(619,75,0,104,'<h2>Antelope Audio Goliath Thunderbolt, USB & MADI Audio Interface</h2>\n<span style=\"font-size: 16px;\"><i>The most powerful audio interface on the market, with 36 channels of analog input and 32 channels of analog output over Thunderbolt, MADI and USB!</i></span><br /><br />\nAntelope Goliath Thunderbolt, USB and MADi Interface is the result of Antelope’s 20+ years of experience in digital audio, innovative clocking technologies and analog circuit design.\nGoliath houses a total of 36 analog ins and 32 analog outs, over blazing-fast Thunderbolt™, USB & 2 x MADI, providing digital clarity and analog realism like no other audio interface out there. Antelope’s most powerful audio interface comes with an array of hardware-based audio effects, among which vintage guitar amps & cabs, AuraVerb reverb, legendary EQ and compressor emulations, plus our world-renowned Acoustically Focused Clocking technology.<br /><br />\n\n\n<h3>Antelope Goliath Features</h3>\n<ul>\n	<li><strong>16 MIC PRES</strong> - 16 Class-A Mic preamps. Hi-Z, Mic & Line ins                                       </li>\n	<li><strong>PRISTINE AD/DA</strong> - 24-bit, 192 kHz audio and Antelope Audio’s signature pristine conversion        </li>\n	<li><strong>ZERO LATENCY</strong> - 64 channels I/O simultaneous streaming, multiple mixers and effects processing    </li>\n	<li><strong>64-BIT ACOUSTICALLY FOCUSED CLOCKING</strong> - 4th Generation Antelope Audio jitter management technology</li>\n	<li><strong>PRO GUITAR EFFECTS</strong> - Hardware-based effects for next level guitar amp modeling                   </li>\n	<li><strong>CONVENIENT CONTROL</strong> - Intuitive desktop and mobile apps and front panel touch screen              </li>\n	</ul><br />\n	\n	<h3>The Sound you Have Always Dreamed Of</h3>\n	Goliath features Antelope\'s 4th generation of Acoustically Focused Clocking jitter management algorithms (AFC). The audio interface features the oven-controlled crystal oscillator you know from Antelope’s signature crystal-based master clocks.<br /><br />\n	For optimum detail and sound stage, Goliath can be additionally synced to the extremely accurate Rubidium Atomic Clock – 10MX, and it can also be used as a master clock for two other devices via Word Clock Outs on BNC.<br /><br />\n\n	<h3>Realistic Vintage Fx</h3>\n	Goliath employs Antelope’s powerful FPGA-based DSP engine, a massive platform allowing you to process four zero latency mixers with custom effects.	These include the stunning AuraVerb reverb and several modern and vintage hardware EQ and compressor models.<br /><br />\n	Antelope’s new RealModel technology recreate not only the true sound of classic analog gear but its behavior and feel as well. Stacks of effects can be combined in custom FX Chains and saved as Presets. All of Antelope\'s guitar amp and cabs simulations were developed in a partnership with leaders in guitar software Overloud Audio Tools, so we know guitar players will just love Goliath.<br /><br />\n	\n	\n\n\n	<h3>64 Channels via Thunderbolt™</h3>\n	Goliath offers 36 Analog Inputs and 32 Analog Outputs with pristine AD/DA converters. These include 4 superb Instrument DI’s, 2 transformer Reamp Outs, 2 Headphone Outs with integrated Talkback on the front, 16-Channels of Class-A Mic Preamps, 2 sets of Stereo Inserts and a pair of mastering grade Monitor Outs on the back.<br /><br />\n	The DB25 connectors feature 24 Outputs (1-8 can be level controlled for Surround Sound Mixing) and 16 additional Line Inputs, making Goliath an attractive solution for Hardware Inserts and Summing. Even more Analog I/O Channels can be added by connecting Antelope’s Orion32 or Orion32+ via MADI for a total of 64 Channels of Analog I/O simultaneously.<br /><br />\n\n\n	<h3>Touch & Control</h3>\n	All Goliath functions are accessible via its intuitive, high-resolution touch screen. All features of the audio interface can be also accessed via the OS X and Windows compatible Software Control Panel. Just like all new breed Antelope Audio devices. the Goliath follows our networking control concept. This means you can now access all Goliath features from multiple computers in the same network.<br /><br />\n<br />\n<h3>The Antelope Audio Goliath Audio Interface is extremely powerful, intuitive and would fit in to your studio perfectly. Talk with an RSPE representative for more information.</h3>'),(620,75,1,104,'<h2>Antelope Audio Goliath Thunderbolt, USB & MADI Audio Interface</h2>\n<span style=\"font-size: 16px;\"><i>The most powerful audio interface on the market, with 36 channels of analog input and 32 channels of analog output over Thunderbolt, MADI and USB!</i></span><br /><br />\nAntelope Goliath Thunderbolt, USB and MADi Interface is the result of Antelope’s 20+ years of experience in digital audio, innovative clocking technologies and analog circuit design.\nGoliath houses a total of 36 analog ins and 32 analog outs, over blazing-fast Thunderbolt™, USB & 2 x MADI, providing digital clarity and analog realism like no other audio interface out there. Antelope’s most powerful audio interface comes with an array of hardware-based audio effects, among which vintage guitar amps & cabs, AuraVerb reverb, legendary EQ and compressor emulations, plus our world-renowned Acoustically Focused Clocking technology.<br /><br />\n\n\n<h3>Antelope Goliath Features</h3>\n<ul>\n	<li><strong>16 MIC PRES</strong> - 16 Class-A Mic preamps. Hi-Z, Mic & Line ins                                       </li>\n	<li><strong>PRISTINE AD/DA</strong> - 24-bit, 192 kHz audio and Antelope Audio’s signature pristine conversion        </li>\n	<li><strong>ZERO LATENCY</strong> - 64 channels I/O simultaneous streaming, multiple mixers and effects processing    </li>\n	<li><strong>64-BIT ACOUSTICALLY FOCUSED CLOCKING</strong> - 4th Generation Antelope Audio jitter management technology</li>\n	<li><strong>PRO GUITAR EFFECTS</strong> - Hardware-based effects for next level guitar amp modeling                   </li>\n	<li><strong>CONVENIENT CONTROL</strong> - Intuitive desktop and mobile apps and front panel touch screen              </li>\n	</ul><br />\n	\n	<h3>The Sound you Have Always Dreamed Of</h3>\n	Goliath features Antelope\'s 4th generation of Acoustically Focused Clocking jitter management algorithms (AFC). The audio interface features the oven-controlled crystal oscillator you know from Antelope’s signature crystal-based master clocks.<br /><br />\n	For optimum detail and sound stage, Goliath can be additionally synced to the extremely accurate Rubidium Atomic Clock – 10MX, and it can also be used as a master clock for two other devices via Word Clock Outs on BNC.<br /><br />\n\n	<h3>Realistic Vintage Fx</h3>\n	Goliath employs Antelope’s powerful FPGA-based DSP engine, a massive platform allowing you to process four zero latency mixers with custom effects.	These include the stunning AuraVerb reverb and several modern and vintage hardware EQ and compressor models.<br /><br />\n	Antelope’s new RealModel technology recreate not only the true sound of classic analog gear but its behavior and feel as well. Stacks of effects can be combined in custom FX Chains and saved as Presets. All of Antelope\'s guitar amp and cabs simulations were developed in a partnership with leaders in guitar software Overloud Audio Tools, so we know guitar players will just love Goliath.<br /><br />\n	\n	\n\n\n	<h3>64 Channels via Thunderbolt™</h3>\n	Goliath offers 36 Analog Inputs and 32 Analog Outputs with pristine AD/DA converters. These include 4 superb Instrument DI’s, 2 transformer Reamp Outs, 2 Headphone Outs with integrated Talkback on the front, 16-Channels of Class-A Mic Preamps, 2 sets of Stereo Inserts and a pair of mastering grade Monitor Outs on the back.<br /><br />\n	The DB25 connectors feature 24 Outputs (1-8 can be level controlled for Surround Sound Mixing) and 16 additional Line Inputs, making Goliath an attractive solution for Hardware Inserts and Summing. Even more Analog I/O Channels can be added by connecting Antelope’s Orion32 or Orion32+ via MADI for a total of 64 Channels of Analog I/O simultaneously.<br /><br />\n\n\n	<h3>Touch & Control</h3>\n	All Goliath functions are accessible via its intuitive, high-resolution touch screen. All features of the audio interface can be also accessed via the OS X and Windows compatible Software Control Panel. Just like all new breed Antelope Audio devices. the Goliath follows our networking control concept. This means you can now access all Goliath features from multiple computers in the same network.<br /><br />\n<br />\n<h3>The Antelope Audio Goliath Audio Interface is extremely powerful, intuitive and would fit in to your studio perfectly. Talk with an RSPE representative for more information.</h3>'),(621,85,0,104,'Antelope Audio'),(622,85,1,104,'Antelope Audio'),(623,76,0,104,''),(624,76,1,104,''),(625,75,0,105,'<h2>Antelope Audio Goliath HD Interface - HDX, Thunderbolt, USB & MADI Audio Interface</h2>\n<i>64-Channel Thunderbolt, USB 3.0, HDX, & MADI Audio Interface with 16 Mic Preamps, AFC Clocking, and FPGA Real-time FX<br /></i><br />Goliath HD is a 64-Channel interface that can be used with Pro Tools HD or Native DAWs via second generation Thunderbolt, USB 3.0 or via 2 MADI connections, which are compatible with MADI to Dante Bridge products. Coming with extensive I/O options, featuring 16 Accusonic mic preamps with individual volume controls, 32 analog ins with 124dB of Dynamic Range, 32 analog outs with 129dB of Dynamic Range, plus mastering grade monitor outputs, featuring new technology that boosts dynamic range to a spectacular 132dB.<br /><br />Goliath HD comes with 8 instrument inputs, 2 transformer re-amp outs, integrated Talkback mic, 2 headphone outs and a pair of analog inserts. And if this wasn’t enough, the descendant of the mighty Goliath offers also AES, MADI, ADAT and S/PDIF connectivity<br /><br />\n\n\n<h3>Antelope Goliath HD Features</h3>\n<ul>\n	<li><strong>16 MIC PRES</strong> - 16 Class-A Mic preamps. Hi-Z, Mic & Line ins with DMR of 124 dB</li>\n	<li><strong>64 CHANNELS I/O</strong> - Simultaneous streaming of 24-bit, 192 kHz audio via HDX or USB 3.0 and MADI (to Dante Bridge), ADAT, S/PDIF and DB25</li>\n	<li><strong>SUPREME AD/DA & CLOCKING</strong> - Latest generation of ESS powered audiophile grade conversion, paired with Antelope’s 64-bit Acoustically Focused Clocking technology with BNC Word Clock I/O plus the Antelope Audio 10M Atomic Input</li>\n	<li><strong>MASSIVE FPGA</strong>- Proprietary FPGA for authentic modeling of vintage EQs, Compressors, Guitar Amps & Cabs; maintaining multiple mixers and zero latency real-time FX processing</li>\n	<li><strong>MASTERING GRADE MONITORING</strong> - Goliath HD offers high-end monitor outputs, with dynamic range boosted to 132dB</li>\n	<li><strong>SOFTWARE CONTROL</strong> - Touchscreen, enhanced front panel, user friendly routing, mixing and real-time effects processing via OS X & Windows compatible panel and mobile apps</li>\n	</ul><br />\n	\n	<h3>THE POWER OF THE FPGA FX</h3>Explore a growing library of legendary studio gear when tracking, mixing and mastering FPGA offers a whole new level of real time performance and sonic excellence. The platform is taking advantage of real hardware circuitry and component modeling, allowing engineers to track a vocalist with a zero latency headphone mix, including reverb; record a guitar part with proper feel & tone, using onboard amp and cabinet FX. Capturing a full drum kit is also brought to another level with up to 16 mics using the industry’s best new Microphone and Mic Preamp technology, all in real time.<br /><br />\n\n	<h3>Realistic Vintage Fx</h3>With Antelope’s proprietary HDX Delay Compensation, any analog or digital input can arrive in Pro Tools HD sample accurately in the timeline. No other interface on the market offer this level of perfect integration for digital sources to Pro Tools HD software.<br /><br />The Antelope Audio Real-time FX, zero latency independent software mixers and routing matrix with two alternative views are the perfect compliment to Pro Tools HD studios, which have come to expect maximum power at their disposal. Goliath HD, however, is compatible with any DAW on the market making the device the heart and soul of the highest tier audio facilities around the world. Our newly introduced full Session Presets are the perfect match for the complex and large-scale setups and projects Goliath HD was designed to handle.<br /><br />\n	\n	\n\n\n	<h3>HD STUDIO CENTERPIECE</h3>By offering both HD and USB3 modes, engineers can now accommodate producers and their laptop projects and integrate them into their existing HD setups by easily switching between HD and our low latency ThunderboltTM and new USB3 modes.<br /><br />Goliath HD guarantees quiet operation even in the most demanding control rooms. Don’t be surprised if soon expensive machine rooms become a thing of the past.<br />\n\n\n	<h3><br />CLOCK IT LIKE IT’S HOT</h3>Another reason why Goliath HD sounds like no other interface on the market is because of the world-renowned Antelope Audio Acoustically Focused Clocking (AFC) jitter management technologies it features. With over 20 years of history in digital clocking behind us, we backed the Goliath HD up with all OCX HD and Trinity sounding audio clocking.<br /><br />This unbeatable sonic detail and precision, combined with analog authenticity will bring your sound to the realms of hi-end audio. Now you can also spread this perfection across your whole studio as BNC connectors are available for use as Loop Sync, standard Word Clock I/O and the Antelope Audio 10M atomic input.<br /><br />\n<br />\n<h3>The Antelope Audio Goliath Audio Interface is extremely powerful, intuitive and would fit in to your studio perfectly. Talk with an RSPE representative for more information.</h3>'),(626,75,1,105,'<h2>Antelope Audio Goliath HD Interface - HDX, Thunderbolt, USB & MADI Audio Interface</h2>\n<i>64-Channel Thunderbolt, USB 3.0, HDX, & MADI Audio Interface with 16 Mic Preamps, AFC Clocking, and FPGA Real-time FX<br /></i><br />Goliath HD is a 64-Channel interface that can be used with Pro Tools HD or Native DAWs via second generation Thunderbolt, USB 3.0 or via 2 MADI connections, which are compatible with MADI to Dante Bridge products. Coming with extensive I/O options, featuring 16 Accusonic mic preamps with individual volume controls, 32 analog ins with 124dB of Dynamic Range, 32 analog outs with 129dB of Dynamic Range, plus mastering grade monitor outputs, featuring new technology that boosts dynamic range to a spectacular 132dB.<br /><br />Goliath HD comes with 8 instrument inputs, 2 transformer re-amp outs, integrated Talkback mic, 2 headphone outs and a pair of analog inserts. And if this wasn’t enough, the descendant of the mighty Goliath offers also AES, MADI, ADAT and S/PDIF connectivity<br /><br />\n\n\n<h3>Antelope Goliath HD Features</h3>\n<ul>\n	<li><strong>16 MIC PRES</strong> - 16 Class-A Mic preamps. Hi-Z, Mic & Line ins with DMR of 124 dB</li>\n	<li><strong>64 CHANNELS I/O</strong> - Simultaneous streaming of 24-bit, 192 kHz audio via HDX or USB 3.0 and MADI (to Dante Bridge), ADAT, S/PDIF and DB25</li>\n	<li><strong>SUPREME AD/DA & CLOCKING</strong> - Latest generation of ESS powered audiophile grade conversion, paired with Antelope’s 64-bit Acoustically Focused Clocking technology with BNC Word Clock I/O plus the Antelope Audio 10M Atomic Input</li>\n	<li><strong>MASSIVE FPGA</strong>- Proprietary FPGA for authentic modeling of vintage EQs, Compressors, Guitar Amps & Cabs; maintaining multiple mixers and zero latency real-time FX processing</li>\n	<li><strong>MASTERING GRADE MONITORING</strong> - Goliath HD offers high-end monitor outputs, with dynamic range boosted to 132dB</li>\n	<li><strong>SOFTWARE CONTROL</strong> - Touchscreen, enhanced front panel, user friendly routing, mixing and real-time effects processing via OS X & Windows compatible panel and mobile apps</li>\n	</ul><br />\n	\n	<h3>THE POWER OF THE FPGA FX</h3>Explore a growing library of legendary studio gear when tracking, mixing and mastering FPGA offers a whole new level of real time performance and sonic excellence. The platform is taking advantage of real hardware circuitry and component modeling, allowing engineers to track a vocalist with a zero latency headphone mix, including reverb; record a guitar part with proper feel & tone, using onboard amp and cabinet FX. Capturing a full drum kit is also brought to another level with up to 16 mics using the industry’s best new Microphone and Mic Preamp technology, all in real time.<br /><br />\n\n	<h3>Realistic Vintage Fx</h3>With Antelope’s proprietary HDX Delay Compensation, any analog or digital input can arrive in Pro Tools HD sample accurately in the timeline. No other interface on the market offer this level of perfect integration for digital sources to Pro Tools HD software.<br /><br />The Antelope Audio Real-time FX, zero latency independent software mixers and routing matrix with two alternative views are the perfect compliment to Pro Tools HD studios, which have come to expect maximum power at their disposal. Goliath HD, however, is compatible with any DAW on the market making the device the heart and soul of the highest tier audio facilities around the world. Our newly introduced full Session Presets are the perfect match for the complex and large-scale setups and projects Goliath HD was designed to handle.<br /><br />\n	\n	\n\n\n	<h3>HD STUDIO CENTERPIECE</h3>By offering both HD and USB3 modes, engineers can now accommodate producers and their laptop projects and integrate them into their existing HD setups by easily switching between HD and our low latency ThunderboltTM and new USB3 modes.<br /><br />Goliath HD guarantees quiet operation even in the most demanding control rooms. Don’t be surprised if soon expensive machine rooms become a thing of the past.<br />\n\n\n	<h3><br />CLOCK IT LIKE IT’S HOT</h3>Another reason why Goliath HD sounds like no other interface on the market is because of the world-renowned Antelope Audio Acoustically Focused Clocking (AFC) jitter management technologies it features. With over 20 years of history in digital clocking behind us, we backed the Goliath HD up with all OCX HD and Trinity sounding audio clocking.<br /><br />This unbeatable sonic detail and precision, combined with analog authenticity will bring your sound to the realms of hi-end audio. Now you can also spread this perfection across your whole studio as BNC connectors are available for use as Loop Sync, standard Word Clock I/O and the Antelope Audio 10M atomic input.<br /><br />\n<br />\n<h3>The Antelope Audio Goliath Audio Interface is extremely powerful, intuitive and would fit in to your studio perfectly. Talk with an RSPE representative for more information.</h3>'),(627,85,0,105,'Antelope Audio Goliath HD Interface'),(628,85,1,105,'Antelope Audio Goliath HD Interface'),(629,76,0,105,''),(630,76,1,105,''),(631,75,0,106,'<h1>Antelope Audio Goliath HD | Gen 3 With Edge Duo Modeling Mic</h1>\n<i>64-channel Thunderbolt/USB3/HDX-ready Audio Interface with Edge Duo Modeling Mic and 69 integrated real-time studio effects <br /></i><br />The Antelope Goliath HD | Gen 3 Audio Interface features brand-new, state-of-the-art AD/DA converters, 64-channel Thunderbolt/USB and optional HDX (unlocked separately) to achieve a stunning 136dB dynamic range on its mastering-grade monitor outputs. Designed to handle even the most demanding studio & live productions, it offers the most comprehensive connectivity out of any  audio interface on the market.<br /><br />\nThe all-purpose I/O includes 16 mic preamps, with accusonic modeling, 2 analog inserts, 4 instruments inputs and additional, 16 analog inputs (over DB25) with 124dB dynamic range, 32 analog outputs (over DB25) with 129dB dynamic range, 2 transformer ReAmp outs, 2 headphone outputs (a total of 38 analog outputs). Digital & networking connectivity is established by industry-standard AES, MADI, ADAT, S/PDIF, Thunderbolt USB and HDX connections for a whopping sum of 346 digital I/O channels!\n<br /><br />\nAs no project is complete without audio effects, Goliath HD | Gen 3 includes 69 real-time FPGA FX pulled from the acclaimed Antelope Audio AFX library. Comprehensive software, front panel and touch-screen controls let you wield all of this spectacular power, housed within just 2U rack space.