Time-Warped Reverberator. Create vast soundscapes with just a few notes from your instrument. Apply mind-bending pitch and harmonic manipulation to your reverb tails, with synth-like filter sweeps. Enter a world of new sounds that blow away the boundaries of what is possible with reverb. With pioneers and adventurous sonic explorers in mind we created a reverb pedal that can go where none have gone before. Reverberant Synthesis Machine. NightSky is a reverberant synthesis workstation, and a powerful, hands-on experimental sound design platform. NightSky gives you real-time continuous control of reverb pitch/processing rate/core size, harmonics, and even a synth-like resonant filter with multiple modulation waveshapes, plus a step sequencer with variable glide. You haven t heard a pedal like this before. The Rules of Space and Time Have Been Rewritten. New Sonic Territory. NightSky is a reverb pedal you will want to get your hands on. Deep and powerful sound manipulation with instant response knob-tweaking and no menu diving set a new standard in experimental reverb sound design. Warp Core Reverb. NightSky achieves some of its most mind bending sounds by using a Variable Process Rate for its reverb core, allowing you to simultaneously change the size of the reverb as well as the pitch. This pitch change can be completely smooth, or quantized to a variety of musical scales. And it can be sequenced. Harmonic Sculpture Machine. Use Shimmer to shift the harmonic structure by selectable musical intervals. Add Glimmer to dynamically enhance the harmonic spectrum. Turn up Drive to generate saturated overdriven harmonics. Then sculpt the resulting signal with NightSky s synth-like variable-resonance low pass filter. Challenge The Conventions. NightSky evolved from a desire to push the envelope and challenge the conventions of traditional reverb while also paying homage to the experimental reverberant sounds from decades past. It started with the variable rate core. Once that was nailed down, we knew we had to complement it with a set of sound-shaping features that could take full advantage of the unique possibilities and expand them exponentially. This led us to a full-featured modulation section, a 4-pole resonant filter, and a unique Voice section to control the reverb s harmonic structure. Three Reverb Textures: Sparse, Dense, and Diffuse. NightSky gives you three distinct Reverb textures to choose from: Sparse, Dense, and Diffuse. The Sparse reverb creates reflections that are far enough apart from each other to be audibly distinct. Legato notes create a lush but pleasingly clean sound field, while staccato notes reveal individual echoes in a way that is well suited for sound design and special effects. The Dense reverb texture is an immediate-response reverb with a smooth sound field, featuring sonic characteristics similar to a plate. The Diffuse reverb creates a slow-building, atmospheric wash that excels at ambient, swell, and even reverse-like textures. The Diffuse reverb deconstructs and spreads transients over time to achieve its bloom-like effect. Travel at Warp Speed. NightSky jettisons tradition and opens up a new universe of possibilities by using a variable rate process to expand and contract the reverb core size. This changes the reflection density and response of the reverb while retaining the integrity of the audio within the reverb. The result is a reverberated signal that can be transposed, sequenced and pitch modulated for interplanetary approval. Sonically Beautiful Reverb Repitching. Inspired by the classic shimmer effects pioneered in the 80s using digital reverbs and pitch shifters, NightSky s Shimmer voice is carefully created from the reverberated signal itself to generate maximum radiance and beauty. Call forth deep, low ambient string sections with the octave down setting, or spacey ethereal textures with octave up. In between the octaves are several musically interesting intervals available for shifting the harmonic structure of the reverb. The Shimmer processing can be applied at the reverb input only, or can regenerate within the reverb core for ever-ascending or descending pitches as the reverb decays. Custom Tailored Harmonic Spectrum. Glimmer creates an enhanced harmonic spectrum using an optimally tuned dynamic resonant network. Its high setting accentuates higher frequency harmonics, creating a washy, dreamy, ambient top end. With Glimmer switched to its low setting, lower frequency harmonics are enhanced to alter the perceived harmonic structure and create mysterious synth-like textures. Explosions in the NightSky. NightSky s Drive feature generates saturated overdriven harmonics that can either react to the signal going into the reverb core, or dynamically distort the reverb s output in a very interactive way. When Drive is applied at the input to the reverb, digging in generates more distorted harmonics, so you can dynamically play the distortion going into the reverb core. Placed on the reverb output, Drive acts as a soft-clipped limiter, reacting dynamically with the complexities of the decay of the reverb. This can produce interesting distorted stereo panning effects, as reflections on either side of the stereo image surpass or recede below the amplitude necessary to generate noticeable distortion. The harmonic complexity created by the Drive block is perfectly suited for sonic sculpting via NightSky s low pass filter. Synth-like Low Pass Filter and More. NightSky features a beautifully tuned 4-pole 24dB/octave low pass filter with a user-selectable resonance amount for gorgeous synth-like filter sweeps of the reverb output. The low pass filter is especially effective at shaping the distortion products from the Drive section. When used with NightSky s Modulation section this filter reveals the inspiring power of subtractive reverberant synthesis. The low pass filter can also be swapped for a high cut filter that removes high frequencies from the regenerating reverb core to create a reverb that gets darker as it decays. Also in NightSky s TONE section is a low cut filter that removes low end content both at the output and in the reverb core. Powerful Modulation Capabilities. Add motion to your sounds with NightSky s Modulation section. Create slowly evolving ethereal textures, or push the limits of wildly experimental sound design. Triangle, square, ramp, saw, random, and envelope waveforms can be used to modulate your choice of targets: Modulate the delay lines within the regenerating reverb core, or modulate the size/pitch (process rate) of the reverb core. Or, for very synth-like sounds, modulate the resonant low pass filter. Unlock the Power of Morph. NightSky s Morph feature allows you to seamlessly go from one set of knob positions to another at the press of a footswitch, at any Morph speed you choose. Use it to gradually vary modulation speed and depth, or morph from a subtle short-decay reverb to a huge, mysterious, modulated long-decay reverb. You can morph between different size/pitch settings or even morph between shimmer intervals. Turn up the resonance on the low pass filter and use Morph to sweep the filter s center frequency, sweeping through audible harmonics as you go. Morph settings are saved per-preset, making it a powerful live performance tool. Sequence Your Reverb. NightSky features a powerful and easy to use eight step sequencer. Each step effectively changes the SIZE/PITCH setting and can be easily tuned in half step increments or to notes in the musical scale of your choosing, or can be tuned freely with no pitch quantization. The sequencer can be set to advance a single step each time you press a footswitch, or can run automatically at a tapped tempo. Individual steps can be instantly activated or deactivated as the sequence runs, and you can set a variable glide time for smooth pitch transitions between steps. Sequences are saved per preset. Infinite Sky. NightSky s INFINITE footswitch freezes the audio at the input to the reverb core, and any new audio can still be processed by the reverb on top of the frozen audio. Not only does this allow you to create a lush ambient bed to play over, it offers a whole new world of possibilities when used in conjunction with NightSky s sequencer. Now you can repitch that frozen audio by predetermined intervals stored in your sequence, creating on-demand chord changes to play over, or single note sequences to set a groove. Go Beyond. NightSky s front panel offers an abundance of control over your reverberated signal. Should you desire to venture even further beyond the ordinary, there are several secondary parameters to add to your sound design toolkit. Infinite Input Mode With Infinite mode, select whether additional input signal gets processed by the reverb and sequencer or passes through unprocessed Glide Time Set the Glide (portamento) speed for the sequencer Pre-Delay Adjust pre-delay from 0 to 500ms Scale Select Choose from eight different scales when scale quantize is selected Filter Resonance Vary the resonance from gradual rolloff to sharp peaking response when low pass is selected Glimmer Gain Adjust the intensity of the Glimmer effect Drive Gain Set the intensity of the Drive effect Morph Time Adjust how quickly settings morph between each other Instant Access to 16 Presets. NightSky gives you instant front panel access to 16 presets. Of course, if 16 is not enough, 300 preset locations are available via MIDI. Core of your MIDI Rig. With full MIDI control of every parameter plus 300 preset locations, NightSky is designed to be the center of sonic expressiveness for your MIDI pedalboard. Control sequencer tempo and pitch via MIDI. Modulate NightSky s filter with beat-synced modulation envelopes from your DAW. Let NightSky provide the inspiration, and the possibilities are as unlimited as your imagination. NightSky transmits and receives MIDI over 5-pin DIN, USB, and even the Expression jack (via our MIDI EXP cable) perfect for your pedalboard or in your studio. Morphing expression control. Connect an expression pedal and enjoy a whole new level of instantaneous, continuous control. Set as many knobs as you like for the heel position and toe position of your expression pedal, and all settings will simultaneously morph throughout the full range of the expression pedal. Dedicated Instrument/Line Input Level Switch. NightSky offers an input level switch to work perfectly with a variety of input sources. Set the switch to the INST position when using a guitar level input. Set to LINE when using NightSky in the effects loop of a guitar amp, or when driving NightSky with a hot output from a synth or mixer insert. The LINE input mode gives you an additional 10dB of clean headroom, and is also perfect for using NightSky as a send effect or insert effect in the studio. Additional Control with MultiSwitch Plus. Connect MultiSwitch Plus to NightSky s Expression Pedal jack for additional footswitchable control. Use MultiSwitch Plus to instantly select between three presets, or scroll through the 16 onboard presets and engage or bypass the preset you have selected. Or set MultiSwitch Plus to individually engage or bypass the MOD, TONE, or VOICE sections of NightSky. Sound Design Three selectable reverb types offer a wide variety of ambient textures MOD section with various waveforms to modulate the reverb or tone filters TONE section to sculpt the high and low EQ of the reverb VOICE section to enhance the aural spectrum of the reverb Adjustable SHIMMER for adding pitch shifting of up to /- 1 octave to the reverb GLIMMER dynamically enhances high or low frequency harmonics for synth-like textures Pre or Post DRIVE to add saturated overdriven harmonics to the reverb Adjustable reverb core size to increase or decrease the space for reflections Independent REVERB and DRY level controls Step sequencer for programming rhythmic pitch variations of the reverb Access to 16 presets from the front panel and 300 presets via MIDI Ins, Outs, and Switches High impedance ultra low-noise discrete Class A JFET preamp stereo inputs Low impedance stereo outputs Input Level switch allows for both instrument and line level signals On, Favorite, and Infinite footswitches Expression pedal input allows the connection of an expression pedal, MultiSwitch Plus, or 1/4 to MIDI cable Full featured MIDI in/out supporting MIDI CCs, program changes, MIDI clock sync and more USB jack for controlling via MIDI from a computer or for performing firmware updates Audio Quality Analog dry path for a zero latency dry signal that is never converted to digital Premium JFET analog front end Ultra low noise, high performance 24-bit 96kHz A/D and D/A converters provide uncompromising audio quality Super high performance SHARC DSP 32-bit floating point processing 20Hz to 20kHz frequency response Audio Input Impedance: 1M Ohm Audio Output Impedance: 100 Ohm More True Bypass (electromechanical relay switching) or selectable transparent Analog Buffered Bypass Strong and lightweight anodized dark blue aluminum chassis 9V DC power supply included Power requirements: maximum 9 volts DC center-negative, with a minimum of 300mA of current Dimensions: 4.5 deep x 7 wide x 1.75 tall 114.3 mm deep x 177.3 mm wide x 44.5 mm tall Designed and built in the USA

