1 kohmsEquivalent noise level, CCIR1) 29/24/30 dBEquivalent noise level, A-weighted1) 16/11/17 dB-ASignal-to-noise ratio, CCIR1) (rel. 94 dB SPL) 65/70/64 dBSignal-to-noise ratio, A-weighted1) (rel. 94 dB SPL) 78/83/77 dB-AMaximum SPL (tube characteristic) for THD < 0.5 %2) 110/105/111 dBMaximum SPL (tube characteristic) for THD < 5 %2) 130/125/131 dBMaximum output voltage -1 dBuDyn. range of the mic. amplifier (A-weighted, 0.5 %2)) 94 dBDyn. range of the mic. amplifier (A-weighted, 5 %2)) 114 dBPower supply P48Matching connector XLR 3FWeight 490 gDiameter 56 mmLength 200 mm

Studio microphone with Retro look. Warm sound, optimized for vocal recordings. Uses the capsule of the legendary M 49 and U 47.Cardioid polar pattern. Set includes elastic suspension. The TLM 49* is a large-diaphragm studio microphone with a cardioid directional characteristic and a warm sound which is especially optimized for vocal performance. It is supplied as a set, with an elastic suspension.The design is inspired by that of the legendary M 49 and M 50 microphones of the 1950s. Naturally the TLM 49 has the typical Neumann fine matte nickel finish. The sound design is also oriented toward that of the M 49 and the U 47.By combining its retro look with proven Neumann transformerless circuit technology, this microphone ensures low self-noise and the use of high gain levels.ApplicationsDuring the development phase, the sound was adjusted in extensive practical tests, so as to make the TLM 49 ideal particularly for vocal and speech recording. However, in addition, it is also suitable for instrumental applications in professional production studios and demanding home recordings.Polar patternThe large-diaphragm capsule of the TLM 49 provides a cardioid directional characteristic with a tendency toward supercardioid, due to the special capsule construction. Following the example of the M 49, high frequencies are more directional. The capsule diameter is 34 mm.The front of the microphone is indicated by the red Neumann logo on the microphone body. The capsule is oriented so that the microphone is addressed from the front.Acoustic featuresThe TLM 49 uses the famous K 47 capsule, which was also used in the M 49 and the U 47. The capsule has a linear frequency response up to the upper mid-range. Above 2 kHz there is a gentle presence boost up to 3 dB.The capsule is enclosed by a large microphone headgrille, which is acoustically very open and is hence neutral with regard to the sound.Electrical featuresThe letters TLM stand for transformerless microphone . With TLM technology the usual output transformer is replaced by an electronic circuit.As with traditional transformers, it ensures good common mode rejection, and prevents RF interference that may influence the balanced audio signal.Noise signals which affect the balanced modulation line are therefore effectively suppressed. The microphone can operate at sound pressure levels of up to 129 dB without distortion, and provides a dynamic range of 117 dB (A-weighted).Operational safetyThe entire interior structure is mounted elastically, to prevent the transmission of structure-borne noise. In addition, the capsule is mounted with a rubber shock mount.Due to the wide frequency response, the TLM 49 can also transmit extremely low-frequency signals without coloration. Of course this means that the microphone is also sensitive to noise signals such as vibration noise and wind noise in this frequency range. The TLM 49 is therefore supplied with the elastic suspension EA 3, which effectively protects the microphone from structure-borne noise. If the microphone is addressed at extremely close range, pop screen PS 15 or PS 20 a can be used in front of the microphone to provide protection against plosive sounds.SpecificationsAcoustical operating principle : Pressure gradient transducerDirectional pattern : CardioidFrequency range : 20 Hz ... 20 kHzSensitivity at 1 kHz into 1 kohm : 13 mV/PaRated impedance : 50 ohmsRated load impedance : 1 kohmsEquivalent noise level, CCIR1) : 23 dBEquivalent noise level, A-weighted) : 12 dB-ASignal-to-noise ratio, CCIR1) (rel. 94 dB SPL) : 71 dBSignal-to-noise ratio, A-weighted1) (rel. 94 dB SPL) : 82 dBMaximum SPL for THD < 0.5 % : 110 dBMaximum SPL for THD < 5 % : 129 dBMaximum output voltage for THD < 5%2) : -1 dBuDyn. range of the mic. amplifier /A-weighted, 0.5 %) : 98 dBDyn. range of the mic. amplifier /A-weighted, 5 %) : 117 dBSupply voltage (P48, IEC 61938) : 48 V ± 4 VCurrent consumption (P48, IEC 61938) : 3.2 mAMatching connector : XLR 3FWeight : 825 gDiameter : 78 mmLength : 165 mm