\n<br /><br />\n<h3>Goliath HD | Gen 3 Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">136dB dynamic range D/A monitor out conversion pushes digital audio to its near limits</span></li>\n	<li>Pro Tools HD- audio interface with two HDX ports (32 CHs I/O on each port)</li>\n	<li>Edge Duo modeling microphone with 11 mic models included</li>\n	<li>69 integrated real-time studio effects </li>\n	<li>Latency-free monitoring environment</li>\n	<li>Latest 64-bit Antelope Audio Acoustically Focused Clocking jitter management algorithm</li>\n	<li>Proprietary HDX Delay Compensation technology</li>\n	<li>16 Accusonic mic preamps with mic modeling support (for Antelope Audio Edge & Verge modeling microphones), dedicated controls and meters</li>\n	<li>2 independently assignable headphone outputs</li>\n	<li>192 kHz audio over HDX, Thunderbolt, USB 3.0 and MADI (to Dante Bridge)</li>\n	<li>AES, MADI, ADAT, and S/PDIF digital connectivity</li>\n	<li>Integrated Talkback microphone</li>\n	<li>Multi-functional touchscreen display for signal monitoring and function control</li>\n	<li>Cross-platform Thunderbolt & USB connectivity (for Windows & Mac)</li>\n	<li>Hand-crafted in Europe with superior build quality</li>\n</ul>\n<br />\n<h3>Goliath HD | Gen 3 comes with 69 FX included (over 4000$ value)</h3>\nAll modeled after their hardware originals, the effects include celebrated preamps, reputable equalizers, acclaimed compressors and much more. The 69 studio essentials are now coming directly into the box. All powered on an FPGA chip, they will be processed inside the device thus freeing up load from the computer. Armed with such an imposing library of FX, the possibilities for experimentation are immense. The list of real-time studio effects includes: Stay Levin, FET-A76, VMEQ, POWERFFC, Clear Q, Auraverb, BA-31, Power Gate, VCA160, x903, and more.\n<br /><br />\n<h3>Includes the Edge Duo Modeling Mic</h3>\nThis high-quality dual-capsule large-diaphragm condenser microphone captures vocals and instruments with pristine clarity, depth and detail, making it the perfect starting point for emulating a plethora of timeless studio microphones. Edge Duo is able to call on an extensive and ever-expanding collection of classic mic emulations, with 11 legendary microphone models available. All have been meticulously measured from carefully selected original examples in one of the most respected facilities in Germany. The full list of Edge Duo emulations includes: Berlin 47 FT, Berlin 49T, Berlin 57, Berlin 87, Berlin 67, Berlin M103, Vienna 12, Vienna 414, Tokyo 800T, Oxford 4038, Sacramento 121F.\n<br /><br />\n<h3>Top-tier Studio Sound</h3>\nA 64-channel Thunderbolt/USB/HDX-compatible interface, Goliath HD | Gen 3 achieves a stunning 136dB dynamic range on its mastering-grade monitor outputs. Coupled with our latest 64-bit Acoustically Focused Clocking jitter management system, Class-A microphone preamps and audiophile-grade AD/DA conversion, the device delivers top-tier studio sound quality.\n<br /><br />\nAdditionally, Antelope\'s acclaimed digital clocking can be distributed across the rest of your gear via Word Clock BNC outputs and the Antelope Audio 10M/10MX atomic clocks can be used for reference.<br /><br />\n<h3>Real-Time Studio Effects</h3>\nGoliath HD | Gen 3 ships with a suite of 36 FPGA-powered audio effects. This powerful arsenal of lifelike, low-latency effects can be expanded with additional choices from our website.\n<br /><br />\n<h3>Multiple Connection Options</h3>\nGoliath HD | Gen 3 is cross-platform and works with any DAW, connecting to PC & Mac computers over Thunderbolt, USB and HDX (optional expansion)\n<br /><br />\n<h3>Say Goodbye to Latency</h3>\nAn Antelope Audio innovation, the Goliath HD | Gen 3\'s HDX Delay Compensation method brings any analog or digital input into Pro Tools, fully sample-accurate.\n<br />\nPlease note that HDX connectivity is an optional upgrade and must be purchased separately.<br /> <br />\nWe also offer an ultra-fast and custom build Thunderbolt driver for 64 channels of simultaneous   playback and recording, at up to sub-millisecond (imperceptible) latency, on both Windows & Mac.<br /> <br />\nIn addition, a latency-free direct monitoring over 4 independent internal mixers with 32 assignable inputs. <br /> <br />\n<h3>Exceptional Build Quality</h3>\nGoliath HD | Gen 3 gets a gorgeous front panel facelift while keeping the convenient monitor and level indicators intact. The full-color touchscreen is still its centerpiece, enabling immediate access to metering, preferences, gain adjustments and mission-critical functionality. Each unit is hand-crafted in Europe with the latest innovations and quality standards in mind.\n<br /> <br />\n<h3>The Antelope Audio Goliath HD | Gen 3 is a beast of an audio interface with nearly every connection and feature your studio could ever need, plus an Edge Modeling Mic and FPGA Fx to boot. Talk with an RSPE representative for more information.</h3>'),(632,75,1,106,'<h1>Antelope Audio Goliath HD | Gen 3 With Edge Duo Modeling Mic</h1>\n<i>64-channel Thunderbolt/USB3/HDX-ready Audio Interface with Edge Duo Modeling Mic and 69 integrated real-time studio effects <br /></i><br />The Antelope Goliath HD | Gen 3 Audio Interface features brand-new, state-of-the-art AD/DA converters, 64-channel Thunderbolt/USB and optional HDX (unlocked separately) to achieve a stunning 136dB dynamic range on its mastering-grade monitor outputs. Designed to handle even the most demanding studio & live productions, it offers the most comprehensive connectivity out of any  audio interface on the market.<br /><br />\nThe all-purpose I/O includes 16 mic preamps, with accusonic modeling, 2 analog inserts, 4 instruments inputs and additional, 16 analog inputs (over DB25) with 124dB dynamic range, 32 analog outputs (over DB25) with 129dB dynamic range, 2 transformer ReAmp outs, 2 headphone outputs (a total of 38 analog outputs). Digital & networking connectivity is established by industry-standard AES, MADI, ADAT, S/PDIF, Thunderbolt USB and HDX connections for a whopping sum of 346 digital I/O channels!\n<br /><br />\nAs no project is complete without audio effects, Goliath HD | Gen 3 includes 69 real-time FPGA FX pulled from the acclaimed Antelope Audio AFX library. Comprehensive software, front panel and touch-screen controls let you wield all of this spectacular power, housed within just 2U rack space.\n<br /><br />\n<h3>Goliath HD | Gen 3 Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">136dB dynamic range D/A monitor out conversion pushes digital audio to its near limits</span></li>\n	<li>Pro Tools HD- audio interface with two HDX ports (32 CHs I/O on each port)</li>\n	<li>Edge Duo modeling microphone with 11 mic models included</li>\n	<li>69 integrated real-time studio effects </li>\n	<li>Latency-free monitoring environment</li>\n	<li>Latest 64-bit Antelope Audio Acoustically Focused Clocking jitter management algorithm</li>\n	<li>Proprietary HDX Delay Compensation technology</li>\n	<li>16 Accusonic mic preamps with mic modeling support (for Antelope Audio Edge & Verge modeling microphones), dedicated controls and meters</li>\n	<li>2 independently assignable headphone outputs</li>\n	<li>192 kHz audio over HDX, Thunderbolt, USB 3.0 and MADI (to Dante Bridge)</li>\n	<li>AES, MADI, ADAT, and S/PDIF digital connectivity</li>\n	<li>Integrated Talkback microphone</li>\n	<li>Multi-functional touchscreen display for signal monitoring and function control</li>\n	<li>Cross-platform Thunderbolt & USB connectivity (for Windows & Mac)</li>\n	<li>Hand-crafted in Europe with superior build quality</li>\n</ul>\n<br />\n<h3>Goliath HD | Gen 3 comes with 69 FX included (over 4000$ value)</h3>\nAll modeled after their hardware originals, the effects include celebrated preamps, reputable equalizers, acclaimed compressors and much more. The 69 studio essentials are now coming directly into the box. All powered on an FPGA chip, they will be processed inside the device thus freeing up load from the computer. Armed with such an imposing library of FX, the possibilities for experimentation are immense. The list of real-time studio effects includes: Stay Levin, FET-A76, VMEQ, POWERFFC, Clear Q, Auraverb, BA-31, Power Gate, VCA160, x903, and more.\n<br /><br />\n<h3>Includes the Edge Duo Modeling Mic</h3>\nThis high-quality dual-capsule large-diaphragm condenser microphone captures vocals and instruments with pristine clarity, depth and detail, making it the perfect starting point for emulating a plethora of timeless studio microphones. Edge Duo is able to call on an extensive and ever-expanding collection of classic mic emulations, with 11 legendary microphone models available. All have been meticulously measured from carefully selected original examples in one of the most respected facilities in Germany. The full list of Edge Duo emulations includes: Berlin 47 FT, Berlin 49T, Berlin 57, Berlin 87, Berlin 67, Berlin M103, Vienna 12, Vienna 414, Tokyo 800T, Oxford 4038, Sacramento 121F.\n<br /><br />\n<h3>Top-tier Studio Sound</h3>\nA 64-channel Thunderbolt/USB/HDX-compatible interface, Goliath HD | Gen 3 achieves a stunning 136dB dynamic range on its mastering-grade monitor outputs. Coupled with our latest 64-bit Acoustically Focused Clocking jitter management system, Class-A microphone preamps and audiophile-grade AD/DA conversion, the device delivers top-tier studio sound quality.\n<br /><br />\nAdditionally, Antelope\'s acclaimed digital clocking can be distributed across the rest of your gear via Word Clock BNC outputs and the Antelope Audio 10M/10MX atomic clocks can be used for reference.<br /><br />\n<h3>Real-Time Studio Effects</h3>\nGoliath HD | Gen 3 ships with a suite of 36 FPGA-powered audio effects. This powerful arsenal of lifelike, low-latency effects can be expanded with additional choices from our website.\n<br /><br />\n<h3>Multiple Connection Options</h3>\nGoliath HD | Gen 3 is cross-platform and works with any DAW, connecting to PC & Mac computers over Thunderbolt, USB and HDX (optional expansion)\n<br /><br />\n<h3>Say Goodbye to Latency</h3>\nAn Antelope Audio innovation, the Goliath HD | Gen 3\'s HDX Delay Compensation method brings any analog or digital input into Pro Tools, fully sample-accurate.\n<br />\nPlease note that HDX connectivity is an optional upgrade and must be purchased separately.<br /> <br />\nWe also offer an ultra-fast and custom build Thunderbolt driver for 64 channels of simultaneous   playback and recording, at up to sub-millisecond (imperceptible) latency, on both Windows & Mac.<br /> <br />\nIn addition, a latency-free direct monitoring over 4 independent internal mixers with 32 assignable inputs. <br /> <br />\n<h3>Exceptional Build Quality</h3>\nGoliath HD | Gen 3 gets a gorgeous front panel facelift while keeping the convenient monitor and level indicators intact. The full-color touchscreen is still its centerpiece, enabling immediate access to metering, preferences, gain adjustments and mission-critical functionality. Each unit is hand-crafted in Europe with the latest innovations and quality standards in mind.\n<br /> <br />\n<h3>The Antelope Audio Goliath HD | Gen 3 is a beast of an audio interface with nearly every connection and feature your studio could ever need, plus an Edge Modeling Mic and FPGA Fx to boot. Talk with an RSPE representative for more information.</h3>'),(633,85,0,106,'Antelope Audio Goliath HD | Gen 3 With Edge Modeling Mic'),(634,85,1,106,'Antelope Audio Goliath HD | Gen 3 With Edge Modeling Mic'),(635,76,0,106,''),(636,76,1,106,''),(637,75,0,107,'<h2>Antelope Audio Isochrone Trinity High-Definition Master Clock</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">The most flexible, stable, best sounding, and easiest to use master clock from Antelope featuring 64-bit DSP and up to 384kHz audio streaming</span><br /><br />\n\nForget Neo, Trinity is “The One”—the Antelope Isochrone Trinity that is—actually the Antelope Trinity is three audio clocks in one (Threo?). Arcane movie references aside, the Antelope Isochrone Trinity is a high-definition, universal master clock featuring three independent 384kHz audio generators with Varispeed control, plus three HD generators and three SD generators as well (hmm, Nineo…)—all of which make the Antelope Isochrone Trinity a must-have for video post-production facilities as well as mastering and recording studios. Trinity will not only keep time, it will save you time: Imagine one pass with multiple frequencies and formats of virtually any choice, running in perfect synchronization—all in one box. Well, imagine no longer, because the Antelope Trinity makes all that and more a reality—and with the introduction of the Isochrone Trinity, Antelope’s Igor Levin has made his dream of making digital audio sound as natural as possible a reality as well. <br /><br />\n\n\n<h3>Antelope Isochrone Trinity unique features:</h3>\n<ul>\n<li>Audio up to 384kHz resolution with Varispeed control</li>\n<li>Nine completely independent generators</li>\n<li>Triple display </li>\n</ul>\n<br />\n\n<h3>Antelope Isochrone Trinity key features:</h3>\n<ul>\n<li>4th Generation of Acoustically Focused Clocking employing 64-bit DSP offers a new level in detailed and focused sound </li>	\n<li>Oven-controlled crystal oscillator or atomic Input for supremely low jitter</li>\n<li>Factory-calibrated to better than +/- 0.001 ppm accuracy</li>\n<li>A wealth of rear panel connectivity for tremendous flexibility</li>\n<li>Comprehensive audio “gearboxing” for anything in/anything out sample-rate conversion</li>\n<li>Atomic Input for ultimate performance</li>\n<li>3 Independent and simultaneous audio generators up to 384kHz with varispeed control +/- 200 cents</li>\n<li>3 Independent and simultaneous HD generators, covering 16 formats</li>\n<li>3 Independent and simultaneous SD generators, simultaneously offering PAL and NTSC</li>\n<li>Full Euro and USA Pull-ups / pull-downs for SD and HD video</li>\n<li>USB connection via PC and Mac allow full remote control, loading/saving presets, and firmware upgrades</li>\n<li>Dual redundant power supply with automatic switchover for added reliability</li>\n</ul><br />\n\n<h3>Antelope Isochrone Trinity unique features in depth:</h3>\nBased on Antelope\'s Oven-Controlled Crystal Technology, Trinity has many unique features including three Independent Audio Generators up to 384kHz with Varispeed control; 3 Independent SD Generators, simultaneously offering PAL and NTSC; 3 Independent HD Generators with a choice of 16 formats; and the latest revision of Antelope\'s 4th generation, 64-bit Acoustically Focused Clocking (AFC). That\'s a mind-blowing nine Independent and simultaneous audio/video generators, all perfectly locked. The Trinity’s front-panel triple display shows the frequencies of the audio generators, varispeed values, source information, pull-ups/pull-downs, and other useful messages.<br /><br /> \n\nTemporarily lose sync from your source? Trinity will seamlessly freewheel until the signal returns and then re-lock using Antelope’s latest “Gentle Lock Technology.” Trinity also features the Antelope Jitter Management Module; Black Burst Generator; Atomic Input for connection to the 10M Rubidium Atomic Clock; and full Audio and Video gear-boxing with simultaneous 0.1% and 4% pull-ups/pull-downs.\n<br /><br />\nTo keep it all under control, Trinity’s triple display shows the frequencies of the audio generators, varispeed values, source information, pull-ups/pull-downs, and other useful messages. Plus for added ease of control, USB allows full remote control via PC and Mac, as well as firmware updates. <br /><br />\n\n\n<h2>Inside The Box</h2>\n\n<h3>Antelope Oven Control</h3>\nThe crystal oscillators in the Isochrone Trinity are housed in a temperature-controlled oven such as those used in military and satellite communications. This keeps the oscillator at a constant temperature, making the Isochrone Trinity 100x more stable than similar products. <br /><br />\n\n<h3>64-bit DSP design</h3>\nAntelope Isochrone Trinity is a new design that embodies the culmination of many years of Antelope’s clocking expertise. Providing an even tighter and more focused sound quality than ever before, Antelope’s 4th generation of Acoustically Focused Clocking (AFC) with 64-bit processing is the reason why Trinity will make your converters sound better than ever. Created to deliver an extraordinary sound, AFC is a hybrid of advanced engineering and exhaustive listening tests that focus on the actual properties of acoustic sound, rather than just the application of mathematic formula to yield marketable specs. <br /><br />\n\n<h3>Jitter specifications</h3>\nAs Antelope says so eloquently, “Jitter specs? We no need no stinkin’ jitter specs.” Okay, they don’t say it exactly like that, but close enough. Thanks to Antelope’s unique technologies, including the above mentioned oven control and AFC, Antelope clocking devices far outperform and improve sound quality beyond what any jitter specifications may suggest. After all, there is no standard specification for jitter, nor is there a universal standard for sound quality. However, we all posses remarkably accurate audio test devices that far exceed the capability of any electronic measuring equipment: our ears. And Antelope uses theirs ahead of all other test and measurement equipment.   <br /><br />\n\n<h3>Latest generation gearboxing</h3>\nPut anything in-get anything out. In Gearboxing Mode, the Isochrone Trinity always generates an output clock at the set sample rate regardless of the incoming reference frequency. This output clock is still phase-locked to the reference input, but the sample rates need not match. For example, you can set the sample rate knob at 48kHz while applying a 44.1 kHz reference. Trinity then \"gearboxes\" the 44.1kHz input into a 48kHz output. This ability to lock to one sample rate and generate another is very useful for sample rate conversion, especially since Gearboxing Mode dramatically improves the sound quality of sample rate conversions. Gear boxing can also be turned off in the occasion of non-standard sources. Also used on the <a href=\"http://www.rspeaudio.com/Antelope-Isochrone-OCX-V-Master-Clock-p/ant-ocx-v-clk.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold; text-decoration: underline;\">Antelope OCX-V</a>, this feature has been upgraded to accommodate all formats available on the Trinity.<br /><br />\n\n<h3>Varispeed and sample rates </h3>\nWith the Isochrone Trinity, it is now possible to adjust varispeed ±200 cents, or you can adjust by percentages if you prefer. The sample rates have also been upgraded and range from 32kHz to 384kHz. Varispeed along with standard pull-ups/pull-downs means that you can dial in virtually any sample rate.  <br /><br />\n\n<h3>Atomic Clock</h3>\nThe Isochrone Trinity can be locked to the most accurate clock on earth; the atomic clock. With the power of the atomic clock at your disposal, your studio can now achieve perfect stability. Only Isochrone clocks are capable of locking to this unprecedented technology  <br /><br />\n\n<h3>Cutting-edge video</h3>\nNow that high-definition video is the standard, Antelope has included not one, but three HD generators in Trinity. Whether you are locking to, or generating video, HD, PAL, and NTSC are all available simultaneously, while Trinity maintains perfect sync. Each HD channel has two outputs. However, it’s possible to set all three HD generators to the same format, thus providing six physical outputs. Versatile indeed!<br /><br />\n\n<h3>User-friendly interface</h3>\nWith all of Trinity’s features and functions, one might assume that it’s pretty unwieldy to keep track of them. Well, no. Antelope prides itself on providing elegant operating simplicity to complement their product’s sleek styling and stellar sound. The Isochrone Trinity has no nested menus and requires no unnecessary button pushing—just a clean design that enables professionals to get the job done without requiring clearance from LAX to fly the box. <br /><br />\n\nClocking is a critical task and should never be confusing. With straightforward controls dedicated to specific tasks, warning lights for critical errors, extensive termination diagnostics, and a highly visible triple-frequency display, you can monitor the status of the Isochrone Trinity at a glance.  <br /><br />\n\n<h3>USB control</h3>\nIn keeping with ease of operation, Antelope engineers felt that remote control via USB would be the icing on the cake. The connection is full-speed USB 2.0, allowing complete control via PC or Mac as well as firmware updates. <br /><br />\n\n\n<h2>Outside The Box</h2>\nAlong with the Isochrone Trinity’s precision triple-frequency display, the front panel has AC/DC power indicators; source, sample rate, and HD select encoder knobs; edit indicator; audio channel edit, Varispeed, split mode, HD pull-down, and SD select, buttons; Info button; USA pull-up/pull-down (±0.1%); European pull-up/pull-down (±4%); dimmer knob; status LEDs; and power switch. <br /><br />\n\nThe rear panel has AC and DC power sockets; two word clock inputs, 14 word clock outputs, and two 256x word clock outputs (for Pro Tools interfaces); AES/EBU I/O; atomic input; video input; HD and SD video outputs (six and four respectively); S/PDIFI/O; and USB. (We did say it was versatile.)<br /><br />\n\n\n<h3>Antelope Isochrone Trinity in summation:</h3>\n\nThanks to its incredible flexibility, the Antelope Isochrone Trinity can be the supreme clocking commander of any world-class facility, whether it’s video post-production, recording studio, or mastering studio. But its uses don’t stop there. You can take Isochrone Trinity on the road for live sound reinforcement where digital consoles and effects processors have become the rule. With an Isochrone Trinity, digital consoles will sound punchy and full; with bigger mixes reaching the in-ear monitors and FOH speakers. Plus, your digital processing gear will seem more powerful and precise. And of course, there’s the advantage that comes with all Antelope clocking systems: vastly improved staging, transparency, imaging, separation, and depth of stereo field. <br /><br />\n\n\n<h3>We guarantee you’ll fall in love with Trinity . . . no, not that Trinity, Neo, the Antelope Isochrone Trinity universal, high-definition master clock. Plug one into your digital matrix and experience the best that Antelope Audio clocking has to offer. For more information, call RSPE or chat online with an RSPE representative.</h3>'),(638,75,1,107,'<h2>Antelope Audio Isochrone Trinity High-Definition Master Clock</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">The most flexible, stable, best sounding, and easiest to use master clock from Antelope featuring 64-bit DSP and up to 384kHz audio streaming</span><br /><br />\n\nForget Neo, Trinity is “The One”—the Antelope Isochrone Trinity that is—actually the Antelope Trinity is three audio clocks in one (Threo?). Arcane movie references aside, the Antelope Isochrone Trinity is a high-definition, universal master clock featuring three independent 384kHz audio generators with Varispeed control, plus three HD generators and three SD generators as well (hmm, Nineo…)—all of which make the Antelope Isochrone Trinity a must-have for video post-production facilities as well as mastering and recording studios. Trinity will not only keep time, it will save you time: Imagine one pass with multiple frequencies and formats of virtually any choice, running in perfect synchronization—all in one box. Well, imagine no longer, because the Antelope Trinity makes all that and more a reality—and with the introduction of the Isochrone Trinity, Antelope’s Igor Levin has made his dream of making digital audio sound as natural as possible a reality as well. <br /><br />\n\n\n<h3>Antelope Isochrone Trinity unique features:</h3>\n<ul>\n<li>Audio up to 384kHz resolution with Varispeed control</li>\n<li>Nine completely independent generators</li>\n<li>Triple display </li>\n</ul>\n<br />\n\n<h3>Antelope Isochrone Trinity key features:</h3>\n<ul>\n<li>4th Generation of Acoustically Focused Clocking employing 64-bit DSP offers a new level in detailed and focused sound </li>	\n<li>Oven-controlled crystal oscillator or atomic Input for supremely low jitter</li>\n<li>Factory-calibrated to better than +/- 0.001 ppm accuracy</li>\n<li>A wealth of rear panel connectivity for tremendous flexibility</li>\n<li>Comprehensive audio “gearboxing” for anything in/anything out sample-rate conversion</li>\n<li>Atomic Input for ultimate performance</li>\n<li>3 Independent and simultaneous audio generators up to 384kHz with varispeed control +/- 200 cents</li>\n<li>3 Independent and simultaneous HD generators, covering 16 formats</li>\n<li>3 Independent and simultaneous SD generators, simultaneously offering PAL and NTSC</li>\n<li>Full Euro and USA Pull-ups / pull-downs for SD and HD video</li>\n<li>USB connection via PC and Mac allow full remote control, loading/saving presets, and firmware upgrades</li>\n<li>Dual redundant power supply with automatic switchover for added reliability</li>\n</ul><br />\n\n<h3>Antelope Isochrone Trinity unique features in depth:</h3>\nBased on Antelope\'s Oven-Controlled Crystal Technology, Trinity has many unique features including three Independent Audio Generators up to 384kHz with Varispeed control; 3 Independent SD Generators, simultaneously offering PAL and NTSC; 3 Independent HD Generators with a choice of 16 formats; and the latest revision of Antelope\'s 4th generation, 64-bit Acoustically Focused Clocking (AFC). That\'s a mind-blowing nine Independent and simultaneous audio/video generators, all perfectly locked. The Trinity’s front-panel triple display shows the frequencies of the audio generators, varispeed values, source information, pull-ups/pull-downs, and other useful messages.<br /><br /> \n\nTemporarily lose sync from your source? Trinity will seamlessly freewheel until the signal returns and then re-lock using Antelope’s latest “Gentle Lock Technology.” Trinity also features the Antelope Jitter Management Module; Black Burst Generator; Atomic Input for connection to the 10M Rubidium Atomic Clock; and full Audio and Video gear-boxing with simultaneous 0.1% and 4% pull-ups/pull-downs.\n<br /><br />\nTo keep it all under control, Trinity’s triple display shows the frequencies of the audio generators, varispeed values, source information, pull-ups/pull-downs, and other useful messages. Plus for added ease of control, USB allows full remote control via PC and Mac, as well as firmware updates. <br /><br />\n\n\n<h2>Inside The Box</h2>\n\n<h3>Antelope Oven Control</h3>\nThe crystal oscillators in the Isochrone Trinity are housed in a temperature-controlled oven such as those used in military and satellite communications. This keeps the oscillator at a constant temperature, making the Isochrone Trinity 100x more stable than similar products. <br /><br />\n\n<h3>64-bit DSP design</h3>\nAntelope Isochrone Trinity is a new design that embodies the culmination of many years of Antelope’s clocking expertise. Providing an even tighter and more focused sound quality than ever before, Antelope’s 4th generation of Acoustically Focused Clocking (AFC) with 64-bit processing is the reason why Trinity will make your converters sound better than ever. Created to deliver an extraordinary sound, AFC is a hybrid of advanced engineering and exhaustive listening tests that focus on the actual properties of acoustic sound, rather than just the application of mathematic formula to yield marketable specs. <br /><br />\n\n<h3>Jitter specifications</h3>\nAs Antelope says so eloquently, “Jitter specs? We no need no stinkin’ jitter specs.” Okay, they don’t say it exactly like that, but close enough. Thanks to Antelope’s unique technologies, including the above mentioned oven control and AFC, Antelope clocking devices far outperform and improve sound quality beyond what any jitter specifications may suggest. After all, there is no standard specification for jitter, nor is there a universal standard for sound quality. However, we all posses remarkably accurate audio test devices that far exceed the capability of any electronic measuring equipment: our ears. And Antelope uses theirs ahead of all other test and measurement equipment.   <br /><br />\n\n<h3>Latest generation gearboxing</h3>\nPut anything in-get anything out. In Gearboxing Mode, the Isochrone Trinity always generates an output clock at the set sample rate regardless of the incoming reference frequency. This output clock is still phase-locked to the reference input, but the sample rates need not match. For example, you can set the sample rate knob at 48kHz while applying a 44.1 kHz reference. Trinity then \"gearboxes\" the 44.1kHz input into a 48kHz output. This ability to lock to one sample rate and generate another is very useful for sample rate conversion, especially since Gearboxing Mode dramatically improves the sound quality of sample rate conversions. Gear boxing can also be turned off in the occasion of non-standard sources. Also used on the <a href=\"http://www.rspeaudio.com/Antelope-Isochrone-OCX-V-Master-Clock-p/ant-ocx-v-clk.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold; text-decoration: underline;\">Antelope OCX-V</a>, this feature has been upgraded to accommodate all formats available on the Trinity.<br /><br />\n\n<h3>Varispeed and sample rates </h3>\nWith the Isochrone Trinity, it is now possible to adjust varispeed ±200 cents, or you can adjust by percentages if you prefer. The sample rates have also been upgraded and range from 32kHz to 384kHz. Varispeed along with standard pull-ups/pull-downs means that you can dial in virtually any sample rate.  <br /><br />\n\n<h3>Atomic Clock</h3>\nThe Isochrone Trinity can be locked to the most accurate clock on earth; the atomic clock. With the power of the atomic clock at your disposal, your studio can now achieve perfect stability. Only Isochrone clocks are capable of locking to this unprecedented technology  <br /><br />\n\n<h3>Cutting-edge video</h3>\nNow that high-definition video is the standard, Antelope has included not one, but three HD generators in Trinity. Whether you are locking to, or generating video, HD, PAL, and NTSC are all available simultaneously, while Trinity maintains perfect sync. Each HD channel has two outputs. However, it’s possible to set all three HD generators to the same format, thus providing six physical outputs. Versatile indeed!<br /><br />\n\n<h3>User-friendly interface</h3>\nWith all of Trinity’s features and functions, one might assume that it’s pretty unwieldy to keep track of them. Well, no. Antelope prides itself on providing elegant operating simplicity to complement their product’s sleek styling and stellar sound. The Isochrone Trinity has no nested menus and requires no unnecessary button pushing—just a clean design that enables professionals to get the job done without requiring clearance from LAX to fly the box. <br /><br />\n\nClocking is a critical task and should never be confusing. With straightforward controls dedicated to specific tasks, warning lights for critical errors, extensive termination diagnostics, and a highly visible triple-frequency display, you can monitor the status of the Isochrone Trinity at a glance.  <br /><br />\n\n<h3>USB control</h3>\nIn keeping with ease of operation, Antelope engineers felt that remote control via USB would be the icing on the cake. The connection is full-speed USB 2.0, allowing complete control via PC or Mac as well as firmware updates. <br /><br />\n\n\n<h2>Outside The Box</h2>\nAlong with the Isochrone Trinity’s precision triple-frequency display, the front panel has AC/DC power indicators; source, sample rate, and HD select encoder knobs; edit indicator; audio channel edit, Varispeed, split mode, HD pull-down, and SD select, buttons; Info button; USA pull-up/pull-down (±0.1%); European pull-up/pull-down (±4%); dimmer knob; status LEDs; and power switch. <br /><br />\n\nThe rear panel has AC and DC power sockets; two word clock inputs, 14 word clock outputs, and two 256x word clock outputs (for Pro Tools interfaces); AES/EBU I/O; atomic input; video input; HD and SD video outputs (six and four respectively); S/PDIFI/O; and USB. (We did say it was versatile.)<br /><br />\n\n\n<h3>Antelope Isochrone Trinity in summation:</h3>\n\nThanks to its incredible flexibility, the Antelope Isochrone Trinity can be the supreme clocking commander of any world-class facility, whether it’s video post-production, recording studio, or mastering studio. But its uses don’t stop there. You can take Isochrone Trinity on the road for live sound reinforcement where digital consoles and effects processors have become the rule. With an Isochrone Trinity, digital consoles will sound punchy and full; with bigger mixes reaching the in-ear monitors and FOH speakers. Plus, your digital processing gear will seem more powerful and precise. And of course, there’s the advantage that comes with all Antelope clocking systems: vastly improved staging, transparency, imaging, separation, and depth of stereo field. <br /><br />\n\n\n<h3>We guarantee you’ll fall in love with Trinity . . . no, not that Trinity, Neo, the Antelope Isochrone Trinity universal, high-definition master clock. Plug one into your digital matrix and experience the best that Antelope Audio clocking has to offer. For more information, call RSPE or chat online with an RSPE representative.</h3>'),(639,85,0,107,'Antelope Audio Isochrone Trinity Master Clock'),(640,85,1,107,'Antelope Audio Isochrone Trinity Master Clock'),(641,76,0,107,''),(642,76,1,107,''),(643,75,0,108,'<h1>Antelope Audio MP32 32-channel Microphone Preamp</h1>\n<span style=\"font-size: 16px; font-style: italic;\">A 32-channel microphone preamp, integrated software remote control, exciting new approach to analog circuit design</span><br/><br/>\nMP32 is a 32-channel console-grade microphone preamp with integrated software remote control and Antelope Audio\'s exciting new approach to analog circuit design.<br/><br/>\nThe rave reviews shared by several top audio engineers regarding the quality of the 12 mic preamps in our portable audio interface Zen Studio urged us to expand further and create a 32-channel mic preamp housed in only two rack spaces. We designed MP32 to be a perfect match for our top-selling audio interface Orion32, this way ensuring a full transparency of the sound and complete integrity of the signal via the whole chain, from the mic pres through the conversion, recording and playback, all of them characterized by the signature Antelope sound. The combination of the Orion32 and MP32 — totaling just 3U in rack space — make it a perfectly suited solution for studios and live recording where rack space can be a precious commodity.<br/><br/>\n<h3>Antelope MP32 Key Features</h3>\n<ul>\n	<li>32-Channel Console-grade Mic Pre @ Line Dual Stage Amplifier Input                                                                                                    </li>\n	<li>1-4 /32 ch Mic Pre @ Line HiZ Dual Stage Amplifier Input                                                                                                              </li>\n	<li>Iindependently assignable phantom power                                                                                                                               </li>\n	<li>4 DSUB-25 connector (32-channel outs)                                                                                                                                 </li>\n	<li>USB Full Speed interface for software control panel                                                                                                                   </li>\n	<li>Intuitive Control Panel for Windows and OS X                                                                                                                          </li>\n	<li>Software Control Panel - Mic Pre Precision Level Adjustment +/-1dB, 4 channel Hi-Z control, Phantom Power Control 48VDC, Switch Mic Pre / Line Amplifier Range +/-1dB </li>\n</ul>\n<h3>Exceptional clarity, transparency and dynamics</h3>\nMP32 features 32 class-A mic pres with phantom power, 32 line inputs, of which 4 can operate as Hi-Z instrument inputs inputs. All inputs are XLR combos on the front panel of the MP32.\nMP32\'s mic preamps are open and transparent, yet designed to maintain both signal clarity and sonic realism consistently throughout the recording process. The MP32 offers excellent headroom and up to 68 dB of gain in 1 dB steps, more than enough to power even the most demanding ribbon mics, while maintaining ultra-low THD+N (-110.5 dB).\n<br/><br/>\n<h3>Digital remote control</h3>\nA user-friendly control panel for Mac or Windows allows for easy remote management of the device’s input types and mic gain levels. The intuitive software control panel provides fast set up and easy fine-tuning of individual mic preamp gain, as well as the independent assignment of phantom power and mic/line/hi-z switching. Complex gain structure and preamp settings are made incredibly simple by the user-defined presets, just a mouse click away. In addition, individual V/U style metering allows for instant signal confirmation at a glance of the software.\n<br/><br/>'),(644,75,1,108,'<h1>Antelope Audio MP32 32-channel Microphone Preamp</h1>\n<span style=\"font-size: 16px; font-style: italic;\">A 32-channel microphone preamp, integrated software remote control, exciting new approach to analog circuit design</span><br/><br/>\nMP32 is a 32-channel console-grade microphone preamp with integrated software remote control and Antelope Audio\'s exciting new approach to analog circuit design.<br/><br/>\nThe rave reviews shared by several top audio engineers regarding the quality of the 12 mic preamps in our portable audio interface Zen Studio urged us to expand further and create a 32-channel mic preamp housed in only two rack spaces. We designed MP32 to be a perfect match for our top-selling audio interface Orion32, this way ensuring a full transparency of the sound and complete integrity of the signal via the whole chain, from the mic pres through the conversion, recording and playback, all of them characterized by the signature Antelope sound. The combination of the Orion32 and MP32 — totaling just 3U in rack space — make it a perfectly suited solution for studios and live recording where rack space can be a precious commodity.<br/><br/>\n<h3>Antelope MP32 Key Features</h3>\n<ul>\n	<li>32-Channel Console-grade Mic Pre @ Line Dual Stage Amplifier Input                                                                                                    </li>\n	<li>1-4 /32 ch Mic Pre @ Line HiZ Dual Stage Amplifier Input                                                                                                              </li>\n	<li>Iindependently assignable phantom power                                                                                                                               </li>\n	<li>4 DSUB-25 connector (32-channel outs)                                                                                                                                 </li>\n	<li>USB Full Speed interface for software control panel                                                                                                                   </li>\n	<li>Intuitive Control Panel for Windows and OS X                                                                                                                          </li>\n	<li>Software Control Panel - Mic Pre Precision Level Adjustment +/-1dB, 4 channel Hi-Z control, Phantom Power Control 48VDC, Switch Mic Pre / Line Amplifier Range +/-1dB </li>\n</ul>\n<h3>Exceptional clarity, transparency and dynamics</h3>\nMP32 features 32 class-A mic pres with phantom power, 32 line inputs, of which 4 can operate as Hi-Z instrument inputs inputs. All inputs are XLR combos on the front panel of the MP32.\nMP32\'s mic preamps are open and transparent, yet designed to maintain both signal clarity and sonic realism consistently throughout the recording process. The MP32 offers excellent headroom and up to 68 dB of gain in 1 dB steps, more than enough to power even the most demanding ribbon mics, while maintaining ultra-low THD+N (-110.5 dB).\n<br/><br/>\n<h3>Digital remote control</h3>\nA user-friendly control panel for Mac or Windows allows for easy remote management of the device’s input types and mic gain levels. The intuitive software control panel provides fast set up and easy fine-tuning of individual mic preamp gain, as well as the independent assignment of phantom power and mic/line/hi-z switching. Complex gain structure and preamp settings are made incredibly simple by the user-defined presets, just a mouse click away. In addition, individual V/U style metering allows for instant signal confirmation at a glance of the software.