The Cameo HydraBeam 400 RGBW is a lighting set with 4 ultra-fast moving heads that can be controlled independently. They are equipped with high-intensity, 10 W Quad LEDs made by the leading manufacturer Cree, providing a narrow 4.5° beam angle. The moving heads swivel by up to 540° horizontally and by up to 270° vertically, and are cooled by an extremely low-noise fan. The HydraBeam 400 can be controlled in the DMX modes with 6-channel, 10-channel, 19-channel and 32-channel, and be can used as a master, slave or standalone. The built-in microphone allows an external sound control. 16 automated programmes provide lively movement patterns; the strobe function will produce up to 30 flashes per second. In addition, six intensive colour variations can be selected via DMX. The rugged construction made of black steel and ABS has a backlit display with 4 buttons for easy operation. The Cameo HydraBeam 400 can be operated universally with mains voltages from 100 to 240 volts; the power consumption is a low 100 watts. For a large variety of mounting options, for example on trusses, two Omega brackets and a removable tripod flange are included. - Item Number: CLHB400W - Product Type: LED moving light - Type: moving head - Colour Spectrum: RGBW - Number of LEDs: 4 - LED Type: 10 W - Beam Angle: 4.5° - DMX Input: XLR 3-pin male - DMX Output: XLR 3-pin female - DMX Mode: 6-channel, 10-channel, 19-channel, 32-channel - DMX Functions: Dimmer, TILT, PAN, Strobe, Colour Change - PAN Movement: 540° - TILT Movement: 270° - High-speed Stroboscope: >30 Hz - Standalone Modes: Auto Run, Sound Control - Controls: Enter, Mode, Value Down, Value Up - Indicators: LED Display - Power Supply: 100 V AC - 240 V AC, 50 - 60 Hz - Power Consumption: 100 W - Power Connector: IEC power socket male - Housing Material: metal, ABS - Housing Colour: black - Cooling System: fan - Illumination: red 10,670 lx 1m, green 19,000 lx 1m, blue 3,710 lx 1m, white 27,600 lx 1m - Dimensions without mounting bracket - Width: 810 mm - Height: 250 mm - Depth: 130 mm