The M 147 Tube is a vacuum tube condenser microphone with cardioid characteristic. At the heart of this microphone is the K 47 dual diaphragm capsule, inherited from this model's now legendary predecessors, the U 47 and the M 49. Following the capsule is a tube that functions as an impedance converter. The next stage is an efficient, transformerless output circuit, that guarantees an extremely low self-noise level. Note: This innovative combination of current tube technology with the most advanced solid-state circuitry was decisive in awarding the 1997 TEC Award to the related M 149 Tube mic. The M 147 Tube can feed extremely long microphone cables without affecting the quality of the audio signal. Like all Neumann tube microphones, the M 147 Tube comes with an elegant satin nickel finish. The microphone is delivered as a complete set in a high-quality aluminum case. Included with the microphone are a microphone cable, a metal swivel mount for a mic stand, and a compact universal power supply for standard mains sockets. Our modern manufacturing methods makes it possible to offer this complete set at a very attractive price. Applications The famous capsule, together with complimenting tube characteristics, makes the M 147 Tube especially well suited as a vocal mic. In addition, it is a superb spot mic for all types of musical instruments. The extremely low self-noise of its tube circuitry makes the mic perfectly suited for use in modern recording chains, analog and digital. Acoustic features The M 147 Tube is addressed from the side, where the microphone body has the diamond-shaped Neumann company logo. The black color identifies tube microphones. The capsule is equivalent to the one used in the U 47, and is the deciding factor in determining the sound characteristic. It has a flat frequency response to the upper midrange, and a boost of up to 3 dB above 2 kHz. The headgrille design is a smaller version of the U 47. It protects the capsule effectively against popping and wind noise. Polar pattern The M147 Tube has a cardioid characteristic, leaning more toward super-cardioid due to its distinctive capsule design. At higher frequencies the pattern becomes more directional. This is very similar to the model after which this new tube microphone was patterned, the U 47 and the successor, the U 47 fet. Electrical features When compared to other microphones, the impedance converter used in the M 147 Tube is distinguished by its extremely low self-noise level of only 12 dB-A / 24 dB CCIR weighted. Similar to the recently introduced M 149 Tube, the new M 147 Tube combines a specifically selected vacuum tube (triode) with modern circuitry. This technique takes full advantage of the special transfer characteristics of the tube and passes the processed audio signal of the capsule to the microphone output, without any coloration or unwanted side effects. The tube amplifies the capsule's signal by approximately 10 dB, thus preventing any possible influences from subsequent electronics. The M 147 Tube delivers a high output voltage, and therefore can feed microphone cables up to 300 m length without signal degradation. The ideal operating conditions (anode current, heater voltage) of the tube are maintained throughout its life expectancy. A sensor lead detects any voltage drop that occurs through the microphone cable and compensates for it in the N 149 A power supply. The tube warms up gradually using inverse current limiting to guarantee long life. Filter The electronic circuitry of the M 147 Tube mic has a flat frequency response from 20 Hz to well above 20 kHz. Only the attributes of the capsule determine the typical sound characteristics of the microphone. Operational Stability Both, the capsule and the entire circuitry are shock mounted to prevent any structure-borne noise. Because of its wide operating range, the M 147 Tube can reproduce extremely low frequency signals without distortion. This implies that the microphone may also be sensitive to unwanted LF interference by structure-borne noise, or wind noise. To avoid possible signal degradation, we offer the EA 1 elastic suspension and the WS 87 windscreen as accessories. During close miking of vocals we recommend using the PS 15 or PS 20a pop screen. N 149 A Power Supply The N 149 A universal power supply works with all mains AC voltages from 100 V to 240 V, 50 or 60 Hz. Mains power is connected through a standard IEC 320 mains socket. The only difference between the three available versions of the M 147 Tube set is the power cord supplied. Note: The N 149 V power supply is fully compatible with the M 147 Tube microphone.