\n<br/><br/>'),(645,85,0,108,'Antelope Audio MP32 32-channel Microphone Preamp'),(646,85,1,108,'Antelope Audio MP32 32-channel Microphone Preamp'),(647,76,0,108,''),(648,76,1,108,''),(649,75,0,109,'<h2>Antelope Audio Isochrone OCX HD 768 kHz HD Master Clock</h2>\n<span style=\"font-size: 16px;\"><i>Unique, proprietary technologies including Acoustically Focused Clocking, Jitter Management Module, and oven-controlled environment make the Antelope Isochrone OCX HD the quality standard in professional master clocks </i></span><br /><br />\nThe Antelope OCX HD Master Clock raises the bar yet again, delivering sample rate support of up to 768 kHz, Antelope’s best-in-class 4th generation Acoustically Focused Clocking (AFC) jitter management algorithm and oven-controlled crystal oscillator. OCX HD Master Clock offers a great variety of clocking options – 10 configurable in pairs Word Clock Outputs on BNC, four AES/EBU Outputs and two more on S/PDIF. This vast assortment of connectivity makes the OCX HD the most versatile audio master clock on the market, while proven,proprietary clocking technology delivers the most musical and reliable audio sync generation on the market.<br /><br />\nAdditionally, OCX HD offers two Word Clock Inputs and a Video Sync Input, which can resolve to a huge variety of SD and HD formats, as well as clock distribution with gear-boxing, and pull-up and pull-down rates, as featured in the triple clock powerhouse, Trinity Master Clock. A 10 MHz Input allows for syncing with Antelope\'s newest Atomic Clock – 10MX.<br /><br />\nAntelope’s latest master clock benefits from flexible firmware update functionality, as featured in all new-generation Antelope products, allowing for fast and easy firmware updates on the user-friendly software control panel, available for both OS X and Windows. The desktop app provides convenient remote control to simplify project workflow. The device is also easily configurable from an elegant front panel, which will add a futuristic aesthetic to any gear rack.<br /><br />\n<h3>Antelope Isochrone OCX HD unique features:</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">4th generation Acoustically Focused Clocking (AFC) jitter management algorithm</span></li>\n	<li>S<span style=\"background-color: initial;\">ample rate support of up to 768 kHz over WC</span></li>\n	<li><span style=\"background-color: initial;\">Multipliers/dividers enabling the output of 5 different sample rates</span></li>\n</ul>\n<br />\n<h3>Antelope Isochrone OCX HD key features:</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">4x AES/EBU and 2x S/PDIF clocking outputs up to 192kHz for additional connectivity</span></li>\n	<li>Comprehensive audio gear-boxing</li>\n	<li>Universal Video Input on BNC</li>\n	<li>Atomic clock input for optimum accuracy and calibration</li>\n	<li>3 recallable presets</li>\n	<li>Rate lock from Control Panel to avoid settings change during session</li>\n	<li>Ergonomic front panel control</li>\n	<li>Software Control Panel, allowing remote control and firmware updates via USB</li>\n	\n</ul>\n<br />\n<h3>With the ability to output multiple sample rates, plus built-in support for Pro Tools, Isochrone OCX is well on the way to becoming the industry gold standard for digital master clocking. Output your word to RSPE and sync up with an RSPE representative for more information on this amazing sonic upgrade.</h3>'),(650,75,1,109,'<h2>Antelope Audio Isochrone OCX HD 768 kHz HD Master Clock</h2>\n<span style=\"font-size: 16px;\"><i>Unique, proprietary technologies including Acoustically Focused Clocking, Jitter Management Module, and oven-controlled environment make the Antelope Isochrone OCX HD the quality standard in professional master clocks </i></span><br /><br />\nThe Antelope OCX HD Master Clock raises the bar yet again, delivering sample rate support of up to 768 kHz, Antelope’s best-in-class 4th generation Acoustically Focused Clocking (AFC) jitter management algorithm and oven-controlled crystal oscillator. OCX HD Master Clock offers a great variety of clocking options – 10 configurable in pairs Word Clock Outputs on BNC, four AES/EBU Outputs and two more on S/PDIF. This vast assortment of connectivity makes the OCX HD the most versatile audio master clock on the market, while proven,proprietary clocking technology delivers the most musical and reliable audio sync generation on the market.<br /><br />\nAdditionally, OCX HD offers two Word Clock Inputs and a Video Sync Input, which can resolve to a huge variety of SD and HD formats, as well as clock distribution with gear-boxing, and pull-up and pull-down rates, as featured in the triple clock powerhouse, Trinity Master Clock. A 10 MHz Input allows for syncing with Antelope\'s newest Atomic Clock – 10MX.<br /><br />\nAntelope’s latest master clock benefits from flexible firmware update functionality, as featured in all new-generation Antelope products, allowing for fast and easy firmware updates on the user-friendly software control panel, available for both OS X and Windows. The desktop app provides convenient remote control to simplify project workflow. The device is also easily configurable from an elegant front panel, which will add a futuristic aesthetic to any gear rack.<br /><br />\n<h3>Antelope Isochrone OCX HD unique features:</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">4th generation Acoustically Focused Clocking (AFC) jitter management algorithm</span></li>\n	<li>S<span style=\"background-color: initial;\">ample rate support of up to 768 kHz over WC</span></li>\n	<li><span style=\"background-color: initial;\">Multipliers/dividers enabling the output of 5 different sample rates</span></li>\n</ul>\n<br />\n<h3>Antelope Isochrone OCX HD key features:</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">4x AES/EBU and 2x S/PDIF clocking outputs up to 192kHz for additional connectivity</span></li>\n	<li>Comprehensive audio gear-boxing</li>\n	<li>Universal Video Input on BNC</li>\n	<li>Atomic clock input for optimum accuracy and calibration</li>\n	<li>3 recallable presets</li>\n	<li>Rate lock from Control Panel to avoid settings change during session</li>\n	<li>Ergonomic front panel control</li>\n	<li>Software Control Panel, allowing remote control and firmware updates via USB</li>\n	\n</ul>\n<br />\n<h3>With the ability to output multiple sample rates, plus built-in support for Pro Tools, Isochrone OCX is well on the way to becoming the industry gold standard for digital master clocking. Output your word to RSPE and sync up with an RSPE representative for more information on this amazing sonic upgrade.</h3>'),(651,85,0,109,'Antelope Audio Isochrone OCX HD 768 kHz HD Master Clock'),(652,85,1,109,'Antelope Audio Isochrone OCX HD 768 kHz HD Master Clock'),(653,76,0,109,''),(654,76,1,109,''),(655,75,0,110,'<h1>Antelope Audio Orion Studio Synergy Core</h1>\n<i>Powerful Thunderbolt & USB Audio Interface with 12 Mic Preamps, Synergy Core FPGA + DSP processing, 64-bit Acoustically Focused Clocking, and Mastering-grade A/B Monitor Outputs</i><br /><br />\nThe Antelope Audio Orion Studio Synergy Core takes all of the technology and performance of Antelope\'s workhorse Orion series of audio interfaces, and hot-rods it with Antelope Audio\'s future-proof Synergy Core FX processing platform. Orion Studio Synergy Core is loaded with 2 FPGA and 6 DSP chips working in harmony to run Antelope\'s vast library of effects plug-ins. You get 50 of Antelope\'s top FX bundled with the hardware, including spot-on models of vintage analog gear and a killer collection of guitar amp and cabinet emulations.\n<br /><br />\nWith Thunderbolt 3 and USB connectivity, 12 of Antelope\'s Discrete microphone preamps, extensive analog and digital I/O, upgraded digital-to-analog converters with dynamic range up to 130 dB, and unprecedented FX processing power on board, the Orion Studio Synergy Core is a well-oiled machine -- up for any recording or mixing project your studio throws its way.\n<br /><br />\n<h3>Antelope Audio Orion Studio Synergy Core key features:</h3>\n<ul>\n	<li>Rackmount Thunderbolt 3 & USB audio interface with 12 Discrete mic preamps</li>\n	<li>Synergy Core processing platform with 2 FPGA + 6 DSP chips</li>\n	<li>2 pairs of monitor outputs run concurrently or in A/B mode with 130 dB dynamic range </li>\n	<li>30 simultaneous inputs x 22 simultaneous outputs</li>\n	<li>DC-coupled I/O for CV control of analog modular synths</li>\n	<li>Hand-built in Europe to be your pro studio\'s centerpiece for years to come</li>\n</ul>\n<br />\n<h3>Synergy Core: FPGA + DSP = Future-Proof Effects Processing</h3>\nWith 6 DSP + 2 FPGA chips under the hood running a massive effects library by Antelope Audio and platform partners, the Orion Studio Synergy Core frees up your host Mac or PC to record and play back more tracks strapped with CPU-hungry virtual instruments and effects. Take on big projects, build intricate mixes, reduce latency, shorten buffer size, and keep your system stable -- all thanks to Antelope\'s state-of-the-art Synergy Core dedicated FX processors. With massive processing potential on board, this Orion can grow with your studio.\n<br /><br />\n<h3>50 Antelope FX Included</h3>\nThe Orion Studio Synergy Core unlocks 50 of Antelope\'s top real-time effects plug-ins. Right out of the box you get mic preamp emulations, compressors, EQs, reverb, and guitar amp and cabinet models to bring your tracks to life. And thanks to Synergy Core architecture, you\'ve got the processing muscle to run all the simultaneous FX your sessions need.\n<br /><br />\n<h3>Thunderbolt 3 + USB Connectivity</h3>\nA cross-platform audio interface for Windows or Mac, Orion Studio Synergy Core offers both USB and Thunderbolt 3 connection to your DAW host computer. You can even power/charge your MacBook from the Orion Studio Synergy Core.\n<br /><br />\n<h3>130 dB Dynamic Range D/A for Critical Listening</h3>\nWhy trust your projects to anything less than the best D/A converters? The Antelope Orion Studio Synergy Core delivers 130 dB dynamic range on both pairs of monitor outs -- which can run simultaneously, or in A/B mode.\n<br /><br />\n<h3>12 Discrete Microphone Preamps + Direct Inputs</h3>\nThe Orion Studio Synergy Core gives you 12 mic preamps based on Antelope\'s ultra-linear Discrete MP standalone preamplifier, with 75 dB of pristine gain. Recording line-level signals? The Orion Studio Synergy Core\'s Direct In hard-bypasses the mic pres, directly sailing into the A/D converters with 124 dB dynamic range. Get ready to hear the truth.\n<br /><br />\n<h3>Digital Patch Bay for Pro Studios</h3>\nSend audio anywhere you need it with the digital patch bay and latency-free mixer in your Orion Studio Synergy Core\'s software control panel. As the \"brain\" of your pro studio, this interface gives you robust, flexible tools for routing and monitoring.\n<br /><br />\n<h3>Antelope\'s 4th Generation Acoustically Focused Clocking</h3>\nAntelope Audio is renowned for building rock-solid digital audio clocks found in top recording studios and broadcast facilities around the globe. The Orion Studio Synergy Core wouldn\'t be an Antelope interface if it didn\'t deliver world-class clocking. With Word Clock I/O, the Orion Studio Synergy Core syncs up your studio with Antelope\'s 4th Generation Acoustically Focused Clocking, employing 64-bit DDS to keep your audio in lockstep at up to 192 kHz.\n<br /><br />\n<h3>50 real-time effects included:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Gyraf Gyratec IX (Tube Mic Preamp)</span></li>\n	<li>VCA160 (Compressor / Limiter)</li>\n	<li>Stay-Levin (Tube Compression Amplifier)</li>\n	<li>FET-A76 (FET Compressor)</li>\n	<li>X903 (Compressor / Limiter)</li>\n	<li>PowerFFC (Compressor)</li>\n	<li>VEQ-HLF (Passive High/Low Filter)</li>\n	<li>BA-31 (Vintage Mic Preamp)</li>\n	<li>ALT-436C (Tube Compressor Amplifier)</li>\n	<li>FET-A78 (FET Compressor Limiter)</li>\n	<li>SMT-100A (Tube Leveling Amplifier)</li>\n	<li>VEQ-1A (Tube Equalizer)</li>\n	<li>VMEQ-5 (Tube Mid-Range Equalizer)</li>\n	<li>BAE-1023 (3-band Vintage EQ)</li>\n	<li>NEU-PEV (Passive Vintage EQ)</li>\n	<li>NEU-W492 (5-band Vintage EQ)</li>\n	<li>NEU-W495 (3-band Vintage Mastering EQ)</li>\n	<li>VEQ-4K BROWN (Legendary Vintage EQ)</li>\n	<li>VEQ-4K ORANGE (Legendary Vintage EQ)</li>\n	<li>VEQ-4K PINK (Legendary Vintage EQ)</li>\n	<li>VEQ-STU 089 (Vintage EQ)</li>\n	<li>VEQ-STU 169 (Vintage EQ)</li>\n	<li>VEQ-STU 900 (Vintage EQ)</li>\n	<li>Clear Q (Parametric EQ)</li>\n	<li>Auraverb (Reverb)</li>\n	<li>Power EX (Expander)</li>\n	<li>Power Gate (Gate)</li>\n	<li>Master De-Esser (De-Esser)</li>\n	<li>Plexi 59 (UK) (Tube Guitar Amp)</li>\n	<li>Bass SuperTube VR (Tube Guitar Amp)</li>\n	<li>Darkface 65 (US) (Tube Guitar Amp)</li>\n	<li>Top30 (UK) Bright (Tube Guitar Amp)</li>\n	<li>Tweed Deluxe (US) (Tube Guitar Amp)</li>\n	<li>Overange 120 (UK) (Tube Guitar Amp)</li>\n	<li>BurnSphere (DE) Lead (Tube Guitar Amp)</li>\n	<li>Marcus II (US) Lead (Tube Guitar Amp)</li>\n	<li>Modern (US) CH3 (Tube Guitar Amp)</li>\n	<li>Rock 75 (UK) (Tube Guitar Amp)</li>\n	<li>Rock 22.10 (UK) (Tube Guitar Amp)</li>\n	<li>Darkface 65 2x12 (Guitar Cabinet)</li>\n	<li>Top30 2x12 (Guitar Cabinet)</li>\n	<li>Modern 4x12 (Guitar Cabinet)</li>\n	<li>Green 2x12 (Guitar Cabinet)</li>\n	<li>Vintage 4x12 (Guitar Cabinet)</li>\n	<li>Green 4x12 (Guitar Cabinet)</li>\n	<li>Caliper 50 1x10 (Guitar Cabinet)</li>\n	<li>Bluelux 1x12 (Guitar Cabinet)</li>\n	<li>Clst 1x12 (Guitar Cabinet)</li>\n	<li>England 4x12 (Guitar Cabinet)</li>\n	<li>Bass Tube 1x15 (Guitar Cabinet)</li>\n</ul>\n<br />\n<h3>The Antelope Audio Orion Studio Synergy Core takes the combines 12 Mic Pres, pristine AD/DA Converters, and Antelope\'s Synergy Core FPGA & DSP processing technology in a lightning fast Thunderbolt 3 and USB Interface. Talk with an RSPE representative for more information.</h3><br />'),(656,75,1,110,'<h1>Antelope Audio Orion Studio Synergy Core</h1>\n<i>Powerful Thunderbolt & USB Audio Interface with 12 Mic Preamps, Synergy Core FPGA + DSP processing, 64-bit Acoustically Focused Clocking, and Mastering-grade A/B Monitor Outputs</i><br /><br />\nThe Antelope Audio Orion Studio Synergy Core takes all of the technology and performance of Antelope\'s workhorse Orion series of audio interfaces, and hot-rods it with Antelope Audio\'s future-proof Synergy Core FX processing platform. Orion Studio Synergy Core is loaded with 2 FPGA and 6 DSP chips working in harmony to run Antelope\'s vast library of effects plug-ins. You get 50 of Antelope\'s top FX bundled with the hardware, including spot-on models of vintage analog gear and a killer collection of guitar amp and cabinet emulations.\n<br /><br />\nWith Thunderbolt 3 and USB connectivity, 12 of Antelope\'s Discrete microphone preamps, extensive analog and digital I/O, upgraded digital-to-analog converters with dynamic range up to 130 dB, and unprecedented FX processing power on board, the Orion Studio Synergy Core is a well-oiled machine -- up for any recording or mixing project your studio throws its way.\n<br /><br />\n<h3>Antelope Audio Orion Studio Synergy Core key features:</h3>\n<ul>\n	<li>Rackmount Thunderbolt 3 & USB audio interface with 12 Discrete mic preamps</li>\n	<li>Synergy Core processing platform with 2 FPGA + 6 DSP chips</li>\n	<li>2 pairs of monitor outputs run concurrently or in A/B mode with 130 dB dynamic range </li>\n	<li>30 simultaneous inputs x 22 simultaneous outputs</li>\n	<li>DC-coupled I/O for CV control of analog modular synths</li>\n	<li>Hand-built in Europe to be your pro studio\'s centerpiece for years to come</li>\n</ul>\n<br />\n<h3>Synergy Core: FPGA + DSP = Future-Proof Effects Processing</h3>\nWith 6 DSP + 2 FPGA chips under the hood running a massive effects library by Antelope Audio and platform partners, the Orion Studio Synergy Core frees up your host Mac or PC to record and play back more tracks strapped with CPU-hungry virtual instruments and effects. Take on big projects, build intricate mixes, reduce latency, shorten buffer size, and keep your system stable -- all thanks to Antelope\'s state-of-the-art Synergy Core dedicated FX processors. With massive processing potential on board, this Orion can grow with your studio.\n<br /><br />\n<h3>50 Antelope FX Included</h3>\nThe Orion Studio Synergy Core unlocks 50 of Antelope\'s top real-time effects plug-ins. Right out of the box you get mic preamp emulations, compressors, EQs, reverb, and guitar amp and cabinet models to bring your tracks to life. And thanks to Synergy Core architecture, you\'ve got the processing muscle to run all the simultaneous FX your sessions need.\n<br /><br />\n<h3>Thunderbolt 3 + USB Connectivity</h3>\nA cross-platform audio interface for Windows or Mac, Orion Studio Synergy Core offers both USB and Thunderbolt 3 connection to your DAW host computer. You can even power/charge your MacBook from the Orion Studio Synergy Core.\n<br /><br />\n<h3>130 dB Dynamic Range D/A for Critical Listening</h3>\nWhy trust your projects to anything less than the best D/A converters? The Antelope Orion Studio Synergy Core delivers 130 dB dynamic range on both pairs of monitor outs -- which can run simultaneously, or in A/B mode.\n<br /><br />\n<h3>12 Discrete Microphone Preamps + Direct Inputs</h3>\nThe Orion Studio Synergy Core gives you 12 mic preamps based on Antelope\'s ultra-linear Discrete MP standalone preamplifier, with 75 dB of pristine gain. Recording line-level signals? The Orion Studio Synergy Core\'s Direct In hard-bypasses the mic pres, directly sailing into the A/D converters with 124 dB dynamic range. Get ready to hear the truth.\n<br /><br />\n<h3>Digital Patch Bay for Pro Studios</h3>\nSend audio anywhere you need it with the digital patch bay and latency-free mixer in your Orion Studio Synergy Core\'s software control panel. As the \"brain\" of your pro studio, this interface gives you robust, flexible tools for routing and monitoring.\n<br /><br />\n<h3>Antelope\'s 4th Generation Acoustically Focused Clocking</h3>\nAntelope Audio is renowned for building rock-solid digital audio clocks found in top recording studios and broadcast facilities around the globe. The Orion Studio Synergy Core wouldn\'t be an Antelope interface if it didn\'t deliver world-class clocking. With Word Clock I/O, the Orion Studio Synergy Core syncs up your studio with Antelope\'s 4th Generation Acoustically Focused Clocking, employing 64-bit DDS to keep your audio in lockstep at up to 192 kHz.\n<br /><br />\n<h3>50 real-time effects included:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Gyraf Gyratec IX (Tube Mic Preamp)</span></li>\n	<li>VCA160 (Compressor / Limiter)</li>\n	<li>Stay-Levin (Tube Compression Amplifier)</li>\n	<li>FET-A76 (FET Compressor)</li>\n	<li>X903 (Compressor / Limiter)</li>\n	<li>PowerFFC (Compressor)</li>\n	<li>VEQ-HLF (Passive High/Low Filter)</li>\n	<li>BA-31 (Vintage Mic Preamp)</li>\n	<li>ALT-436C (Tube Compressor Amplifier)</li>\n	<li>FET-A78 (FET Compressor Limiter)</li>\n	<li>SMT-100A (Tube Leveling Amplifier)</li>\n	<li>VEQ-1A (Tube Equalizer)</li>\n	<li>VMEQ-5 (Tube Mid-Range Equalizer)</li>\n	<li>BAE-1023 (3-band Vintage EQ)</li>\n	<li>NEU-PEV (Passive Vintage EQ)</li>\n	<li>NEU-W492 (5-band Vintage EQ)</li>\n	<li>NEU-W495 (3-band Vintage Mastering EQ)</li>\n	<li>VEQ-4K BROWN (Legendary Vintage EQ)</li>\n	<li>VEQ-4K ORANGE (Legendary Vintage EQ)</li>\n	<li>VEQ-4K PINK (Legendary Vintage EQ)</li>\n	<li>VEQ-STU 089 (Vintage EQ)</li>\n	<li>VEQ-STU 169 (Vintage EQ)</li>\n	<li>VEQ-STU 900 (Vintage EQ)</li>\n	<li>Clear Q (Parametric EQ)</li>\n	<li>Auraverb (Reverb)</li>\n	<li>Power EX (Expander)</li>\n	<li>Power Gate (Gate)</li>\n	<li>Master De-Esser (De-Esser)</li>\n	<li>Plexi 59 (UK) (Tube Guitar Amp)</li>\n	<li>Bass SuperTube VR (Tube Guitar Amp)</li>\n	<li>Darkface 65 (US) (Tube Guitar Amp)</li>\n	<li>Top30 (UK) Bright (Tube Guitar Amp)</li>\n	<li>Tweed Deluxe (US) (Tube Guitar Amp)</li>\n	<li>Overange 120 (UK) (Tube Guitar Amp)</li>\n	<li>BurnSphere (DE) Lead (Tube Guitar Amp)</li>\n	<li>Marcus II (US) Lead (Tube Guitar Amp)</li>\n	<li>Modern (US) CH3 (Tube Guitar Amp)</li>\n	<li>Rock 75 (UK) (Tube Guitar Amp)</li>\n	<li>Rock 22.10 (UK) (Tube Guitar Amp)</li>\n	<li>Darkface 65 2x12 (Guitar Cabinet)</li>\n	<li>Top30 2x12 (Guitar Cabinet)</li>\n	<li>Modern 4x12 (Guitar Cabinet)</li>\n	<li>Green 2x12 (Guitar Cabinet)</li>\n	<li>Vintage 4x12 (Guitar Cabinet)</li>\n	<li>Green 4x12 (Guitar Cabinet)</li>\n	<li>Caliper 50 1x10 (Guitar Cabinet)</li>\n	<li>Bluelux 1x12 (Guitar Cabinet)</li>\n	<li>Clst 1x12 (Guitar Cabinet)</li>\n	<li>England 4x12 (Guitar Cabinet)</li>\n	<li>Bass Tube 1x15 (Guitar Cabinet)</li>\n</ul>\n<br />\n<h3>The Antelope Audio Orion Studio Synergy Core takes the combines 12 Mic Pres, pristine AD/DA Converters, and Antelope\'s Synergy Core FPGA & DSP processing technology in a lightning fast Thunderbolt 3 and USB Interface. Talk with an RSPE representative for more information.