ORGANIC GROOVES FOR UNPLUGGED MUSICIANS Introducing the DR-01S Rhythm Partner, the world s first virtual percussionist designed specifically for acoustic musicians. Unlike the rhythm machines used by electronic musicians and DJs, the DR-01S is packed with organic percussion sounds and simple, versatile grooves that tastefully complement the unplugged experience. It s an ideal companion for acoustic guitar and vocals, and just as powerful with ukulele, violin, piano, and other types of acoustic instruments. The friendly interface on the DR-01S makes it easy to cater beats and variations to suit any style, while the onboard speaker provides high-quality sound that blends perfectly with acoustic instruments. And with battery-powered operation, you can take your rhythm partner everywhere you go. Whether playing solo or with friends, the inspiring DR-01S brings a new level of enjoyment to all your acoustic music sessions. - Great-sounding, easy-to-use rhythm box designed for acoustic musicians - Filled with simple, tasteful grooves to support and enhance unplugged music styles - Convenient all-in-one design with high-quality integrated sound system - User-friendly interface for selecting instrument types and grooves, adjusting volume and tempo, and more - Seven simultaneous instrument categories include everything from tambourines, shakers, and congas to full drum set, sound effects, standard metronome, and many other sounds - Dedicated patterns in each instrument category, with the ability to layer patterns from all categories together in real time - Save 50 favorite rhythm combinations for quick recall - Control various functions and trigger sounds hands-free with optional footswitches - Line out for connecting to an acoustic guitar amp or larger sound system - Aux input enables use as a speaker for a smartphone or other audio player - Powered by six AA-size batteries or included AC adapter The Perfect Rhythm Partner for Unplugged Music One of the great joys of acoustic music is that it s simple and uncomplicated you just grab your instrument and start playing. The DR-01S flows seamlessly with that relaxed unplugged vibe, offering a friendly panel interface, all-in-one design, and tasteful, understated grooves that enhance any acoustic music style without getting in the way. Via dedicated buttons, you can call up all sorts of beats and variations, layer up to seven instruments together to create your own unique rhythms, and save up to 50 favorites for later recall. Volume, tempo, and time signature can be adjusted with just a few touches, and it s easy to add a count-in before the rhythm starts. You can even fade out grooves to create polished endings for your songs. Expressive Percussion Instruments and Grooves The DR-01S takes full advantage of the acclaimed rhythm machine and sound development history of BOSS and its parent company Roland. A large variety of authentic acoustic percussion sounds are on board, including shakers, maracas, tambourines, congas, bongos, bells, cajon, and many more. There s even a full drum kit with acoustic and electronic sounds, perfect for when you want to rock up your acoustic jams. Every instrument category includes lots of expressive grooves created by acoustic percussionists, giving you a wide range of organic backing for any unplugged style. Impressive Sound in a Compact Design With its integrated audio system, the DR-01S produces warm, full sound that blends right in with the natural tones of your acoustic instruments. BOSS s advanced approach combines an innovative cabinet design, custom speaker, and a high-efficiency amplifier to deliver impressive sound in a highly portable package. And when you want to take your rhythm partner to the stage, just connect the line out into your acoustic amp or PA system. Hands-Free Control with Optional Footswitches While you can access all DR-01S functions from the front panel, it s often handy to perform some operations while keeping both hands on your instrument. And by connecting one or two optional footswitches, you can. There are a variety of assignable functions to choose from, including start/stop, tempo up/down, tap tempo, pattern variation, and many more. It s also possible to trigger nearly any DR-01S percussion sound by foot, great for manually tapping out beats as you play. SPECIFICATIONS: Maximum Polyphony: 24 voices Tempo: Quarter note = 40 300 Time Signature: 3/4, 4/4, 6/8 Tones: Shaker, Maracas, Bell, Whistle, Tambourine, Pandeiro, Claves, Cowbell, Triangle, Guiro, Bongo, Hand clap, Paila, Conga, Cajon, Drums, Metronome, Sound effects Number of Favorite: 50 Rated Power Output: 7 W Speaker: 10 cm (4 inches) Display: 7 segments, 3 characters (LED)DA Conversion24 bits Nominal Input Level: AUX IN: -20 dBu Input Impedance: AUX IN: 22 k ohms Nominal Output Level: LINE OUT: -10 dBu Output Impedance: LINE OUT: 1 k ohm Recommended Load Impedance: LINE OUT: 10 k ohms or greater Connectors: AUX IN jack: Stereo miniature phone type LINE OUT jack: Stereo miniature phone type CTL 1, 2 jack: 1/4-inch TRS phone type DC IN jack Power Supply: Alkaline battery (AA, LR6) x 6 (sold separately) / AC adaptor Current Draw: 330 mA Expected battery life under continuous use: Alkaline: Approx. 10 hours * These figures will vary depending on the actual conditions of use. Accessories: Owner's manual Leaflet USING THE UNIT SAFELY AC adaptor Options (sold separately): Footswitch: FS-5U Dual Footswitch: FS-6, FS-7 SIZE AND WEIGHT Width: 210 mm 8-5/16 inches Depth: 143 mm 5-11/16 inches Height: 127 mm 5 inches Weight: 900 g 2 lbs * 0 dBu = 0.775 Vrms