The Roland GR-55 is a revolution in guitar synthesis, with features never before available in any guitar processor. In terms of speed, it s the fastest ever. It s also the most accurate, thanks to newly developed pitch-detection technology. As for sound, the triple-core generator houses a world-class array of virtual guitars, basses, amps, and synth voices, enabling tones and textures that have never been heard before. Onstage or in the studio, you can instantly access the GR-55 s huge library of ready-to-use sounds, from pop to rock and beyond, with quick-access category buttons. Welcome to a groundbreaking new era in guitar synthesis! * A revolutionary fusion of guitar synthesis and powerful COSM guitar modeling * Up to four sound sources at a time: two PCM synth tones, plus COSM guitar modeling and normal guitar input * Easy to use and easy to play with hundreds of great, ready-to-use sounds for rock or pop guitarists * Advanced Roland technology provides superb sound quality and lightning-fast processing * Over 900 of Roland s latest fully editable PCM sounds, including pianos, organs, strings, vintage synths, and much more * COSM guitar and amp modeling * Two types of multi-effects engines, plus global reverb, chorus, and delay effects, and an onboard looper * Built-in USB audio player with foot control * GR-55GK is sold with GK-3 pickup inluded New Sound Possibilities The GR-55 s powerful triple-core engine comprises two PCM synthesizers (with over 900 tones powered by the latest Roland synthesis technology) and COSM guitar modeling, featuring a virtual treasure trove of guitar, bass, amp, and synth models. Together, these combined technologies allow you to create unique, revolutionary sounds. The Metal Synth Lead preset, for example, combines two types of thick, brilliant synth textures with an overdriven solid-body/humbucking tone for incredible punch and power. Lightning-Fast Tracking Thanks to Roland s decades of research and dedication to guitar synthesizers and powerful new pitch detection technology, the GR-55 is far and away the fastest guitar synth ever. Furthermore, the COSM guitar-modeling engine needs zero detection time, allowing the GR-55 to respond instantly and exactly as you play. The GR-55 detects pitch, velocity, and behavior for unprecedented response to your performance. Instant Gratification Get ready to rock ... and fast! The GR-55 puts you instantly in touch with a huge library of amazing sounds, no editing required. The onboard lineup of ready-to-use presets (270, plus 297 user) takes the pain out of the process, with simple category buttons for finding the perfect sound fast. Choose from hundreds of great presets for pop, rock, and beyond, and kick-start your song or jam with unique, powerful sounds that will turn heads and raise fists. Easy to Use If you re new to the world of technology, fear not. The GR-55 is powerful yet extremely friendly. For customizing sounds, the EZ Edit feature (made famous in the GT-10) and large LCD takes the guesswork out of the process. And for those who want to go deep, the GR-55 offers huge array of controllable parameters. Pros will appreciate the power of the GR-55 while beginners will love how quick and easy the unit is to operate. USB Connectivity The GR-55 conveniently bridges the guitarist to the desktop music production world with its two USB ports. The rear-panel port can be used one for MIDI/Audio data communication; the side-panel port is dedicated to real-time playback of audio files from a USB memory device (sold separately). The GR-55 provides foot control of USB audio playback so your hands never need to leave the guitar. * Sound Generator PCM: 2 tones, Modeling: 1 tone * Tones PCM: 910 types, Modeling: 23 types (guitar mode), 17 types (bass mode) * Effects MFX (Multi-Effects): 20 types, AMP (Preamp): 42 types, MOD (Modulation): 14 types, DELAY: 7 types, REVERB: 5 types, CHORUS: 4 types, EQ: 1 type * Patch Memory Guitar mode: Preset: 270 User: 297, Bass mode: Preset: 90 User: 297 * AD Conversion: 24-bit (GK Pickup), 24-bit AF method (Normal Pickup) * AF method (Adaptive Focus method) / This is a proprietary method from Roland and BOSS that vastly improves the signal-to-noise (S/N) ratio of the A/D and D/Aconverters. * DA Conversion: 24-bit * Sampling Frequency: 44.1 kHz * Nominal Output Level OUTPUT jacks: -10 dBu, GUITAR OUT jack: -10 dBu * Output Impedance: OUTPUT jacks: 2 k , GUITAR OUT jack: 2 k * USB Memory Audio Player File Format: WAV, AIFF * Display: Graphic LCD 240 x 64 dots * Connectors: GK IN connector (13-pin DIN type), GUITAR OUT jack (1/4-inch phone type), OUTPUT L/MONO, R jacks * (1/4-inch phone type), PHONES jack (Stereo 1/4-inch phone type), MIDI connectors (IN, OUT) (5-pin DIN type), USB COMPUTER connector (supports Hi-Speed USB, USB MIDI and USB Audio), USB MEMORY connector (supports Hi-Speed USB Flash Memory), DC IN jack * Power Supply: DC 9 V * Current Draw: 700 mA * Dimensions: 405 (W) x 244 (D) x 78 (H) mm / 16 (W) x 9-5/8 (D) x 3-1/8 (H) inches, Maximum height: 405 (W) x 244 (D) x 106 (H) mm / 16 (W) x 9-5/8 (D) x 4-3/16 (H) inches * Weight: 3.3 kg / 7 lbs 5 oz (excluding AC adaptor) * Included Accessories: AC adaptor, Owner s manual, Divided pickup (GK-3) (only for GK included model), GK cable (5 m) (only for GK included model) * Options: Divided pickup: GK-3 (for guitar), GK-3B (for bass guitar), GK cable: GKC-5 (5 m), GKC-10 (10 m), MIDI foot controller: FC-300, Unit selector: US-20 * 0 dBu = 0.775 Vrms * The specifications are subject to change without notice