</h3><br />'),(657,85,0,110,'Antelope Audio Orion Studio Synergy Core'),(658,85,1,110,'Antelope Audio Orion Studio Synergy Core'),(659,76,0,110,''),(660,76,1,110,''),(661,75,0,111,'<h1>Antelope Audio Orion32 HD | Gen 3 - 64-channel HDX & 32-channel USB 3.0 Audio Interface</h1>\n<span style=\"font-size: 16px; font-style: italic;\">64 Channel Audio Interface designed for Pro Tools HDX and HD Native Systems</span><br/><br/>\nAntelope Audio Orion32 HD | Gen 3 is a  Digilink-compatible 64-channel AD/DA converter, achieving a phenomenal dynamic range of 136 dB in the Monitoring D/A converter. With upgraded conversion and refreshed design, the Orion32 HD | Gen 3 will make your productions and live shows sound like nothing else on the market.<br/>\n<ul>\n</ul>\n<br/>\n<h3>37+ real-time effects</h3>\nThe Orion 32 HD | Gen 3 includes the complete collection of Antelope Audio FPGA-powered, low latency effects, which contains over 37+ iconic equalizers, compressor, guitar amplifiers and cabinets, reverb, and studio processors. However, the AFX2DAW bridge software is not available for the Orion 32 HD. \n<br/><br/>\n<h3>Antelope Orion32 HD | Gen 3 Features:</h3>\n<ul>\n	<li>Free, integrated FPGA-based low latency effects modeling legendary studio gear</li>\n	<li>Pro Tools HD and Native-compatible</li>\n	<li>Streaming of 24-bit, 192 kHz audio via HDX or USB 3.0</li>\n	<li>Flawless 4th Generation 64-bit clocking and jitter management</li>\n	<li>Additional connectivity on MADI, ADAT, S/PDIF, 8x DB25</li>\n	<li>Mastering Grade monitor outputs</li>\n	<li>Housed in an efficient “green design” fanless chassis</li>\n	<li>Network Control from multiple computers</li>\n	<li>macOS and Windows compatible</li>\n</ul>\n<br/>\n<h3>Forget About Latency</h3>\nStream 64 audio channels via HDX & USB 3.0\n<br/><br/>\nCompatible with any DAW via HDX or USB 3.0, this new Pro Tools HD and Native-ready interface represents everything Antelope Audio stands for. Zero-latency monitoring, streaming of 64-channel 24-bit/192 kHz audio, flawless clocking, pristine AD/DA conversion, extensive connectivity, and more.<br/><br/>\n<h3>Fast and Luxurious</h3>\nSmooth mixing and mastering-grade monitoring\n<br/><br/>\nLike its predecessors, Orion 32 HD | Gen 3 is a versatile audio interface, which works like a charm with any DAW on the market. It enables you to not only stream an astounding 64 channels of audio when tracking, but also allows for multiple monitor mixes. When monitoring, the sound is pleasing, transparent, detailed and natural. Independent software mixers, integrated hardware-based FPGA vintage effects - it’s all there, with more connectivity options than ever.<br/><br/>\n<h3>Antelope\'s Famous Clocking</h3>\nPerfect sound through flawless clocking\n<br/><br/>\nThe unbeatable clocking accuracy of Orion 32 HD | Gen 3 is provided by Antelope’s renowned 64-bit Acoustically Focused Clocking (AFC) jitter management technology. Antelope Audio clocking has over a decade-long reputation for excellence in both stability and sonic improvement. Transients will shine like never before and you’ll achieve a stereo image with incomparable depth and detail. And with that crystal clear high-end, we’re talking sonic perfection!<br/><br/>\n<h3>Intuitive Software Control</h3>\nYour wildest routing dreams come true with the Orion 32 HD | Gen 3 desktop app\n<br/><br/>\nOrion 32 HD | Gen 3 is fully controllable via its intuitive macOS and Windows-compatible desktop app. Its color-coded routing matrix now features an alternate view which makes routing a piece of cake. The interface can also be accessed from multiple computers on the same network. With freely movable and resizable panels, you can make the most out of your screen real estate - perfect when working on huge projects, scoring to picture, and on multi-screen setups.<br/><br/>\n<h3>Major improvement in the Line Out DACs & Line In ADCs</h3>\n<b>D/A Monitor Converters</b>\n<ul style=\"letter-spacing: normal;\">\n	<li>Dynamic Range: 136 dB</li>\n	<li>THD + N: -120 dB</li>\n</ul>\n<b>A/D Converter</b>\n<ul style=\"letter-spacing: normal;\">\n	<li>Dynamic Range: 124 dB</li>\n	<li>THD + N: -112 dB</li>\n</ul>\n<b>D/A Converter</b>\n<ul style=\"letter-spacing: normal;\">\n	<li>Dynamic Range: 129 dB</li>\n	<li>THD + N: -120 dB</li>\n</ul>\n<b>Refined looks</b>\n<ul style=\"letter-spacing: normal;\">\n	<li>A gorgeous Carbon Grey faceplate adorns the Orion 32+ | Gen 3’s front panel.</li>\n</ul>\n<div>\n	<br/>\n</div>\n<h3>The Antelope Audio Orion32 HD | Gen 3 is the most powerful interface Antelope has ever created, and a vital asset to any Pro Tools HDX or HD Native studio. Talk with an RSPE representative for more information.</h3>'),(662,75,1,111,'<h1>Antelope Audio Orion32 HD | Gen 3 - 64-channel HDX & 32-channel USB 3.0 Audio Interface</h1>\n<span style=\"font-size: 16px; font-style: italic;\">64 Channel Audio Interface designed for Pro Tools HDX and HD Native Systems</span><br/><br/>\nAntelope Audio Orion32 HD | Gen 3 is a  Digilink-compatible 64-channel AD/DA converter, achieving a phenomenal dynamic range of 136 dB in the Monitoring D/A converter. With upgraded conversion and refreshed design, the Orion32 HD | Gen 3 will make your productions and live shows sound like nothing else on the market.<br/>\n<ul>\n</ul>\n<br/>\n<h3>37+ real-time effects</h3>\nThe Orion 32 HD | Gen 3 includes the complete collection of Antelope Audio FPGA-powered, low latency effects, which contains over 37+ iconic equalizers, compressor, guitar amplifiers and cabinets, reverb, and studio processors. However, the AFX2DAW bridge software is not available for the Orion 32 HD. \n<br/><br/>\n<h3>Antelope Orion32 HD | Gen 3 Features:</h3>\n<ul>\n	<li>Free, integrated FPGA-based low latency effects modeling legendary studio gear</li>\n	<li>Pro Tools HD and Native-compatible</li>\n	<li>Streaming of 24-bit, 192 kHz audio via HDX or USB 3.0</li>\n	<li>Flawless 4th Generation 64-bit clocking and jitter management</li>\n	<li>Additional connectivity on MADI, ADAT, S/PDIF, 8x DB25</li>\n	<li>Mastering Grade monitor outputs</li>\n	<li>Housed in an efficient “green design” fanless chassis</li>\n	<li>Network Control from multiple computers</li>\n	<li>macOS and Windows compatible</li>\n</ul>\n<br/>\n<h3>Forget About Latency</h3>\nStream 64 audio channels via HDX & USB 3.0\n<br/><br/>\nCompatible with any DAW via HDX or USB 3.0, this new Pro Tools HD and Native-ready interface represents everything Antelope Audio stands for. Zero-latency monitoring, streaming of 64-channel 24-bit/192 kHz audio, flawless clocking, pristine AD/DA conversion, extensive connectivity, and more.<br/><br/>\n<h3>Fast and Luxurious</h3>\nSmooth mixing and mastering-grade monitoring\n<br/><br/>\nLike its predecessors, Orion 32 HD | Gen 3 is a versatile audio interface, which works like a charm with any DAW on the market. It enables you to not only stream an astounding 64 channels of audio when tracking, but also allows for multiple monitor mixes. When monitoring, the sound is pleasing, transparent, detailed and natural. Independent software mixers, integrated hardware-based FPGA vintage effects - it’s all there, with more connectivity options than ever.<br/><br/>\n<h3>Antelope\'s Famous Clocking</h3>\nPerfect sound through flawless clocking\n<br/><br/>\nThe unbeatable clocking accuracy of Orion 32 HD | Gen 3 is provided by Antelope’s renowned 64-bit Acoustically Focused Clocking (AFC) jitter management technology. Antelope Audio clocking has over a decade-long reputation for excellence in both stability and sonic improvement. Transients will shine like never before and you’ll achieve a stereo image with incomparable depth and detail. And with that crystal clear high-end, we’re talking sonic perfection!<br/><br/>\n<h3>Intuitive Software Control</h3>\nYour wildest routing dreams come true with the Orion 32 HD | Gen 3 desktop app\n<br/><br/>\nOrion 32 HD | Gen 3 is fully controllable via its intuitive macOS and Windows-compatible desktop app. Its color-coded routing matrix now features an alternate view which makes routing a piece of cake. The interface can also be accessed from multiple computers on the same network. With freely movable and resizable panels, you can make the most out of your screen real estate - perfect when working on huge projects, scoring to picture, and on multi-screen setups.<br/><br/>\n<h3>Major improvement in the Line Out DACs & Line In ADCs</h3>\n<b>D/A Monitor Converters</b>\n<ul style=\"letter-spacing: normal;\">\n	<li>Dynamic Range: 136 dB</li>\n	<li>THD + N: -120 dB</li>\n</ul>\n<b>A/D Converter</b>\n<ul style=\"letter-spacing: normal;\">\n	<li>Dynamic Range: 124 dB</li>\n	<li>THD + N: -112 dB</li>\n</ul>\n<b>D/A Converter</b>\n<ul style=\"letter-spacing: normal;\">\n	<li>Dynamic Range: 129 dB</li>\n	<li>THD + N: -120 dB</li>\n</ul>\n<b>Refined looks</b>\n<ul style=\"letter-spacing: normal;\">\n	<li>A gorgeous Carbon Grey faceplate adorns the Orion 32+ | Gen 3’s front panel.</li>\n</ul>\n<div>\n	<br/>\n</div>\n<h3>The Antelope Audio Orion32 HD | Gen 3 is the most powerful interface Antelope has ever created, and a vital asset to any Pro Tools HDX or HD Native studio. Talk with an RSPE representative for more information.</h3>'),(663,85,0,111,''),(664,85,1,111,''),(665,76,0,111,''),(666,76,1,111,''),(667,75,0,112,'<h1>Antelope Audio Orion32+ | Gen 3 - 64-channel Thunderbolt™ and 32-channel USB AD/DA Converter</h1>\n<span style=\"font-size: 16px;\"><i>Flexible Audio Interface with 64 channels of mastering-grade conversion over Thunderbolt and 32-Channels over USB.</i></span><br /><br />\nThe Antelope Orion32+ Gen 3, the world’s first 32-channel AD/DA converter, just got even better! The Orion 32+’s proven flexibility and exemplary sound quality have been expanded much further with upgraded, industry-leading conversion and a major facelift. Like its predecessor, the Orion 32+ | Gen 3 stands ready to take over studios and live shows across the globe once again.<br />\n<br />\n<h3>Antelope Orion 32+ | Gen 3 key features:</h3>\n<ul>\n	<li>FPGA-based real-time FX models of iconic studio gear</li>\n	<li>64 channels of 24-bit, 192 kHz audio via ThunderboltTM / 32 channels via USB</li>\n	<li>ThunderboltTM, MADI, USB, ADAT, S/PDIF, 8x DB25 connectivity</li>\n	<li>Flawless 4th Generation 64-bit clocking and jitter management</li>\n	<li>Networking Control from multiple computers</li>\n	<li>Routing, mixing, and effects chaining via macOS & Windows app</li>\n</ul>\n<br />\n<h3>Explore Vintage Studio Equipment</h3>\nThe Orion 32+ | Gen 3 features a suite of essential effects from Antelope Audio’s vast library of FPGA FX models. Customers can purchase additional effects as they deem fit, as well as invest in the AFX2DAW software bridge which lets them use on-board processed, low-latency effects as inserts in their preferred digital audio workstation.\n<br /><br />\n<h3>64-Channels of Audio Thunderbolt™</h3>\nOrion 32+ | Gen 3 provides seamless connectivity to any DAW, with low-latency, simultaneous streaming of 64 channels of 24-bit, 192 kHz audio via ThunderboltTM and 32 channels via USB. The analog I/O are handled by 8 DB25 connectors and a pair of TRS connectors for monitoring. Digital connectivity options are complemented by ADAT and S/PDIF.\n<br /><br />\n<h3>Extensive Flexibility</h3>\nOrion 32+ | Gen 3 offers extensive flexibility for excellent productivity. A color-coded software routing matrix with four separate mixers, effects chaining, and zero latency monitoring is provided. The routing matrix, mixers, and control panel are found within an intuitive desktop application for macOS and Windows.\n<br /><br />\n<h3>High-End Clocking & Conversion</h3>\nDigital clarity meets analog musicality to form the signature Antelope Audio sound.\nOur proven clocking accuracy is ensured by Antelope’s renowned 64-bit Acoustically Focused Clocking (AFC) jitter management technology. A 10 MHz input enables connectivity to Antelope’s legendary 10M Atomic Clock and its successor 10MX. That, and a pair of word clock outputs make the Orion 32+ | Gen 3 a great fit in any setup - not just as an interface, but as a premium master clock as well.\n<br /><br />\n<h3>Redesigned Software Panel</h3>\nControl all Orion 32+ | Gen 3 features and functionality from its intuitive desktop app. Both macOS and Windows compatible, it implements Antelope Audio’s networking control concept to let you access the interface from multiple computers in the same network. For added convenience and flexibility, the control panels are freely movable and resizable, facilitating multi-screen workflows.\n<br /><br />\n<h3>Major improvement in the Line Out DACs & Line In ADCs</h3>\n<b>D/A Converters</b>\n<ul style=\"letter-spacing: normal;\">\n	<li>Dynamic Range: 120 dB</li>\n	<li>THD + N: -107 dB</li>\n</ul>\n<b>A/D Converter</b>\n<ul style=\"letter-spacing: normal;\">\n	<li>Dynamic Range: 121 dB</li>\n	<li>THD + N: -112 dB</li>\n</ul>\n<b>Line Input / Output levels</b>\n<ul style=\"letter-spacing: normal;\">\n	<li>Now 24dBU max</li>\n</ul>\n<b>Refined looks</b>\n<ul style=\"letter-spacing: normal;\">\n	<li>A gorgeous Carbon Grey faceplate adorns the Orion 32+ | Gen 3’s front panel.</li>\n</ul>\n<br />\n<h3>The Antelope Audio Orion 32+ Gen 3 is every studio owner’s dream come true. Talk with an RSPE representative for more information.</h3>\n<br /><br />'),(668,75,1,112,'<h1>Antelope Audio Orion32+ | Gen 3 - 64-channel Thunderbolt™ and 32-channel USB AD/DA Converter</h1>\n<span style=\"font-size: 16px;\"><i>Flexible Audio Interface with 64 channels of mastering-grade conversion over Thunderbolt and 32-Channels over USB.</i></span><br /><br />\nThe Antelope Orion32+ Gen 3, the world’s first 32-channel AD/DA converter, just got even better! The Orion 32+’s proven flexibility and exemplary sound quality have been expanded much further with upgraded, industry-leading conversion and a major facelift. Like its predecessor, the Orion 32+ | Gen 3 stands ready to take over studios and live shows across the globe once again.<br />\n<br />\n<h3>Antelope Orion 32+ | Gen 3 key features:</h3>\n<ul>\n	<li>FPGA-based real-time FX models of iconic studio gear</li>\n	<li>64 channels of 24-bit, 192 kHz audio via ThunderboltTM / 32 channels via USB</li>\n	<li>ThunderboltTM, MADI, USB, ADAT, S/PDIF, 8x DB25 connectivity</li>\n	<li>Flawless 4th Generation 64-bit clocking and jitter management</li>\n	<li>Networking Control from multiple computers</li>\n	<li>Routing, mixing, and effects chaining via macOS & Windows app</li>\n</ul>\n<br />\n<h3>Explore Vintage Studio Equipment</h3>\nThe Orion 32+ | Gen 3 features a suite of essential effects from Antelope Audio’s vast library of FPGA FX models. Customers can purchase additional effects as they deem fit, as well as invest in the AFX2DAW software bridge which lets them use on-board processed, low-latency effects as inserts in their preferred digital audio workstation.\n<br /><br />\n<h3>64-Channels of Audio Thunderbolt™</h3>\nOrion 32+ | Gen 3 provides seamless connectivity to any DAW, with low-latency, simultaneous streaming of 64 channels of 24-bit, 192 kHz audio via ThunderboltTM and 32 channels via USB. The analog I/O are handled by 8 DB25 connectors and a pair of TRS connectors for monitoring. Digital connectivity options are complemented by ADAT and S/PDIF.\n<br /><br />\n<h3>Extensive Flexibility</h3>\nOrion 32+ | Gen 3 offers extensive flexibility for excellent productivity. A color-coded software routing matrix with four separate mixers, effects chaining, and zero latency monitoring is provided. The routing matrix, mixers, and control panel are found within an intuitive desktop application for macOS and Windows.\n<br /><br />\n<h3>High-End Clocking & Conversion</h3>\nDigital clarity meets analog musicality to form the signature Antelope Audio sound.\nOur proven clocking accuracy is ensured by Antelope’s renowned 64-bit Acoustically Focused Clocking (AFC) jitter management technology. A 10 MHz input enables connectivity to Antelope’s legendary 10M Atomic Clock and its successor 10MX. That, and a pair of word clock outputs make the Orion 32+ | Gen 3 a great fit in any setup - not just as an interface, but as a premium master clock as well.\n<br /><br />\n<h3>Redesigned Software Panel</h3>\nControl all Orion 32+ | Gen 3 features and functionality from its intuitive desktop app. Both macOS and Windows compatible, it implements Antelope Audio’s networking control concept to let you access the interface from multiple computers in the same network. For added convenience and flexibility, the control panels are freely movable and resizable, facilitating multi-screen workflows.\n<br /><br />\n<h3>Major improvement in the Line Out DACs & Line In ADCs</h3>\n<b>D/A Converters</b>\n<ul style=\"letter-spacing: normal;\">\n	<li>Dynamic Range: 120 dB</li>\n	<li>THD + N: -107 dB</li>\n</ul>\n<b>A/D Converter</b>\n<ul style=\"letter-spacing: normal;\">\n	<li>Dynamic Range: 121 dB</li>\n	<li>THD + N: -112 dB</li>\n</ul>\n<b>Line Input / Output levels</b>\n<ul style=\"letter-spacing: normal;\">\n	<li>Now 24dBU max</li>\n</ul>\n<b>Refined looks</b>\n<ul style=\"letter-spacing: normal;\">\n	<li>A gorgeous Carbon Grey faceplate adorns the Orion 32+ | Gen 3’s front panel.</li>\n</ul>\n<br />\n<h3>The Antelope Audio Orion 32+ Gen 3 is every studio owner’s dream come true. Talk with an RSPE representative for more information.</h3>\n<br /><br />'),(669,85,0,112,'Antelope Audio Orion32+ | Gen 3 - 64-channel Thunderbolt™ and 32-channel USB AD/DA Converter'),(670,85,1,112,'Antelope Audio Orion32+ | Gen 3 - 64-channel Thunderbolt™ and 32-channel USB AD/DA Converter'),(671,76,0,112,''),(672,76,1,112,''),(673,75,0,113,'<h2>Antelope Audio Pure 2 Mastering AD/DA Converter & Clock</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">A Two Channel Mastering Converter from the Authority in Clocking</span><br /><br />\n\nPure2 is a mastering-grade 24/192 kHz AD/DA 2-channel converter and master clock that includes a relay-controlled volume attenuator. It features Antelope Audio’s #world-renowned Acoustically Focused Clocking (AFC) technology, and also utilizes pristine analog circuitry, driven by a proprietary multi-stage linear power supply for#unsurpassed digital clarity and analog realism.<br /><br />\n\nAn intuitive software control panel for Mac or Windows provides users the ability to manage all facets of the device operation. Pure2 is also configurable via the front panel with user-definable presets.<br /><br />\n\n\n<h3>Pure2 consists of five ultra high-performance components:</h3>\n<ul>\n<li>A/D converter with optimized overloads handling                     </li>\n<li>D/A converter with dual DAC architecture                            </li>\n<li>High-end headphone amp with a dedicated D/A converter               </li>\n<li>Relay-based analog volume control for accurate monitoring           </li>\n<li>Master clock with 4th generation of Antelope\'s AFC jitter management</li>\n</ul><br />\n\n<h3>A/D Conversion</h3>\nThe famous Burr-Brown (TI) A/D converter PCM4222 is unsurpassed in terms of sound quality and performance. Carefully optimized analog driver stage gently handles overloads, contributing to distinct analog sound and smoother clipping.<br /><br />\n\n<h3>D/A Conversion</h3>\nThe main D/A conversion in Pure2 is designed with a dual DAC architecture, providing separate DAC chips for the left and the right channels. The dual DAC design tremendously enhances the signal-to-noise ratio and greatly improves stereo imaging.<br /><br />\n\n<h3>Headphone Amp</h3>\nThe high-end headphone amp is powered by a dedicated D/A converter, allowing greater convenience and better routing flexibility. The separate DAC provides the option for monitoring a secondary source independent from the main outs.<br /><br />\n\n<h3>Monitoring</h3>\nPure2 utilizes Antelope\'s high quality analog volume control. It features a stepped relay attenuator with 0.05 dB#precision, providing optimal transparency of the monitoring through the main outs.