Helix Family Feature Bullets more detail with no character count restrictions Helix Next Generation, Tour Grade Guitar Processor Dual DSP-powered HX modeling engine with 4 discrete stereo signal paths, 45 amps, 30 cabs, 16 mics and 70 effects Imports 3rd party 1024/2048 cab IR s (impulse responses) 12 capacitive-sensing footswitches and customizable scribble strips touch to edit, hold to assign, press to engage Hands-free Pedal Edit mode lays out effect parameters across switches and expression pedal Near-instant footswitch and controller assignment Up to 3 expression pedals, CV/Expression out, external amp switching and deep MIDI control Extensive I/O for seamless integration with your entire rig - 10 inputs 12 outputs (including four fx loops), plus 8-in/8-out USB audio interface AES/EBU, SPDIF and VDI interfaces Industry-leading 123dB of dynamic range on the guitar input, for tremendous depth and ultra-low noise Tour Grade construction Helix Real. Smart. Control. HelixTM is a new kind of guitar processor: it s not only a tour-grade multi-effect pedal that sounds and feels authentic, it s also the most comprehensive master controller for guitar systems ever built. Start by recreating the tones in your head with the new HX modeling engine - the new amps, cabs, mics, and effects will feel familiar to anyone who has ever spent time in the studio getting the best guitar sounds from both vintage and modern gear. Have a pile of oddball pedals that you rely on for your personal sounds No problem. Take advantage of the most comprehensive I/O and routing capabilities ever built into a multi-effect and easily integrate them into the Helix environment. Once connected, create custom setups and footswitch labels that make your external pedals feel like they re all under the hood. Whether you spend your time in the studio or on the stage, Helix is the next-generation guitar processor you ve been waiting for. Real Tone It feels and sounds like your analog gear When it comes down to authentic sound and feel, Helix represents a giant leap forward for guitar technology. The dual-DSP engine provides massive power to accurately recreate the dynamic feel of tube amplifiers, not just their sonic fingerprint. Each stage of an amp s circuit has been measured and matched back to the original, so that each model reacts and interacts just like the real thing. This level of dynamic circuit detail extends into areas like power supply ripple, individual tube sag, and control over B voltages. Once these elements are captured, you get classic bloom and gooey compression on some amps, and a powerful gut punch on others. Helix also lets you load custom impulse responses, allowing you to personalize your rig setup. Smart Interaction So intuitive you already know how to use it Massive power traditionally comes with a steep learning curve, but Helix challenges that way of thinking. Touch-sensitive footswitches allow you to select an effect block for editing simply by touching it. In combination, the large 6.2 inch 800x480-pixel LCD display all but eliminates menu-diving and provides the same level of control you would expect from an external editor. Colored LED rings and customizable scribble strips complete the user interface, letting you know what each footswitch is doing at a glance. When it comes to creating tones, Helix is as fast as you are. Part of the goal in developing Helix was to allow guitarists to interact with technology in ways that are more intuitive, making the creation of tones easier. This means that - for the very first time - you won t have to stop playing to tweak a knob. With Pedal Edit Mode, you can edit any parameter you like using your foot: simply select the block that you want to tweak, and its parameters spill out onto the footswitches. Select a parameter, and tweak the value using the expression pedal. Giving you the ability to touch a footswitch and quickly tweak parameters or easily assign or learn controllers, Helix is the fastest tone creator of its kind on the planet. But that s only part of the story it s also the most flexible. Helix has FOUR stereo paths per preset, allowing you to design complex routing scenarios for each patch. Creating variations on wet and dry routing schemes is as easy as loading a template or tweaking the joystick, and using the onboard effects models in conjunction with the 4 freely-assignable effects loops means that the tonal possibilities are truly huge. Control of your entire rig Integrate and control internal and external devices As the most advanced guitar processor ever made, Helix can become the nerve center for your entire guitar rig. Easily integrate traditional effects pedals and other hardware into your environment, creating a seamless hybrid rig that incorporates the best of what software and hardware have to offer. Helix has the most flexible audio routing ever seen on a guitar processor, thanks to its dynamically allocated DSP. Use the four effects loops to connect four separate pedal chains, or split them up and use them as freely-assignable inputs and outputs. In combination with four stereo paths, this means that you can process multiple instruments at once, send wet and dry signals to different places, and create large integrated systems that take advantage of both digital and analog I/O at the same time. When you need to incorporate external devices via MIDI, Helix offers more flexibility than any multi-effect ever. In addition to powerful real time MIDI control, Helix can send up to six separate commands at patch recall that aren t assigned to a footswitch, which means you can change a patch on a synth, start a sequencer, and turn up a fader on an external mixer, all with one press of a footswitch. Add three expression pedals, CV/Expression out, and external amp switching, and Helix can be the command center for any size rig. Helix Helix is like no other guitar pedal that you ve ever seen before. It represents a new way of thinking about guitarists and technology, and it gives creative musicians the tools to quickly recreate the sound they hear their head, without sonic compromise.