The M 294 extens the studio microphone System SMS 2000. The proved microphone capsules M 70 and M 94 form a unit with the modified microphone amplifier MV 200. These microphones are designed for a universal applications in professional recording and sound reinforcement and meet the requirements of modern technics. The newly developed, transformerless circuit design substitutes the previous transformer for a symmetrical output stage. Its intrinsic noise and remarkably output capability emphasize the advantages of the microphone capsules M 70 and M 94. Microphone capsules with an extremly thin metal diaphragm enable brilliant sound transmission. The direction of maximum sensitivity is axial. The studio microphones are equipped with a wide range of accessories for many microphone mounting methods. lt is possible to activate a 10 dB-attenuator pad for handling very high sound pressure levels. A sensitivity reduction for low frequencies can be utilized to suppress the proximity effect. The two switches are into the middle of the preamplifiers. The microphone is equipped with a standard 3-pin XLR connector fitting to a microphone cable, e.g. C70. The operation voltage is provided by 48 V phantom powering, according to the international standards DIN 45596 and IEC 268-15. They are available in a satin nickel or a black matt finish. Both condenser microphone capsules are pressure gradient transducer. The converter elements contain a nickel diaphragm with a thickness of less than 1 µm. The back-plate electrodes are Teflon-coated to increase operational reliability. M294 The desired presence boost of ca. 5dB in the 8kHz range gives this microphone its special clarity. lt is recommended to use a popscreen and to switch on the microphone bass rolI-off for closerange applications.A windscreen can be utilized to enhance life-like recording.

UHF Combo Wireless System with 2 PG58 wireless microphones- Frequency range: S8 (823 - 832 MHz)- 2-Channel wireless microphone system- Optimal sound quality- Wireless system is very easy to setup and operate- Reliable wireless transmission- QuickScan can locate at the touch of a button quality available frequencies- Up to 3 systems can be operated simultaneously- Microprocessor-controlled antenna diversity- Frequency range of the wireless system 50 - 15,000 Hz- Dimensions of the receiver (W x D x H): 388 x 116 x 40 mm- Dimensions of the handheld transmitter (length x diameter): 224 x 53 mm- Jack and XLR outputs- 2-Colour audio status LED- Internal antennas- Strain relief for power cable- LED display shows the operating and battery status- Adjustable -10 dB pad- Quick and easy frequency adjustment- Up to 14 hours of battery life with 2x AA batteries- Lock function for on/off switch- Has a range of up to 100 metres- Dynamic capsule for capturing vocals and speech- Integrated pop filter reduces bothersome breathing and wind noises- Cardioid directional characteristic for isolated sound sources and reduced background noises- WA712 Coloured housing for the handheld transmitter available under the following Article Nrs: White 364170; Red 364157; Silver 364166; Gold 364161; Blue 364169; Pink 364165- URT2 Rack mount kit available under Article Nr: 133263- WA621 Marking rings for BLX2 handheld transmitter available under Article Nr: 336029

Synth Instrument for Kontakt (Download)- Synthesizer sounds developed for beatmakers and producers- Integrated step sequencer and arpeggiator for rhythmic variety- Modifier keys for real-time effects such as sidechain, lo-fi and tape stop- Expressive master effects and drag-and-drop MIDI chord progressions- Filter tags for quick sound selection (pads, leads, plucks, basses)- Developed in cooperation with Big Wave Audio- For use in Native Instruments Kontakt (version 8.7.1 or higher) or in the free Kontakt Player- Over 200 presets for pop, EDM, trap and more

STEREO RIBBON MICROPHONE The new stereo R88A active ribbon microphone with custom toroid transformers captures sound as your ears hear it with an honest, open tonality. The R88A effortlessly records the sonic intricacies of drums, strings, piano, and other instruments that produce complex transients. The extra 12dB of transformer gain is advantageous when recording quiet sources like vocals or soft acoustic guitars. The active impedance buffers help prevent noise interference on long cable runs or when operating near large lighting rigs. The R88A requires standard 48V phantom power to operate.