<br /><br />\n\n<h3>Master Clock</h3>\nThe conversion timing and the sync of all digital studio devices is kept stable by the 4th generation of 64-bit AFC jitter management and oven-controlled crystal oscillator. This is exactly the same technology used in Antelope\'s flagship master clock, Isochrone Trinity and the top-seller Orion32 AD/DA.<br /><br />'),(674,75,1,113,'<h2>Antelope Audio Pure 2 Mastering AD/DA Converter & Clock</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">A Two Channel Mastering Converter from the Authority in Clocking</span><br /><br />\n\nPure2 is a mastering-grade 24/192 kHz AD/DA 2-channel converter and master clock that includes a relay-controlled volume attenuator. It features Antelope Audio’s #world-renowned Acoustically Focused Clocking (AFC) technology, and also utilizes pristine analog circuitry, driven by a proprietary multi-stage linear power supply for#unsurpassed digital clarity and analog realism.<br /><br />\n\nAn intuitive software control panel for Mac or Windows provides users the ability to manage all facets of the device operation. Pure2 is also configurable via the front panel with user-definable presets.<br /><br />\n\n\n<h3>Pure2 consists of five ultra high-performance components:</h3>\n<ul>\n<li>A/D converter with optimized overloads handling                     </li>\n<li>D/A converter with dual DAC architecture                            </li>\n<li>High-end headphone amp with a dedicated D/A converter               </li>\n<li>Relay-based analog volume control for accurate monitoring           </li>\n<li>Master clock with 4th generation of Antelope\'s AFC jitter management</li>\n</ul><br />\n\n<h3>A/D Conversion</h3>\nThe famous Burr-Brown (TI) A/D converter PCM4222 is unsurpassed in terms of sound quality and performance. Carefully optimized analog driver stage gently handles overloads, contributing to distinct analog sound and smoother clipping.<br /><br />\n\n<h3>D/A Conversion</h3>\nThe main D/A conversion in Pure2 is designed with a dual DAC architecture, providing separate DAC chips for the left and the right channels. The dual DAC design tremendously enhances the signal-to-noise ratio and greatly improves stereo imaging.<br /><br />\n\n<h3>Headphone Amp</h3>\nThe high-end headphone amp is powered by a dedicated D/A converter, allowing greater convenience and better routing flexibility. The separate DAC provides the option for monitoring a secondary source independent from the main outs.<br /><br />\n\n<h3>Monitoring</h3>\nPure2 utilizes Antelope\'s high quality analog volume control. It features a stepped relay attenuator with 0.05 dB#precision, providing optimal transparency of the monitoring through the main outs.<br /><br />\n\n<h3>Master Clock</h3>\nThe conversion timing and the sync of all digital studio devices is kept stable by the 4th generation of 64-bit AFC jitter management and oven-controlled crystal oscillator. This is exactly the same technology used in Antelope\'s flagship master clock, Isochrone Trinity and the top-seller Orion32 AD/DA.<br /><br />'),(675,85,0,113,'Antelope Audio Pure 2 Mastering AD/DA Converter & Clock'),(676,85,1,113,'Antelope Audio Pure 2 Mastering AD/DA Converter & Clock'),(677,76,0,113,''),(678,76,1,113,''),(679,75,0,114,'<h2>Antelope Audio Satori + R4S Bundle - Satori Monitoring Controller and R4R Remote Control</h2>\n<span style=\"font-size: 16px;\"><i>A digitally-controlled true analog monitoring and summing system with uncompromising sound quality bundled with the R4S desktop remote control</i></span><br /><br />\nAntelope Audio Satori is a digitally-controlled true analog monitoring and summing system designed for today’s studios.  have both been praised for their digital clarity, while maintaining the realism of analog sound. Satori features the same high level of digital clarity, realism of analog sound, and uncompromising sound quality as Antelope’s Orion32 and Zen Studio interfaces, thanks to advanced analog circuit design.<br /><br />\nNow Satori comes with a free mobile application available for iOS and Android mobile devices. The intuitive app turns your smartphone or tablet into a professional remote control for your monitoring system. It completely manages Satori’s entire functionality, giving the producer the comfort of having fast and easy monitoring control at their fingertips. Antelope\'s flexible software architecture allows you to have multiple mobile devices connected to the same Satori. This provides artists the opportunity to control the volume levels on their headphones themselves, while the engineer retains the control of the monitoring functions from the control room or even the play room while setting-up. <br /><br />\n<h3>Antelope Satori Key Features:</h3>\n<ul>\n	<li>Pristine analog sound with digital control           </li>\n	<li>Mobile app to control your monitoring system         </li>\n	<li>4 Audiophile-grade headphone amps and talkback       </li>\n	<li>Precise-stepped relay volume control                 </li>\n	<li>Analog summing functionality                         </li>\n	<li>Generous amount of connectivity options              </li>\n	<li>Flexible remote control (included in the R4S bundle) </li>\n	<li>User-friendly desktop app for Windows & OS X         </li>\n</ul>\n<br />\n<h3>Control Satori via its own dedicated R4S remote control</h3>\nSatori is bundled with a bus-powered remote control – R4S. The remote is specially designed for Satori, completely replicating the front panel functionality. It provides engineers with ease and ergonomics, controlling Satori directly from the mix position. R4S allows for lightning fast control of all sources and monitors, as well as talkback.\n<br /><br />\n<h3>Mastering-grade transparency </h3>\nSatori provides a monitoring solution that maintains sonic accuracy while routing and switching between source material, especially when the D/A is handled by the clear and natural-sounding Antelope family of converters. Antelope Audio’s extensive background in designing pristine analog circuitry, highly optimized PCB layout and power supply technology result in mastering-grade transparency at a project studio price.\n<br /><br />\n<h3>Innovative attenuator architecture with utmost precision</h3>\nWhereas relay attenuators, being mechanical switches, provide the best sound quality, they suffer from popping or zippering artifacts when the volume is adjusted. Satori employs an innovative, patent-pending technology that dramatically reduces these artifacts while retaining all the advantages and excellent sonic performance of the relay attenuators. The greatest advantage of using relays is that they achieve 0.05 dB stereo accuracy and stable L/R balance even at lower listening levels.  Satori also boast .5db increments of source and output trim offset control. This pristine, passive attenuator signal path fully preserves audio signal integrity while revealing even the most subtle nuances.\n<br /><br />\n<h3>Analog sound with with flexible remote control</h3>\nSwitching and adjusting inputs and outputs, assigning headphone monitoring for the artists and even talkback, is now possible from anywhere in the studio. This is all achieved due to the Satori\'s elegant front panel, software control panel, ergonomic remote control and now a mobile application.\n<br /><br />\nFlexible and accurate control capabilities are made possible by Antelope’s next generation of software control panel technology, which has opened the door to a whole new generation of analog devices, such as the Satori Monitoring System and MP32 32-channel mic preamp. For Satori this means fast and responsive source and speaker output switching, accurate remote volume control and also Mute, Mono, Dim, Mid/Side monitoring. <br /><br />\nSatori is bundled with a bus-powered remote control – R4S. The remote is specially designed for Satori, completely replicating the front panel functionality. It provides engineers with ease and ergonomics, controlling Satori directly from the mix position. R4S allows for lightning fast control of all sources and monitors, as well as talkback. <br /><br />\n<h3>Analog summing functionality</h3>\nIn addition to providing outstanding monitoring capabilities, Satori includes a fully analog 8-channel summing mixer. Analog summing allows engineers who work completely “in-the-box” to mix signals in the analog domain for a more natural blending of instruments. The summing mixer inside Satori maintains punch, headroom and excellent dynamics, while offering the analog sound usually found only from legendary analog consoles.\n<br /><br />\n<h3>Headphone amps and talkback</h3>\nSurpassing most monitoring controllers, which offer one or two headphone outs, Satori features four independent headphone amps ready to provide several band members their own, unique input feed with independent volume control. Satori’s headphone drivers are audiophile-grade and are the same as those used in Antelope’s premium line of high-end home audio converters, able to drive both low and high impedance headphones. \n<br /><br />\nA unique software talkback solution allows for instant communication with performers. Satori provides great flexibility by offering several kinds of talkback mic sources – via the built-in mic on the front panel or R4S; the 1/4” TRS connector on the rear panel or the built-in mic in the engineer’s laptop, and the mic on your phone when using the Satori App.<br /><br />\n<h3>An abundant number of I/Os</h3>\nSatori provides a generous amount of connectivity options. No other 1U monitoring system has eight stereo inputs and four stereo outputs and features such a comprehensive choice of connections: XLR, 1/4” TRS and D-Sub 25. Satori also boasts a subwoofer output and four 1/4” independent headphone outs.\n<br /><br />'),(680,75,1,114,'<h2>Antelope Audio Satori + R4S Bundle - Satori Monitoring Controller and R4R Remote Control</h2>\n<span style=\"font-size: 16px;\"><i>A digitally-controlled true analog monitoring and summing system with uncompromising sound quality bundled with the R4S desktop remote control</i></span><br /><br />\nAntelope Audio Satori is a digitally-controlled true analog monitoring and summing system designed for today’s studios.  have both been praised for their digital clarity, while maintaining the realism of analog sound. Satori features the same high level of digital clarity, realism of analog sound, and uncompromising sound quality as Antelope’s Orion32 and Zen Studio interfaces, thanks to advanced analog circuit design.<br /><br />\nNow Satori comes with a free mobile application available for iOS and Android mobile devices. The intuitive app turns your smartphone or tablet into a professional remote control for your monitoring system. It completely manages Satori’s entire functionality, giving the producer the comfort of having fast and easy monitoring control at their fingertips. Antelope\'s flexible software architecture allows you to have multiple mobile devices connected to the same Satori. This provides artists the opportunity to control the volume levels on their headphones themselves, while the engineer retains the control of the monitoring functions from the control room or even the play room while setting-up. <br /><br />\n<h3>Antelope Satori Key Features:</h3>\n<ul>\n	<li>Pristine analog sound with digital control           </li>\n	<li>Mobile app to control your monitoring system         </li>\n	<li>4 Audiophile-grade headphone amps and talkback       </li>\n	<li>Precise-stepped relay volume control                 </li>\n	<li>Analog summing functionality                         </li>\n	<li>Generous amount of connectivity options              </li>\n	<li>Flexible remote control (included in the R4S bundle) </li>\n	<li>User-friendly desktop app for Windows & OS X         </li>\n</ul>\n<br />\n<h3>Control Satori via its own dedicated R4S remote control</h3>\nSatori is bundled with a bus-powered remote control – R4S. The remote is specially designed for Satori, completely replicating the front panel functionality. It provides engineers with ease and ergonomics, controlling Satori directly from the mix position. R4S allows for lightning fast control of all sources and monitors, as well as talkback.\n<br /><br />\n<h3>Mastering-grade transparency </h3>\nSatori provides a monitoring solution that maintains sonic accuracy while routing and switching between source material, especially when the D/A is handled by the clear and natural-sounding Antelope family of converters. Antelope Audio’s extensive background in designing pristine analog circuitry, highly optimized PCB layout and power supply technology result in mastering-grade transparency at a project studio price.\n<br /><br />\n<h3>Innovative attenuator architecture with utmost precision</h3>\nWhereas relay attenuators, being mechanical switches, provide the best sound quality, they suffer from popping or zippering artifacts when the volume is adjusted. Satori employs an innovative, patent-pending technology that dramatically reduces these artifacts while retaining all the advantages and excellent sonic performance of the relay attenuators. The greatest advantage of using relays is that they achieve 0.05 dB stereo accuracy and stable L/R balance even at lower listening levels.  Satori also boast .5db increments of source and output trim offset control. This pristine, passive attenuator signal path fully preserves audio signal integrity while revealing even the most subtle nuances.\n<br /><br />\n<h3>Analog sound with with flexible remote control</h3>\nSwitching and adjusting inputs and outputs, assigning headphone monitoring for the artists and even talkback, is now possible from anywhere in the studio. This is all achieved due to the Satori\'s elegant front panel, software control panel, ergonomic remote control and now a mobile application.\n<br /><br />\nFlexible and accurate control capabilities are made possible by Antelope’s next generation of software control panel technology, which has opened the door to a whole new generation of analog devices, such as the Satori Monitoring System and MP32 32-channel mic preamp. For Satori this means fast and responsive source and speaker output switching, accurate remote volume control and also Mute, Mono, Dim, Mid/Side monitoring. <br /><br />\nSatori is bundled with a bus-powered remote control – R4S. The remote is specially designed for Satori, completely replicating the front panel functionality. It provides engineers with ease and ergonomics, controlling Satori directly from the mix position. R4S allows for lightning fast control of all sources and monitors, as well as talkback. <br /><br />\n<h3>Analog summing functionality</h3>\nIn addition to providing outstanding monitoring capabilities, Satori includes a fully analog 8-channel summing mixer. Analog summing allows engineers who work completely “in-the-box” to mix signals in the analog domain for a more natural blending of instruments. The summing mixer inside Satori maintains punch, headroom and excellent dynamics, while offering the analog sound usually found only from legendary analog consoles.\n<br /><br />\n<h3>Headphone amps and talkback</h3>\nSurpassing most monitoring controllers, which offer one or two headphone outs, Satori features four independent headphone amps ready to provide several band members their own, unique input feed with independent volume control. Satori’s headphone drivers are audiophile-grade and are the same as those used in Antelope’s premium line of high-end home audio converters, able to drive both low and high impedance headphones. \n<br /><br />\nA unique software talkback solution allows for instant communication with performers. Satori provides great flexibility by offering several kinds of talkback mic sources – via the built-in mic on the front panel or R4S; the 1/4” TRS connector on the rear panel or the built-in mic in the engineer’s laptop, and the mic on your phone when using the Satori App.<br /><br />\n<h3>An abundant number of I/Os</h3>\nSatori provides a generous amount of connectivity options. No other 1U monitoring system has eight stereo inputs and four stereo outputs and features such a comprehensive choice of connections: XLR, 1/4” TRS and D-Sub 25. Satori also boasts a subwoofer output and four 1/4” independent headphone outs.\n<br /><br />'),(681,85,0,114,'Antelope Audio Satori Monitoring Controller'),(682,85,1,114,'Antelope Audio Satori Monitoring Controller'),(683,76,0,114,''),(684,76,1,114,''),(685,75,0,115,'<h1>Antelope Audio Verge Small Diaphragm Condenser Modeling Microphone</h1>\n<span style=\"font-size:16px; font-style:italic;\">Small Diaphragm Condenser Modeling Microphone for Antelope Audio Discrete Interfaces</span><br /><br />\n<div>\n	<div>\n		Antelope Audio \n		<span style=\"background-color: initial;\">Verge is a small diaphragm modeling microphone suited for both nuanced accuracy and high SPL recording. Not only does Verge exhibit excellent performance on it’s own, it can take on the character and personality of the world’s best small diaphragm condensers and electrets.</span>\n	</div>\n</div>\n<br />\n<h3>Antelope Verge Key Features:</h3>\n<ul>\n	<li>Small-diaphragm condenser modeling microphone for Antelope\'s Discrete audio interfaces</li>\n	<li>Works with Antelope Discrete interface\'s built-in Accusonic modeling to emulate several classic microphones</li>\n	<li>Combines with your FPGA-equipped interface\'s comp and EQ emulations to form a killer channel strip</li>\n	<li>Gives you complete control over proximity effect, positional axis, and polar patterns</li>\n</ul>\n<br />\n<h3>FPGA Accusonic 3D modeling </h3>\n<div>\n	<span style=\"background-color: initial;\">Inside the FPGA Accusonic 3D modeling engine you can transform both <a href=\"/Antelope-Audio-Edge-p/antelope-edge.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Edge</a> and Verge into vintage replicas giving you complete control over proximity effect, off-axis response and even allow you to change polar patterns during or after recording. Choose from a collection of classic and expensive microphones and track the results as you monitor live, bringing out a musician’s best possible performance.<br /><br /></span>\n</div>\n<h3>Get the vintage sound of a fully stocked mic locker with the power of Antelope Audio\'s Verge microphone and FPGA powered Accusonic Monitoring. Call or Live chat RSPE for more information.</h3>'),(686,75,1,115,'<h1>Antelope Audio Verge Small Diaphragm Condenser Modeling Microphone</h1>\n<span style=\"font-size:16px; font-style:italic;\">Small Diaphragm Condenser Modeling Microphone for Antelope Audio Discrete Interfaces</span><br /><br />\n<div>\n	<div>\n		Antelope Audio \n		<span style=\"background-color: initial;\">Verge is a small diaphragm modeling microphone suited for both nuanced accuracy and high SPL recording. Not only does Verge exhibit excellent performance on it’s own, it can take on the character and personality of the world’s best small diaphragm condensers and electrets.</span>\n	</div>\n</div>\n<br />\n<h3>Antelope Verge Key Features:</h3>\n<ul>\n	<li>Small-diaphragm condenser modeling microphone for Antelope\'s Discrete audio interfaces</li>\n	<li>Works with Antelope Discrete interface\'s built-in Accusonic modeling to emulate several classic microphones</li>\n	<li>Combines with your FPGA-equipped interface\'s comp and EQ emulations to form a killer channel strip</li>\n	<li>Gives you complete control over proximity effect, positional axis, and polar patterns</li>\n</ul>\n<br />\n<h3>FPGA Accusonic 3D modeling </h3>\n<div>\n	<span style=\"background-color: initial;\">Inside the FPGA Accusonic 3D modeling engine you can transform both <a href=\"/Antelope-Audio-Edge-p/antelope-edge.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Edge</a> and Verge into vintage replicas giving you complete control over proximity effect, off-axis response and even allow you to change polar patterns during or after recording. Choose from a collection of classic and expensive microphones and track the results as you monitor live, bringing out a musician’s best possible performance.<br /><br /></span>\n</div>\n<h3>Get the vintage sound of a fully stocked mic locker with the power of Antelope Audio\'s Verge microphone and FPGA powered Accusonic Monitoring. Call or Live chat RSPE for more information.