In 2002 we introduced the R-122, the world's first phantom powered, active ribbon microphone. It was a revolutionary development in ribbon mics, combining impedance matching circuitry with condenser-like output levels that allowed the R-122 to be used on even the quietest sound sources. It also allowed the mic to be paired to virtually any preamplifier. The R-122 MKll takes the R-122 to a whole new level, delivering unprecedented flexibility for ribbons via the addition of a switchable -15 dB pad and a switchable bass-cut filter. The switches are completely out of the circuit when disengaged so when both are off, the microphone is for all purposes an original R-122. The switches are located on the back of the microphone and recessed to prevent accidental activation. The Pad The R-122 MKll s switchable -15 dB pad is positioned before the microphone s electronics and, when engaged, eliminates any potential for headroom-related distortion on even the loudest sound sources. Wide open electric guitars are no problem. With the pad in, the R-122 MKll s output is actually 2 dB lower than our flagship R-121. The R-122 MKll s well-designed pad has no sonic imprint. Once levels are matched, the R-122 MKll reproduces sound exactly the same with the pad in as with the pad out. The Bass Cut When switched in, the R-122 MKll s bass cut starts filtering at 100 Hz, 6 dB per octave, effectively reducing the mic s bass buildup due to proximity effect. This smooth filter is extremely useful on vocals, many acoustic instruments, and close-miked electric guitars when less bottom end is desired. The R-122 MKll s electronics are hand-wired in our Burbank, CA factory. The microphone utilizes a special Royer-designed toroidal transformer that delivers a faster transient response then traditional ribbons, making it a first call ribbon mic for drum overheads, percussion and all acoustic instruments. Gain Conventional ribbon microphones need high-quality, high-gain microphone preamplifiers to record softer sound sources. The R-122 MKll s output level is much higher, allowing you to use practically any mic preamplifier or board pre's to record even the quietest sounds. The R-122 MKll contains a fully balanced, hand-wired, discrete head amplifier system utilizing a specially wound toroidal transformer and ultra-low noise FET's. This system is extremely quiet and brings the R-122 MKll's sensitivity to 37 dB, all while allowing for high SPL recording! Go ahead and plug a MKll into any preamp with average gain - you'll get full Royer performance and enough level to drive any recording medium. There is no increase in self-noise in the R-122 MKll's higher sensitivity. All of the mic s additional output comes from its large, specially wound toroidal transformer - that wonderful thing called free gain. The phantom powered circuitry provides impedance conversion only, adding no noise of its own. Impedance Matching The R-122 MK's active electronics put a perfect load on the ribbon element at all times, allowing the microphone to deliver its full sonic potential regardless of the input characteristics of the following pre. Due to its low-impedance output, R-122's can be used on extremely long cable runs with minimal signal loss. In addition, the ribbon element can't be damaged by phantom power, miswired cables or electrical glitches. Patented Offset Ribbon Technology The R-122's proprietary offset ribbon transducer (Patent # 6,434,252) positions the ribbon element closer to the front (logo) side of the microphone. This configuration gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response during high SPL recordings. It's an integral piece of the magic of all Royer R-series microphones. Features - Phantom powered circuitry provides high output and impedance matching - -15 dB pad before the mic s electronics gives more headroom when activated. - Bass cut filter reduces proximity effect and bass below 100 Hz when activated - High SPL Capabilities - No distortion up to maximum SPL rating - Extremely low residual noise - Ribbon element is not affected by heat or humidity - Absence of high frequency phase distortion - Equal sensitivity from front or back of element - Consistent frequency response regardless of distance - Rear side of mic records slightly brighter when three feet or closer to sound source Specifications - Acoustic Operating Principle: Electrodynamic pressure gradient with active electronics - Polar Pattern: Figure-8 - Generating Element: 2.5-micron aluminum ribbon - Magnets: Rare Earth Neodymium - Frequency Response: 30 - 15,000 Hz ±3 dB - Sensitivity: -36 dB (re. 1v/pa ±1 dB) - Switchable Pad: -15 dB - Switchable Bass Cut: 100 Hz (6 dB per octave) - Self-Noise: < 18 dB - Output Impedance: 200 Ohms, balanced - Output Connector: Male XLR 3-pin (Pin 2 Hot) - Rated Load Impedance: 1K-Ohm minimum - Maximum SPL: 135 dB @ 30 Hz - Power Requirements: 48-Volt Phantom Only - Supply Current: 4 mA - Dimensions: 206mm L X 25mm W (8 1/8 L X 1 W) - Weight: 309 grams (10.9 oz) - Finish: Burnished Satin Nickel / Matte Black - Chrome (optional) - Accessories: Protective wood case, mic sock - Optional Accessories: Wind screen, shock mount

In 2002 we introduced the R-122, the world's first phantom powered, active ribbon microphone. It was a revolutionary development in ribbon mics, combining impedance matching circuitry with condenser-like output levels that allowed the R-122 to be used on even the quietest sound sources. It also allowed the mic to be paired to virtually any preamplifier. The R-122 MKll takes the R-122 to a whole new level, delivering unprecedented flexibility for ribbons via the addition of a switchable -15 dB pad and a switchable bass-cut filter. The switches are completely out of the circuit when disengaged so when both are off, the microphone is for all purposes an original R-122. The switches are located on the back of the microphone and recessed to prevent accidental activation. The Pad The R-122 MKll s switchable -15 dB pad is positioned before the microphone s electronics and, when engaged, eliminates any potential for headroom-related distortion on even the loudest sound sources. Wide open electric guitars are no problem. With the pad in, the R-122 MKll s output is actually 2 dB lower than our flagship R-121. The R-122 MKll s well-designed pad has no sonic imprint. Once levels are matched, the R-122 MKll reproduces sound exactly the same with the pad in as with the pad out. The Bass Cut When switched in, the R-122 MKll s bass cut starts filtering at 100 Hz, 6 dB per octave, effectively reducing the mic s bass buildup due to proximity effect. This smooth filter is extremely useful on vocals, many acoustic instruments, and close-miked electric guitars when less bottom end is desired. The R-122 MKll s electronics are hand-wired in our Burbank, CA factory. The microphone utilizes a special Royer-designed toroidal transformer that delivers a faster transient response then traditional ribbons, making it a first call ribbon mic for drum overheads, percussion and all acoustic instruments. Gain Conventional ribbon microphones need high-quality, high-gain microphone preamplifiers to record softer sound sources. The R-122 MKll s output level is much higher, allowing you to use practically any mic preamplifier or board pre's to record even the quietest sounds. The R-122 MKll contains a fully balanced, hand-wired, discrete head amplifier system utilizing a specially wound toroidal transformer and ultra-low noise FET's. This system is extremely quiet and brings the R-122 MKll's sensitivity to 37 dB, all while allowing for high SPL recording! Go ahead and plug a MKll into any preamp with average gain - you'll get full Royer performance and enough level to drive any recording medium. There is no increase in self-noise in the R-122 MKll's higher sensitivity. All of the mic s additional output comes from its large, specially wound toroidal transformer - that wonderful thing called free gain. The phantom powered circuitry provides impedance conversion only, adding no noise of its own. Impedance Matching The R-122 MK's active electronics put a perfect load on the ribbon element at all times, allowing the microphone to deliver its full sonic potential regardless of the input characteristics of the following pre. Due to its low-impedance output, R-122's can be used on extremely long cable runs with minimal signal loss. In addition, the ribbon element can't be damaged by phantom power, miswired cables or electrical glitches. Patented Offset Ribbon Technology The R-122's proprietary offset ribbon transducer (Patent # 6,434,252) positions the ribbon element closer to the front (logo) side of the microphone. This configuration gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response during high SPL recordings. It's an integral piece of the magic of all Royer R-series microphones. Features - Phantom powered circuitry provides high output and impedance matching - -15 dB pad before the mic s electronics gives more headroom when activated. - Bass cut filter reduces proximity effect and bass below 100 Hz when activated - High SPL Capabilities - No distortion up to maximum SPL rating - Extremely low residual noise - Ribbon element is not affected by heat or humidity - Absence of high frequency phase distortion - Equal sensitivity from front or back of element - Consistent frequency response regardless of distance - Rear side of mic records slightly brighter when three feet or closer to sound source Specifications - Acoustic Operating Principle: Electrodynamic pressure gradient with active electronics - Polar Pattern: Figure-8 - Generating Element: 2.5-micron aluminum ribbon - Magnets: Rare Earth Neodymium - Frequency Response: 30 - 15,000 Hz ±3 dB - Sensitivity: -36 dB (re. 1v/pa ±1 dB) - Switchable Pad: -15 dB - Switchable Bass Cut: 100 Hz (6 dB per octave) - Self-Noise: < 18 dB - Output Impedance: 200 Ohms, balanced - Output Connector: Male XLR 3-pin (Pin 2 Hot) - Rated Load Impedance: 1K-Ohm minimum - Maximum SPL: 135 dB @ 30 Hz - Power Requirements: 48-Volt Phantom Only - Supply Current: 4 mA - Dimensions: 206mm L X 25mm W (8 1/8 L X 1 W) - Weight: 309 grams (10.9 oz) - Finish: Burnished Satin Nickel / Matte Black - Chrome (optional) - Accessories: Protective wood case, mic sock - Optional Accessories: Wind screen, shock mount

So what exactly is Ottobit Jr. Well, it s a bitcrusher, but it would be an insult to just call it that. It s also an ultra-musical sequencer, stutter and filter effect, but it s not JUST that either. It s the sum of all of these parts that make the Ottobit Jr. what it is: a maniacal side-scrolling, coin-collecting, power-glove-punching-machine with a host of earth-shattering sounds that ll melt your face right off! Heck, the pedal is so unique and innovative that it deserves to have a verb all of its own. So plug in, press play and Ottobit away! Features: - Variable Sample Rate and Bit Crushing - Vintage Synth inspired Low-Pass Filter - Triggered Stutter Effects - Sequencer module for Pitch, Filter or Decimation pattern sequencing - Tap Tempo for Sequencer and Stutter - Stereo input and output - Switchable input/output headroom level for Guitar, Synthesizer or Line levels - Expression pedal control over all parameters simultaneously - Presets available via external 4-Preset switch or MIDI - MIDI in/out over TRS via the EXP jack - Remote Tap Tempo Switch capable via the EXP jack - Premium and hi end analog signal path - Designed and Built in Los Angeles, California U.S.A.

The Cameo CLSB6D is a professional solution for DMX network configuration. This splitter/booster in 19 format amplifies the DMX input signal and sends it to 6 galvanically isolated outputs. It connects directly to the DMX console or DMX controller. The input and THRU connectors for signal forwarding are available on the front and rear panel of the CLSB6D; they are dubbed and wired in parallel. Illuminated LEDs on the front panel indicate the DMX and Power status of the channels; the outputs are grouped on the rear panel. A 120 ohm terminating resistor is switchable on the DMX THRU output; the unit has its own mains switch and comes with IEC cable. To mount the unit upside down and provide better access to the connectors, the rack ears can be attached to the rear of the chassis. Professional 6-channel DMX splitter/booster DMX professional Rackable 19 1 U 6 galvanically isolated outputs on 3-pin/5-pin XLR connectors DMX status indicator per channel Power indicator 120 ohm termination resistor on DMX THRU output connector Possibility of racking, front panel or rear panel visible SPÉCIFICATIONS Product type Lighting accessories - miscellaneous Type Splitter/Booster DMX DMX 2 inputs (in parallel) DMX input connectors 3-pin male XLR connector, 5-pin male XLR connector Number of DMX Thru 2 Referrals (in parallel) DMX Thru Routing Connectors 3-pin female XLR connector, 5-pin female XLR connector DMX outputs 6 DMX output connectors 3-pin male XLR connector, 5-pin male XLR connector Power On/Off settings, DMX Thru Terminator DMX switch Indicators 6 x Power LED, 6 x LEDs Signal IEC mains connector Mains voltage Transformer Mains voltage 230 V AC, 50 Hz Power consumption 15 W Width 483 mm Height (mm) 44 mm Depth 160 mm Weight 3 kg Accessories (included) Power cable

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.