</h3>'),(687,85,0,115,''),(688,85,1,115,''),(689,76,0,115,''),(690,76,1,115,''),(691,75,0,116,'<h1>Antelope Audio Zen Go Synergy Core USB-C Audio Interface</h1>\r\n<i>4x8 Bus-Powered USB-C Audio Interface with Two Discrete Ultra-Linear Preamps, Class-Leading AD/DA Conversion, Built-In Synergy Core FX Processing, and 37 Synergy Core Analog-Modeled FX Included.</i><br />\r\n<br />The Antelope Audio Zen Go Synergy Core is a portable desktop interface that allows self-recording artists to create from virtually anywhere with technology used by award-winning producers. The device’s sound quality and processing capabilities are in a class of their own with Antelope Audio’s renowned 64-bit AFC™ clocking technology and the powerful, effects-packed Synergy Core onboard platform. <br /><br />\r\n<h3 style=\"font-size: 16px;\">Zen Go Synergy Core Features</h3>\r\n<ul style=\"\">\r\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Bus-powered audio interface with USB-C connection for Mac/Windows;</span></li>\r\n	<li>Two Discrete ultra-linear preamps with 65 dB gain and switchable mic, line and Hi-Z modes, offering console-grade performance & low noise when recording.</li>\r\n	<li>Class-leading AD/DA conversion for the most detailed sound when recording and streaming audio, aided by 64-bit AFC™ clocking technology delivering increased sound width & separation.</li>\r\n	<li>37 Synergy Core analog-modeled effects included and over 50 available as optional expansions. Processed in real-time with imperceptible latency; </li>\r\n	<li>User-friendly software control of all available features including onboard effects processing, direct monitoring, signal routing and volume settings. </li>\r\n	\r\n</ul>\r\n<br />\r\n<h3>Rise above the sound you know</h3>\r\nThe Zen Go Synergy Core shrinks the gap in sound quality between artists with access to premium studios and home creators. The pristine sound is due to a combination of professional-grade AD/DA converters and Discrete ultra-linear preamps that share circuits with legendary American & British consoles. The stand-out sonic quality of the device would not be possible without the main pillar of the Antelope Audio sound - the 64-bit AFC™ clocking technology from the company’s high-end master clocks. It is employed in the most prestigious studios in the world and has been trusted with the scoring of some of Hollywood’s biggest blockbusters. <br /><br />\r\n\r\n\r\n<h3>Synergy Core Real-Time Effects Processing</h3>\r\nZen Go Synergy Core comes with 37 of the finest analog-modeled effects that will help you create stunning, sonically rich productions. Aside from the exclusive compressors, EQs and preamps, with the interface you get 22 guitar amps & cabs, a guitar tuner and a signature reverb that are ready to be applied in real time to your tracking and mixing session.  The Synergy Core effects processing allows you to stack up your chain with many effects instances while monitoring through the interface without fear of overloading.<br /><br />\r\n\r\nAt any time, you can expand your effects collection by purchasing more classic go-to units, true rarities never before recreated in digital form, and 3rd party effects like Antares’ Auto-Tune Synergy. <br /><br />\r\n\r\n<h4>Included Onboard Effects </h4>\r\n<ul>\r\n<li>2 Preamps (Gyraf Gyratec IX, BA-31) </li>\r\n<li>4 Equalizers (incl. VEQ-1A, VMEQ-5) </li>\r\n<li>5 Compressors & Limiters (incl. Stay-Levin, FET-A76, VCA160) </li>\r\n<li>22 Guitar Amps & Cabs (incl. Bluelux 1x12, Tube Guitar Amp) </li>\r\n<li>2 Special Processing Effects (Expander, Noise Gate) </li>\r\n<li>1 Reverb Effect (Auraverb) </li>\r\n<li>1 Guitar Tuner (A-Tuner) </li>\r\n</ul><br />\r\n\r\n<h3>Create from anywhere, anytime</h3>\r\nAntelope Audio’s first bus-powered interface is optimized for ultra-low latency recording, high-resolution playback, creative beat making and podcasting from virtually anywhere. With just a USB-C cable you can power the Zen Go Synergy Core from your computer and use it to its full potential without having to carry a dedicated power supply with you. The interface can also be powered with any USB-C charger if you are away from your PC and still want to use its core functionalities. <br /><br />\r\n\r\n\r\n<h3>Better recording and producing workflow</h3>\r\nEvery feature available to you in the interface’s Control Panel has been added to improve the important aspects of your workflow. Since DAW monitoring inevitably adds latency, you can monitor directly through the interface to reduce delay to the absolute minimum. With the routing options you can easily set-up a near-zero latency mix and stack it with your favorite Synergy Core effects without fear of overloading the onboard platform. Dedicated signal metering is available for both input and output levels on the front panel display and in the software Control Panel. <br /><br />\r\n\r\n\r\n<h3>Smart connectivity in a small package </h3>\r\nThe two combo XLR jacks give you the flexibility to choose between our custom Discrete mic preamps, line and Hi-Z inputs, and are easily configurable via the control panel. The two TRS balanced outputs, mirrored with the two RCAs, allow you to send the signal from the professional-grade D/A converter to two separate sound systems. Use one for your main monitors and the other for a DJ mixer or any other sound system with RCA connectivity, whilst preserving sound integrity.<br /><br />'),(692,75,1,116,'<h1>Antelope Audio Zen Go Synergy Core USB-C Audio Interface</h1>\n<i>4x8 Bus-Powered USB-C Audio Interface with Two Discrete Ultra-Linear Preamps, Class-Leading AD/DA Conversion, Built-In Synergy Core FX Processing, and 37 Synergy Core Analog-Modeled FX Included.</i><br />\n<br />The Antelope Audio Zen Go Synergy Core is a portable desktop interface that allows self-recording artists to create from virtually anywhere with technology used by award-winning producers. The device’s sound quality and processing capabilities are in a class of their own with Antelope Audio’s renowned 64-bit AFC™ clocking technology and the powerful, effects-packed Synergy Core onboard platform. <br /><br />\n<h3 style=\"font-size: 16px;\">Zen Go Synergy Core Features</h3>\n<ul style=\"\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Bus-powered audio interface with USB-C connection for Mac/Windows;</span></li>\n	<li>Two Discrete ultra-linear preamps with 65 dB gain and switchable mic, line and Hi-Z modes, offering console-grade performance & low noise when recording.</li>\n	<li>Class-leading AD/DA conversion for the most detailed sound when recording and streaming audio, aided by 64-bit AFC™ clocking technology delivering increased sound width & separation.</li>\n	<li>37 Synergy Core analog-modeled effects included and over 50 available as optional expansions. Processed in real-time with imperceptible latency; </li>\n	<li>User-friendly software control of all available features including onboard effects processing, direct monitoring, signal routing and volume settings. </li>\n	\n</ul>\n<br />\n<h3>Rise above the sound you know</h3>\nThe Zen Go Synergy Core shrinks the gap in sound quality between artists with access to premium studios and home creators. The pristine sound is due to a combination of professional-grade AD/DA converters and Discrete ultra-linear preamps that share circuits with legendary American & British consoles. The stand-out sonic quality of the device would not be possible without the main pillar of the Antelope Audio sound - the 64-bit AFC™ clocking technology from the company’s high-end master clocks. It is employed in the most prestigious studios in the world and has been trusted with the scoring of some of Hollywood’s biggest blockbusters. <br /><br />\n\n\n<h3>Synergy Core Real-Time Effects Processing</h3>\nZen Go Synergy Core comes with 37 of the finest analog-modeled effects that will help you create stunning, sonically rich productions. Aside from the exclusive compressors, EQs and preamps, with the interface you get 22 guitar amps & cabs, a guitar tuner and a signature reverb that are ready to be applied in real time to your tracking and mixing session.  The Synergy Core effects processing allows you to stack up your chain with many effects instances while monitoring through the interface without fear of overloading.<br /><br />\n\nAt any time, you can expand your effects collection by purchasing more classic go-to units, true rarities never before recreated in digital form, and 3rd party effects like Antares’ Auto-Tune Synergy. <br /><br />\n\n<h4>Included Onboard Effects </h4>\n<ul>\n<li>2 Preamps (Gyraf Gyratec IX, BA-31) </li>\n<li>4 Equalizers (incl. VEQ-1A, VMEQ-5) </li>\n<li>5 Compressors & Limiters (incl. Stay-Levin, FET-A76, VCA160) </li>\n<li>22 Guitar Amps & Cabs (incl. Bluelux 1x12, Tube Guitar Amp) </li>\n<li>2 Special Processing Effects (Expander, Noise Gate) </li>\n<li>1 Reverb Effect (Auraverb) </li>\n<li>1 Guitar Tuner (A-Tuner) </li>\n</ul><br />\n\n<h3>Create from anywhere, anytime</h3>\nAntelope Audio’s first bus-powered interface is optimized for ultra-low latency recording, high-resolution playback, creative beat making and podcasting from virtually anywhere. With just a USB-C cable you can power the Zen Go Synergy Core from your computer and use it to its full potential without having to carry a dedicated power supply with you. The interface can also be powered with any USB-C charger if you are away from your PC and still want to use its core functionalities. <br /><br />\n\n\n<h3>Better recording and producing workflow</h3>\nEvery feature available to you in the interface’s Control Panel has been added to improve the important aspects of your workflow. Since DAW monitoring inevitably adds latency, you can monitor directly through the interface to reduce delay to the absolute minimum. With the routing options you can easily set-up a near-zero latency mix and stack it with your favorite Synergy Core effects without fear of overloading the onboard platform. Dedicated signal metering is available for both input and output levels on the front panel display and in the software Control Panel. <br /><br />\n\n\n<h3>Smart connectivity in a small package </h3>\nThe two combo XLR jacks give you the flexibility to choose between our custom Discrete mic preamps, line and Hi-Z inputs, and are easily configurable via the control panel. The two TRS balanced outputs, mirrored with the two RCAs, allow you to send the signal from the professional-grade D/A converter to two separate sound systems. Use one for your main monitors and the other for a DJ mixer or any other sound system with RCA connectivity, whilst preserving sound integrity.<br /><br />'),(693,85,0,116,'Antelope Audio Zen Go Synergy Core'),(694,85,1,116,'Antelope Audio Zen Go Synergy Core'),(695,76,0,116,''),(696,76,1,116,''),(697,75,0,117,'<h2>Antelope Audio Zen Tour Portable Audio Interface</h2>\n<span style=\"font-size: 16px;\"><i>A 2017 upgrade to Zen Tour makes it even better! Professional-grade, portable Thunderbolt and USB audio interface.</i></span><br />\n<br />\n	Antelope Audio Zen Tour receives a game-changing update to once again conquer new heights for studios and audio professionals and music enthusiasts all around the globe. This hi-end Thunderbolt™ & USB audio interface now offers an expanded FPGA FX library, designed exclusively for the Zen Tour and not available for any other desktop interface. Zen Tour gives you access to the largest selection of authentic real-time FX models of iconic gear from manufacturers like BAE, Grove Hill, Gyraf Audio and Lang.\n<br /><br />\n	For the first time ever, the Antelope Audio FPGA line of FX can be used via any DAW thanks to the new AFX2DAW plugin, which is among the top enhancements for Zen Tour in 2017. The interface can easily track a full band with its 4 studio class Mic/Line inputs, 4 extra Hi-Z,Line ins, 2 transformer reamps and built-in Talkback. Featuring both Antelope’s legendary clocking and conversion, Zen Tour brings the top studio sound in its class and beyond.\n<br /><br />\n<h3>Forget About Latency</h3>\nCustom FPGA will allow you to create and stream multiple complex mixes and process audio with zero latency. Zen Tour borrows the powerful Field-Programmable Gate Array (FPGA) from Antelope Audio’s top-selling pro studio devices.This game-changing technology provides the interface with massive \nparallel processing capabilities, thus the lowest latency levels on the \nmarket.\n<div class=\"vc_col-sm-6 mid-text wpb_column column_container vc_column_container col padding-5-percent instance-22\" data-bg-cover=\"\" data-padding-pos=\"left\" data-has-bg-color=\"false\" data-bg-color=\"\" data-bg-opacity=\"1\" data-hover-bg=\"\" data-hover-bg-opacity=\"1\" data-animation=\"\" data-delay=\"0\">\n	<div class=\"vc_column-inner\">\n		<div class=\"wpb_wrapper\">\n			<div class=\"wpb_text_column wpb_content_element \">\n				<div class=\"wpb_wrapper\">\n				</div>\n			</div>\n		</div>\n	</div>\n</div>\n<br />\n<h3>Portable Guitar Interface</h3>\nEnjoy the true sound of classic guitar amps with Zen Tour’s hardware-based Vintage FX. Forget about buying expensive DSP plugins. Zen Tour offers something better.  Get creative with Antelope’s brand new hardware-based FPGA effects. These include guitar amp & cab simulations, lengedary EQ and compressor emulations, plus the extremely versatile AuraVerb reverb. The FPGA effects offer unbeatable authenticity and realism. They not only sound truly analog, but also feel and behave like real hardware gear.\n<br /><br />\n<h3>Supreme audio quality and boosted efficiency</h3>\nThe unique dual-domain clocking system enables analog-based, more natural sounding sample rate conversion. The integrated patching/routing capabilities make monitoring of either analog or digital sources extremely simple, avoiding jitter, distortion and cabling noise. By eliminating the many input and output stages and the various power supplies, that would be present in separate devices, the noise floor can be substantially reduced and the audio quality significantly improved.\n<br /><br />\n<h3>Antelope Zen Tour Features</h3>\n<ul>\n	<li>4 switchable Mic/Line</li>\n	<li>4 HiZ/Line ins</li>\n	<li>8 analog outs</li>\n	<li>digital I/O on ADAT & S/PDIF</li>\n	<li>two independent headphone amps</li>\n	<li>two separate pairs of monitor outs.<strong></strong>\n	</li>\n</ul>\n<p>\n	Plus, the FPGA powered Thunderbolt™ & the custom USB make the Zen Tour lightning fast and compatible with any DAW.\n</p>\n<h3></h3>\n<h3>The Antelope Audio Zen Tour is an indispensable tool for discerning audio professionals. Call RSPE today and speak with a representative, or chat online.</h3>'),(698,75,1,117,'<h2>Antelope Audio Zen Tour Portable Audio Interface</h2>\n<span style=\"font-size: 16px;\"><i>A 2017 upgrade to Zen Tour makes it even better! Professional-grade, portable Thunderbolt and USB audio interface.</i></span><br />\n<br />\n	Antelope Audio Zen Tour receives a game-changing update to once again conquer new heights for studios and audio professionals and music enthusiasts all around the globe. This hi-end Thunderbolt™ & USB audio interface now offers an expanded FPGA FX library, designed exclusively for the Zen Tour and not available for any other desktop interface. Zen Tour gives you access to the largest selection of authentic real-time FX models of iconic gear from manufacturers like BAE, Grove Hill, Gyraf Audio and Lang.\n<br /><br />\n	For the first time ever, the Antelope Audio FPGA line of FX can be used via any DAW thanks to the new AFX2DAW plugin, which is among the top enhancements for Zen Tour in 2017. The interface can easily track a full band with its 4 studio class Mic/Line inputs, 4 extra Hi-Z,Line ins, 2 transformer reamps and built-in Talkback. Featuring both Antelope’s legendary clocking and conversion, Zen Tour brings the top studio sound in its class and beyond.\n<br /><br />\n<h3>Forget About Latency</h3>\nCustom FPGA will allow you to create and stream multiple complex mixes and process audio with zero latency. Zen Tour borrows the powerful Field-Programmable Gate Array (FPGA) from Antelope Audio’s top-selling pro studio devices.This game-changing technology provides the interface with massive \nparallel processing capabilities, thus the lowest latency levels on the \nmarket.\n<div class=\"vc_col-sm-6 mid-text wpb_column column_container vc_column_container col padding-5-percent instance-22\" data-bg-cover=\"\" data-padding-pos=\"left\" data-has-bg-color=\"false\" data-bg-color=\"\" data-bg-opacity=\"1\" data-hover-bg=\"\" data-hover-bg-opacity=\"1\" data-animation=\"\" data-delay=\"0\">\n	<div class=\"vc_column-inner\">\n		<div class=\"wpb_wrapper\">\n			<div class=\"wpb_text_column wpb_content_element \">\n				<div class=\"wpb_wrapper\">\n				</div>\n			</div>\n		</div>\n	</div>\n</div>\n<br />\n<h3>Portable Guitar Interface</h3>\nEnjoy the true sound of classic guitar amps with Zen Tour’s hardware-based Vintage FX. Forget about buying expensive DSP plugins. Zen Tour offers something better.  Get creative with Antelope’s brand new hardware-based FPGA effects. These include guitar amp & cab simulations, lengedary EQ and compressor emulations, plus the extremely versatile AuraVerb reverb. The FPGA effects offer unbeatable authenticity and realism. They not only sound truly analog, but also feel and behave like real hardware gear.\n<br /><br />\n<h3>Supreme audio quality and boosted efficiency</h3>\nThe unique dual-domain clocking system enables analog-based, more natural sounding sample rate conversion. The integrated patching/routing capabilities make monitoring of either analog or digital sources extremely simple, avoiding jitter, distortion and cabling noise. By eliminating the many input and output stages and the various power supplies, that would be present in separate devices, the noise floor can be substantially reduced and the audio quality significantly improved.\n<br /><br />\n<h3>Antelope Zen Tour Features</h3>\n<ul>\n	<li>4 switchable Mic/Line</li>\n	<li>4 HiZ/Line ins</li>\n	<li>8 analog outs</li>\n	<li>digital I/O on ADAT & S/PDIF</li>\n	<li>two independent headphone amps</li>\n	<li>two separate pairs of monitor outs.<strong></strong>\n	</li>\n</ul>\n<p>\n	Plus, the FPGA powered Thunderbolt™ & the custom USB make the Zen Tour lightning fast and compatible with any DAW.\n</p>\n<h3></h3>\n<h3>The Antelope Audio Zen Tour is an indispensable tool for discerning audio professionals. Call RSPE today and speak with a representative, or chat online.</h3>'),(699,85,0,117,'Antelope Audio Zen Tour'),(700,85,1,117,'Antelope Audio Zen Tour'),(701,76,0,117,''),(702,76,1,117,''),(703,75,0,118,'<h1>Antelope Audio Zen Tour Synergy Core Thunderbolt 3 / USB Audio Interface</h1>\n<i style=\"font-size: 16px;\">18x24 Thunderbolt 3 and USB audio interface with 4 Discrete Microphone Preamps, Improved AD/DA conversion, 4x DSP + 2x FPGA Synergy Core low-latency effects and audio engine processors, plus 36 Synergy Core FX Included.</i><br />\n<br />\nAntelope Audio Zen Tour Synergy Core takes the already powerful Zen Tour and adds Antelope\'s patented Synergy Core technology, combining FPGA and DSP effects processing, now capable of processing up to 256 effects over 32 channels with ultra-low latency and zero CPU drain.<br /><br />\n<h3 style=\"font-size: 16px;\">Zen Tour Synergy Core New Features</h3>\n<ul style=\"letter-spacing: normal;\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">4x DSP + 2x FPGA Synergy Core low-latency effects and audio engine processors</span></li>\n	<li>Improved AD/DA conversion – up to 130dB DNR, on par with Orion Studio Synergy Core</li>\n	<li>2x increase in channel count (32 channels at sample rates up to 192kHz)</li>\n	<li>Thunderbolt™ 3 & USB 2.0 cross-platform connectivity for Mac / Windows</li>\n	<li>Support for new Synergy Core-exclusive effects like Auto-Tune Synergy, Opto-2A, MES-432C, Comp-4K-Bus and others</li>\n	<li>8 DC-coupled line outputs for CV applications like controlling modular synthesizers</li>\n	<li>Discrete ultra – linear microphone preamps</li>\n</ul>\n<br />\n<h3 style=\"font-size: 16px;\">Zen Tour Synergy Core Key Features4x DSP + 2x FPGA Synergy Core FX Processing</h3>\n<ul style=\"\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">14x18 Analog & Digital I/O</span></li>\n	<li>Thunderbolt™ 3 & USB 2.0 Connectivity</li>\n	<li>Discrete ultra-linear mic preamps</li>\n	<li>State-of-the-art AD/DA conversion</li>\n	<li>64-bit Acoustically Focused Clocking & Jitter Management algorithms</li>\n	<li>Mastering-grade Stereo monitor outputs</li>\n	<li>2 Individual Stereo headphone outputs</li>\n	<li>2 Transformer-based Reamp Outputs</li>\n	<li>ADAT & SPDIF digital I/O</li>\n	<li>8 Line outputs on DB25 connector (DC-Coupled)</li>\n	<li>Integrated Talkback microphone</li>\n	<li>Intuitive touchscreen control & software Control Panel with flexible signal routing</li>\n</ul>\n<br />\n<h3>Forget About Latency</h3>\nCustom FPGA will allow you to create and stream multiple complex mixes and process audio with zero latency. Zen Tour borrows the powerful Field-Programmable Gate Array (FPGA) from Antelope Audio’s top-selling pro studio devices.This game-changing technology provides the interface with massive parallel processing capabilities, thus the lowest latency levels on the market.