The PMBL-ACTIVE is a 2-channel stereo line level merge box that can be used to merge two stereo line signals into one stereo output. One classic application: routing two mixing desks to one PA system. The unit has enough amplification to boost even semi-professional levels accordingly. The input channels are galvanically isolated from one another. Each channel offers a mute switch and the ability to mix the stereo signal down to mono. The unit is housed in a 1 U/9.5 case and has a built-in power supply.

Helix Family Feature Bullets more detail with no character count restrictions Helix Next Generation, Tour Grade Guitar Processor Dual DSP-powered HX modeling engine with 4 discrete stereo signal paths, 45 amps, 30 cabs, 16 mics and 70 effects Imports 3rd party 1024/2048 cab IR s (impulse responses) 12 capacitive-sensing footswitches and customizable scribble strips touch to edit, hold to assign, press to engage Hands-free Pedal Edit mode lays out effect parameters across switches and expression pedal Near-instant footswitch and controller assignment Up to 3 expression pedals, CV/Expression out, external amp switching and deep MIDI control Extensive I/O for seamless integration with your entire rig - 10 inputs 12 outputs (including four fx loops), plus 8-in/8-out USB audio interface AES/EBU, SPDIF and VDI interfaces Industry-leading 123dB of dynamic range on the guitar input, for tremendous depth and ultra-low noise Tour Grade construction Helix Real. Smart. Control. HelixTM is a new kind of guitar processor: it s not only a tour-grade multi-effect pedal that sounds and feels authentic, it s also the most comprehensive master controller for guitar systems ever built. Start by recreating the tones in your head with the new HX modeling engine - the new amps, cabs, mics, and effects will feel familiar to anyone who has ever spent time in the studio getting the best guitar sounds from both vintage and modern gear. Have a pile of oddball pedals that you rely on for your personal sounds No problem. Take advantage of the most comprehensive I/O and routing capabilities ever built into a multi-effect and easily integrate them into the Helix environment. Once connected, create custom setups and footswitch labels that make your external pedals feel like they re all under the hood. Whether you spend your time in the studio or on the stage, Helix is the next-generation guitar processor you ve been waiting for. Real Tone It feels and sounds like your analog gear When it comes down to authentic sound and feel, Helix represents a giant leap forward for guitar technology. The dual-DSP engine provides massive power to accurately recreate the dynamic feel of tube amplifiers, not just their sonic fingerprint. Each stage of an amp s circuit has been measured and matched back to the original, so that each model reacts and interacts just like the real thing. This level of dynamic circuit detail extends into areas like power supply ripple, individual tube sag, and control over B voltages. Once these elements are captured, you get classic bloom and gooey compression on some amps, and a powerful gut punch on others. Helix also lets you load custom impulse responses, allowing you to personalize your rig setup. Smart Interaction So intuitive you already know how to use it Massive power traditionally comes with a steep learning curve, but Helix challenges that way of thinking. Touch-sensitive footswitches allow you to select an effect block for editing simply by touching it. In combination, the large 6.2 inch 800x480-pixel LCD display all but eliminates menu-diving and provides the same level of control you would expect from an external editor. Colored LED rings and customizable scribble strips complete the user interface, letting you know what each footswitch is doing at a glance. When it comes to creating tones, Helix is as fast as you are. Part of the goal in developing Helix was to allow guitarists to interact with technology in ways that are more intuitive, making the creation of tones easier. This means that - for the very first time - you won t have to stop playing to tweak a knob. With Pedal Edit Mode, you can edit any parameter you like using your foot: simply select the block that you want to tweak, and its parameters spill out onto the footswitches. Select a parameter, and tweak the value using the expression pedal. Giving you the ability to touch a footswitch and quickly tweak parameters or easily assign or learn controllers, Helix is the fastest tone creator of its kind on the planet. But that s only part of the story it s also the most flexible. Helix has FOUR stereo paths per preset, allowing you to design complex routing scenarios for each patch. Creating variations on wet and dry routing schemes is as easy as loading a template or tweaking the joystick, and using the onboard effects models in conjunction with the 4 freely-assignable effects loops means that the tonal possibilities are truly huge. Control of your entire rig Integrate and control internal and external devices As the most advanced guitar processor ever made, Helix can become the nerve center for your entire guitar rig. Easily integrate traditional effects pedals and other hardware into your environment, creating a seamless hybrid rig that incorporates the best of what software and hardware have to offer. Helix has the most flexible audio routing ever seen on a guitar processor, thanks to its dynamically allocated DSP. Use the four effects loops to connect four separate pedal chains, or split them up and use them as freely-assignable inputs and outputs. In combination with four stereo paths, this means that you can process multiple instruments at once, send wet and dry signals to different places, and create large integrated systems that take advantage of both digital and analog I/O at the same time. When you need to incorporate external devices via MIDI, Helix offers more flexibility than any multi-effect ever. In addition to powerful real time MIDI control, Helix can send up to six separate commands at patch recall that aren t assigned to a footswitch, which means you can change a patch on a synth, start a sequencer, and turn up a fader on an external mixer, all with one press of a footswitch. Add three expression pedals, CV/Expression out, and external amp switching, and Helix can be the command center for any size rig. Helix Helix is like no other guitar pedal that you ve ever seen before. It represents a new way of thinking about guitarists and technology, and it gives creative musicians the tools to quickly recreate the sound they hear their head, without sonic compromise.

The MEINL Tar is a tunable frame drum with a hand selected goatskin head. The tuning lugs are fully recessed within the frame for minimal interference. A scalloped thumb notch and light weight ensures comfortable playing.Size: 18 2 1/2 deepFeatures: Internal lug tuning systemMaterial: Hand selected goat head Materials Rubber Wood (Hevea brasiliensis Muell.-Arg.)

The MEINL Tar is a tunable frame drum with a hand selected goatskin head. The tuning lugs are fully recessed within the frame for minimal interference. A scalloped thumb notch and light weight ensures comfortable playing.Size: 22 2 1/2 deepFeatures: Internal lug tuning systemMaterial: Hand selected goat head Materials Rubber Wood (Hevea brasiliensis Muell.-Arg.)

The MEINL Tar is a tunable frame drum with a hand selected goatskin head. The tuning lugs are fully recessed within the frame for minimal interference. A scalloped thumb notch and light weight ensures comfortable playing.Size: 20 2 1/2 deepFeatures: Internal lug tuning systemMaterial: Hand selected goat head Materials Rubber Wood (Hevea brasiliensis Muell.-Arg.)

The Cameo CLSB83 is the professional solution for configuring DMX networks. The splitter and booster in 19 format amplifies the DMX input signal and distributes it to 8 electrically isolated outputs. It is connected directly to the DMX controller or to DMX devices. The input and the THRU socket for looping of the signal are duplicated on the front and back of the CLSB83 and connected in parallel. Bright LEDs show the DMX and power status of the channels on the front panel, the outputs are located on the back. A switchable 120 Ohm terminating resistor on the DMX THRU output and the power switch complete the equipment; the IEC-cable is supplied. For convenient output connector access and reverse installation the rack-mount angles can be attached to the rear of the chassis. The Cameo DMX splitter and booster is also available in 5-pin design (art. No CLSB85). Type: DMX 512 protocol DMX Inputs: 2 (parallel) DMX Input Connectors: 3-pin XLR male DMX Thru Outputs: 2 (parallel) DMX Thru Output Connectors: 3-pin XLR female DMX Outputs: 8 (electrically isolated) DMX Output Connectors: 3-pin XLR female Controls: Power On/Off, DMX Thru Terminator Indicators: 8 x Power LED, 8 x Signal LED Power Socket: IEC power socket Power Supply: transformer Operating Voltage: 230 V AC, 50 Hz Power Consumption (max.): 15 W Dimensions (W x H x D): 483 x 44 x 160 mm Accessories included in package: power cord

The MEINL Loop Shaker has a crackling bright sound with many dynamics, and is easy to control. It is very responsive to hand pressure and movement, giving it a soft or loud voice as needed. The MEINL Loop Shaker has applications in practically any musical setting.

The new HCS CYMBAL SET-UP contains a 14 medium hi hat, a 16 medium crash and a 20 medium ride. They are made from MS63 alloy for a warm, harmonic and balanced sound. They offer the best possible sounds at an affordable price. All specially harmonically matched for the most musical sound. Ready to rock right out of the box. * MS63 Alloy * Specially matched * Outstanding quality * Unbeatable value

Crash cymbal- Size: 19"- Thickness: Medium- Finish: Traditional- High-tech mechanically hammered- Versatile cymbal with clear and assertive yet warm sound- Medium sustain

The Palmer PAN16 is an 8 channel passive DI box in a 19 1U rack format. Through the special MERGE THRU/IN function,the parallel THRU output can be connected as a second input for looping the signal.The signal is fed with the one from the INPUT jack as a mono sum into the output. Thus, the PAN16 offers a maximum of 16 inputs, two PAD buttons enable an attenuation of 10, 20 or 30 dB. The outputs are on XLR connectors and are electrically isolated and balanced by a transformer. They are available with 8 additional THRU-sockets on the rear panel of the device. Features Type: passive Number of Channels: 8 Number of Inputs: 8/16 Input Connections: 6.3 mm jack Max. Input Level: 54 dBu Input impedance: ((at) 60 Hz) 1 M Ohm Input Attenuation: 0 / -30 dB Number of Outputs: 4 ( 4 Parallel Thru out) Number of THRU Outputs per Channel: 2 Output Connections: 6.3 mm TRS, XLR Max Output Level: 54 dB Output Impedance: 600 ohms Frequency Response: 10 - 40,000 Hz Transformer Balanced: yes Translation Ratio (Ratio): 10 : 1 Controls: PAD -10 dB, PAD -20 dB, Ground-Lift, Merge Thru/In Housing Material: sheet steel Housing Surface: powder coated Width: 480 mm / 19 Depth: 200 mm Height: 45 mm/1 U

The Lehle Stereo Volume is a volume pedal equipped with a precise magnetic sensor enabling it to operate almost wear-free. This sensor uses the Hall effect, named after Edwin Hall, to measure the strength of magnetic fields. In the Lehle Stereo Volume, the Hall sensor, which is made in Germany, is accurately calibrated to the built-in magnet and the control range of the pedal. The pedal moves only the magnet, the distance is measured by the Hall sensor which controls a VCA. A premium Blackmer® Stereo-VCA (= Voltage Controlled Amplifier) from the United States replaces here in this case the mechanical potentiometer. The principle of the voltage-controlled amplifier is based on the fact that gain can be varied by the control voltage coming from the Hall sensor. This technique allows to operate more precisely than conventional mechanical potentiometers or optical sensors used by the standard volume pedals. In addition the potentiometer-typical noise and the complicated adjustment are eliminated. Over the entire control range the Lehle Stereo Volume transmits the full sound spectrum of the connected instrument. The input and output impedance always stay the same, ensuring that there will be no damping of higher frequencies as with potentiometers. Internally, the input voltage coming from the power supply socket of the pedal is rectified, then filtered, stabilized and doubled to 18V, thus achieving a total dynamic range of 110 dB. The volume control of the Lehle Stereo Volume ranges from -92 dB to 0 dB - so from a virtually muted level to the same volume. The Lehle Stereo Volume runs mechanically extremely smooth and steady, as it is equipped with low-friction bearings of a high-performance polymer, and there is no mechanical transmission of the pedal to other components. By means of an adjusting screw the mobility of the pedal can be modified very precisely. The Lehle Stereo Volume can both distribute one signal to two outputs and add up two input signals to one output: If only a mono signal is supplied, the signal can be split and sent to two different output channels using the split-function. An input stereo or a dual-mono-signal can be merged to mono via the summing function. The balanced (TRS) as well as unbalanced (TS) outputs make the Lehle Stereo Volume fit for use in studios or FOH-environment, e.g. to control the amount of real-time effects or signal busses.