\n<br /><br />\n<h3>Synergy Core Technology</h3>\nAntelope Audio Synergy Core interfaces employ ARM DSP + FPGA chips in custom configurations to process tens of input/output audio streams and hundreds of low-latency studio effects without burdening your computer. With 4x DSP + 2x FPGA processors, Zen Tour Synergy Core achieves a new standard for real-time audio effects in its category.\n<br /><br />\n<h3>36 Synergy Core FX Included</h3>\n<b>\nZen Tour Synergy Core comes with 36 Synergy Core FX included: 2 Preamps • 4 Equalizers • 5 Compressors • 22 Guitar Amps & Cabs • 2 Utility FX • 1 Reverb</b><br />\nGiving your projects a flying start, Zen Tour Synergy Core includes a compelling library of 36 meticulously modeled real-time studio effects. It’s all happening inside your audio interface with the lowest possible latency – thanks to FPGA’s massive parallel computing capabilities, DSP processing, and fast Thunderbolt™ connectivity. The included library can be expanded to include any effects you choose from our web store.\n<br /><br />\n<h3>Lots of Connections</h3>\nSmall footprint, big connectivity! Zen Tour Synergy Core offers a choice of 4 Instrument/Line inputs, 4 Mic/Line Ins, 8 Line Outs, 2 Monitor Outs, 2 Headphone Outs and 2 Re-Amp Outs, totalling 8 analog inputs and 14 outputs. The unit is digitally expandable over ADAT & SPDIF for an additional 10 digital input and 10 output channels. Additionally, all line outputs are DC-Coupled and ready for control voltage (CV) applications such as control of modular synthesizers. As a final touch, an integrated Talkback microphone lets you demo vocals and propel your voice to the live room.\n<br /><br />\n<h3>4 Discrete Microphone Preamps</h3>\nA proprietary design that honors the best of audio engineering practices, our fully discrete, ultra-linear microphone preamps have sound quality comparable to that of a great mixing desk. Musical and transparent, they perfectly complement the Antelope Audio Edge & Verge modeling microphones’ sonic characteristics to deliver the power of our Accusonic 3D mic modeling technology right on your desktop.\n<br /><br />\n<h3>Idustry-leading Clocking</h3>\nThe pioneer of atomic clocking in pro audio, Antelope Audio incorporates 20+ years of expertise in its audio interfaces. Our proprietary 64-bit Acoustically Focused Clocking technology & Jitter Management algorithm helps deliver the kind of artifact-free audio once accessible only to the most prestigious studios.\n<br /><br />\n<h3>Mic Modeling Ready</h3>\nThe Zen Tour Synergy Core’s purpose-built preamps and Accusonic 3D modeling engine lets you transform the Antelope Audio Edge and Verge modeling microphones into expensive-sounding vintage replicas. Shape the final sound with complete control over proximity effect and change polar patterns during or after recording. Choose from a collection of classic and rare microphones as you monitor and record live, bringing out the musician’s finest performance.\n<br /><br />\n<h4>Featuring pristine conversion, 4 Mic Preamps, and built in Synergy Core FX Processing, Antelope Audio Zen Tour Synergy Core delivers great recordings in your project studio, rehearsal space, or on the road! Call or Chat RSPE Audio for more information.</h4>'),(704,75,1,118,'<h1>Antelope Audio Zen Tour Synergy Core Thunderbolt 3 / USB Audio Interface</h1>\n<i style=\"font-size: 16px;\">18x24 Thunderbolt 3 and USB audio interface with 4 Discrete Microphone Preamps, Improved AD/DA conversion, 4x DSP + 2x FPGA Synergy Core low-latency effects and audio engine processors, plus 36 Synergy Core FX Included.</i><br />\n<br />\nAntelope Audio Zen Tour Synergy Core takes the already powerful Zen Tour and adds Antelope\'s patented Synergy Core technology, combining FPGA and DSP effects processing, now capable of processing up to 256 effects over 32 channels with ultra-low latency and zero CPU drain.<br /><br />\n<h3 style=\"font-size: 16px;\">Zen Tour Synergy Core New Features</h3>\n<ul style=\"letter-spacing: normal;\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">4x DSP + 2x FPGA Synergy Core low-latency effects and audio engine processors</span></li>\n	<li>Improved AD/DA conversion – up to 130dB DNR, on par with Orion Studio Synergy Core</li>\n	<li>2x increase in channel count (32 channels at sample rates up to 192kHz)</li>\n	<li>Thunderbolt™ 3 & USB 2.0 cross-platform connectivity for Mac / Windows</li>\n	<li>Support for new Synergy Core-exclusive effects like Auto-Tune Synergy, Opto-2A, MES-432C, Comp-4K-Bus and others</li>\n	<li>8 DC-coupled line outputs for CV applications like controlling modular synthesizers</li>\n	<li>Discrete ultra – linear microphone preamps</li>\n</ul>\n<br />\n<h3 style=\"font-size: 16px;\">Zen Tour Synergy Core Key Features4x DSP + 2x FPGA Synergy Core FX Processing</h3>\n<ul style=\"\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">14x18 Analog & Digital I/O</span></li>\n	<li>Thunderbolt™ 3 & USB 2.0 Connectivity</li>\n	<li>Discrete ultra-linear mic preamps</li>\n	<li>State-of-the-art AD/DA conversion</li>\n	<li>64-bit Acoustically Focused Clocking & Jitter Management algorithms</li>\n	<li>Mastering-grade Stereo monitor outputs</li>\n	<li>2 Individual Stereo headphone outputs</li>\n	<li>2 Transformer-based Reamp Outputs</li>\n	<li>ADAT & SPDIF digital I/O</li>\n	<li>8 Line outputs on DB25 connector (DC-Coupled)</li>\n	<li>Integrated Talkback microphone</li>\n	<li>Intuitive touchscreen control & software Control Panel with flexible signal routing</li>\n</ul>\n<br />\n<h3>Forget About Latency</h3>\nCustom FPGA will allow you to create and stream multiple complex mixes and process audio with zero latency. Zen Tour borrows the powerful Field-Programmable Gate Array (FPGA) from Antelope Audio’s top-selling pro studio devices.This game-changing technology provides the interface with massive parallel processing capabilities, thus the lowest latency levels on the market.\n<br /><br />\n<h3>Synergy Core Technology</h3>\nAntelope Audio Synergy Core interfaces employ ARM DSP + FPGA chips in custom configurations to process tens of input/output audio streams and hundreds of low-latency studio effects without burdening your computer. With 4x DSP + 2x FPGA processors, Zen Tour Synergy Core achieves a new standard for real-time audio effects in its category.\n<br /><br />\n<h3>36 Synergy Core FX Included</h3>\n<b>\nZen Tour Synergy Core comes with 36 Synergy Core FX included: 2 Preamps • 4 Equalizers • 5 Compressors • 22 Guitar Amps & Cabs • 2 Utility FX • 1 Reverb</b><br />\nGiving your projects a flying start, Zen Tour Synergy Core includes a compelling library of 36 meticulously modeled real-time studio effects. It’s all happening inside your audio interface with the lowest possible latency – thanks to FPGA’s massive parallel computing capabilities, DSP processing, and fast Thunderbolt™ connectivity. The included library can be expanded to include any effects you choose from our web store.\n<br /><br />\n<h3>Lots of Connections</h3>\nSmall footprint, big connectivity! Zen Tour Synergy Core offers a choice of 4 Instrument/Line inputs, 4 Mic/Line Ins, 8 Line Outs, 2 Monitor Outs, 2 Headphone Outs and 2 Re-Amp Outs, totalling 8 analog inputs and 14 outputs. The unit is digitally expandable over ADAT & SPDIF for an additional 10 digital input and 10 output channels. Additionally, all line outputs are DC-Coupled and ready for control voltage (CV) applications such as control of modular synthesizers. As a final touch, an integrated Talkback microphone lets you demo vocals and propel your voice to the live room.\n<br /><br />\n<h3>4 Discrete Microphone Preamps</h3>\nA proprietary design that honors the best of audio engineering practices, our fully discrete, ultra-linear microphone preamps have sound quality comparable to that of a great mixing desk. Musical and transparent, they perfectly complement the Antelope Audio Edge & Verge modeling microphones’ sonic characteristics to deliver the power of our Accusonic 3D mic modeling technology right on your desktop.\n<br /><br />\n<h3>Idustry-leading Clocking</h3>\nThe pioneer of atomic clocking in pro audio, Antelope Audio incorporates 20+ years of expertise in its audio interfaces. Our proprietary 64-bit Acoustically Focused Clocking technology & Jitter Management algorithm helps deliver the kind of artifact-free audio once accessible only to the most prestigious studios.\n<br /><br />\n<h3>Mic Modeling Ready</h3>\nThe Zen Tour Synergy Core’s purpose-built preamps and Accusonic 3D modeling engine lets you transform the Antelope Audio Edge and Verge modeling microphones into expensive-sounding vintage replicas. Shape the final sound with complete control over proximity effect and change polar patterns during or after recording. Choose from a collection of classic and rare microphones as you monitor and record live, bringing out the musician’s finest performance.\n<br /><br />\n<h4>Featuring pristine conversion, 4 Mic Preamps, and built in Synergy Core FX Processing, Antelope Audio Zen Tour Synergy Core delivers great recordings in your project studio, rehearsal space, or on the road! Call or Chat RSPE Audio for more information.</h4>'),(705,85,0,118,'Antelope Audio Zen Tour Synergy Core'),(706,85,1,118,'Antelope Audio Zen Tour Synergy Core'),(707,76,0,118,''),(708,76,1,118,''),(709,75,0,119,'<h1>API 1608-II Recording and Mixing Console</h1>\n<i>The 1608-II is a single audio path console, having only one audio path per channel.</i><br /><br /> The 1608-II gives all of the advantages of the vintage 1604 and classic 1608 consoles while adding new, modern features valuable to today\'s engineers, producers and musicians. A major upgrade is the inclusion of four (4) automatable stereo returns instead of the 8 mono echo returns that were included in the classic 1608 console. The 1608-II continues to be built to the same exacting API build standards as our Vision, Legacy AXS, 2448, and previous 1608 consoles<br />\n<br />\n<h3>API 1608-II key features:</h3>\n<ul>\n	<li><span style=\"letter-spacing: 0px;\">16, 32, or 48 Input Channel Frame sizes</span></li>\n	<li>Each channel equipped with Mic Pre and Equalizer</li>\n	<li>Accepts API 500 Series Equalizers</li>\n	<li>8 Multitrack Buses</li>\n	<li>8 Auxiliary Buses</li>\n	<li>1 Stereo Bus</li>\n	<li>4 Stereo Returns, 100mm faders (manual or automated) with Multitrack and Stereo Bus assign</li>\n	<li>Full Center Section Control</li>\n	<li>Surround 5.1 Center Section Monitoring</li>\n	<li>Classic Analog Metering</li>\n	<li>Global 0dB Fader Bypass</li>\n	<li>Comprehensive Rear Panel IO Connectivity</li>\n</ul>\n<br />\n<h3>The API 1608-II can mean the difference between a good mix and the perfect mix! For more information, call or chat with an RSPE representative today.</h3>'),(710,75,1,119,'<h1>API 1608-II Recording and Mixing Console</h1>\n<i>The 1608-II is a single audio path console, having only one audio path per channel.</i><br /><br /> The 1608-II gives all of the advantages of the vintage 1604 and classic 1608 consoles while adding new, modern features valuable to today\'s engineers, producers and musicians. A major upgrade is the inclusion of four (4) automatable stereo returns instead of the 8 mono echo returns that were included in the classic 1608 console. The 1608-II continues to be built to the same exacting API build standards as our Vision, Legacy AXS, 2448, and previous 1608 consoles<br />\n<br />\n<h3>API 1608-II key features:</h3>\n<ul>\n	<li><span style=\"letter-spacing: 0px;\">16, 32, or 48 Input Channel Frame sizes</span></li>\n	<li>Each channel equipped with Mic Pre and Equalizer</li>\n	<li>Accepts API 500 Series Equalizers</li>\n	<li>8 Multitrack Buses</li>\n	<li>8 Auxiliary Buses</li>\n	<li>1 Stereo Bus</li>\n	<li>4 Stereo Returns, 100mm faders (manual or automated) with Multitrack and Stereo Bus assign</li>\n	<li>Full Center Section Control</li>\n	<li>Surround 5.1 Center Section Monitoring</li>\n	<li>Classic Analog Metering</li>\n	<li>Global 0dB Fader Bypass</li>\n	<li>Comprehensive Rear Panel IO Connectivity</li>\n</ul>\n<br />\n<h3>The API 1608-II can mean the difference between a good mix and the perfect mix! For more information, call or chat with an RSPE representative today.</h3>'),(711,85,0,119,'API 1608-II Recording and Mixing Console'),(712,85,1,119,'API 1608-II Recording and Mixing Console'),(713,76,0,119,''),(714,76,1,119,''),(715,75,0,120,'<h1>API 215L Discrete HP/LP Sweep Filter</h1>\nThe API 215L is a unique passive, sweepable filter, designed specifically to contour the sound to preserve the natural tone of the signal. Its extreme flexibility, repeatable settings and superb sound make it ideal for all studio, live sound and broadcast applications.<br /><br />\nThe 215L design is a passive low pass filter with a slope of only 6 dB per octave, and a passive dual high pass filter with a slope of 12 dB per octave. The filters are isolated from each other with the same discrete transistor buffer used in the famous 550 series equalizers. This minimizes interaction between the filters, as well as providing a low impedance source for the filter following the buffer.<br /><br />\nThe input section is a balanced circuit using the API 2510 all discrete op-amp, minimizing the loading effect on any device plugged into it. The output stage is a transformer balanced output, driven by the all discrete API 2520 op-amp.\nThe filters are both continuously adjustable, with a range from 20 Hz to 20 kHz in two bands. The low pass filter has a range from 500 Hz to 20 kHz, and the high pass filter has a range from 20 Hz to 600 Hz. This covers a broad range of frequencies throughout the entire audio spectrum.<br /><br />\nBecause of the subtle nature of the 215L filter, it finds a home with uses like rolling off the low end of a hi-hat, where a natural sound is desired, not the usual \"phase-shifter\" sound of a 18 to 24 dB per octave filter found on most consoles. It can also be used to thin out room mics, without the complete loss of low end which again usually results from steep filter circuits.<br /><br />\nThe 215L can be used in the Legacy, Legacy Plus or Vision Series Consoles, or in the L200 Rack. The 215L Filter makes use of the 2520 and 2510 op-amps and therefore exhibits the reliability, long life and uniformity which are characteristic of API products.<br /><br />'),(716,75,1,120,'<h1>API 215L Discrete HP/LP Sweep Filter</h1>\nThe API 215L is a unique passive, sweepable filter, designed specifically to contour the sound to preserve the natural tone of the signal. Its extreme flexibility, repeatable settings and superb sound make it ideal for all studio, live sound and broadcast applications.<br /><br />\nThe 215L design is a passive low pass filter with a slope of only 6 dB per octave, and a passive dual high pass filter with a slope of 12 dB per octave. The filters are isolated from each other with the same discrete transistor buffer used in the famous 550 series equalizers. This minimizes interaction between the filters, as well as providing a low impedance source for the filter following the buffer.<br /><br />\nThe input section is a balanced circuit using the API 2510 all discrete op-amp, minimizing the loading effect on any device plugged into it. The output stage is a transformer balanced output, driven by the all discrete API 2520 op-amp.\nThe filters are both continuously adjustable, with a range from 20 Hz to 20 kHz in two bands. The low pass filter has a range from 500 Hz to 20 kHz, and the high pass filter has a range from 20 Hz to 600 Hz. This covers a broad range of frequencies throughout the entire audio spectrum.<br /><br />\nBecause of the subtle nature of the 215L filter, it finds a home with uses like rolling off the low end of a hi-hat, where a natural sound is desired, not the usual \"phase-shifter\" sound of a 18 to 24 dB per octave filter found on most consoles. It can also be used to thin out room mics, without the complete loss of low end which again usually results from steep filter circuits.<br /><br />\nThe 215L can be used in the Legacy, Legacy Plus or Vision Series Consoles, or in the L200 Rack. The 215L Filter makes use of the 2520 and 2510 op-amps and therefore exhibits the reliability, long life and uniformity which are characteristic of API products.<br /><br />'),(717,85,0,120,'API 215L Discrete HP/LP Sweep Filter'),(718,85,1,120,'API 215L Discrete HP/LP Sweep Filter'),(719,76,0,120,''),(720,76,1,120,''),(721,75,0,121,'<h1>API 225L Discrete Compressor/Limiter</h1>\n\nThe API 225L Compressor is ideal for all studio, live sound and broadcast applications. Regardless of the threshold or ratio settings, the output level always remains at unity. This unique feature allows for real-time adjustments without the need for changing the output level.<br /><br />\nBoth NEW (\"feed forward\") and OLD (\"feed back\") methods are selectable on the front panel, providing two choices of gain reduction. NEW gain reduction is typical of the newer VCA type compressors that rely on RMS detectors for the gain control voltage. OLD or Feed-Back method is what most of the classic compressors used for the gain control circuit. There also is a SOFT or HARD selector. SOFT provides a more subtle compression resulting in a very natural, less compressed sound. HARD results in a more typical, sharp knee type compression that has a much more severe limiting effect.<br /><br />\nRelease time is adjusted by rotating the REL knob. Release time constants: 50m/sec to 3/sec. Attack time is switch selectable to Fast (2mS), Medium (18mS) or Slow (75mS).<br /><br />\nThe 225L is designed for individual channel use or, through the use of the external LINK function, two units can be combined for Stereo applications via a rear access pin. The 225L also has a side-chain input for the detector amplifier.\nThe 225L can be used in the Legacy, Legacy Plus or Vision Series Consoles, or in the L200 Rack. The 225L Compressor makes use of the 2520 and 2510 op-amps and therefore exhibits the reliability, long life and uniformity which are characteristic of all API products.<br /><br />'),(722,75,1,121,'<h1>API 225L Discrete Compressor/Limiter</h1>\n\nThe API 225L Compressor is ideal for all studio, live sound and broadcast applications. Regardless of the threshold or ratio settings, the output level always remains at unity. This unique feature allows for real-time adjustments without the need for changing the output level.<br /><br />\nBoth NEW (\"feed forward\") and OLD (\"feed back\") methods are selectable on the front panel, providing two choices of gain reduction. NEW gain reduction is typical of the newer VCA type compressors that rely on RMS detectors for the gain control voltage. OLD or Feed-Back method is what most of the classic compressors used for the gain control circuit. There also is a SOFT or HARD selector. SOFT provides a more subtle compression resulting in a very natural, less compressed sound. HARD results in a more typical, sharp knee type compression that has a much more severe limiting effect.<br /><br />\nRelease time is adjusted by rotating the REL knob. Release time constants: 50m/sec to 3/sec. Attack time is switch selectable to Fast (2mS), Medium (18mS) or Slow (75mS).<br /><br />\nThe 225L is designed for individual channel use or, through the use of the external LINK function, two units can be combined for Stereo applications via a rear access pin. The 225L also has a side-chain input for the detector amplifier.\nThe 225L can be used in the Legacy, Legacy Plus or Vision Series Consoles, or in the L200 Rack. The 225L Compressor makes use of the 2520 and 2510 op-amps and therefore exhibits the reliability, long life and uniformity which are characteristic of all API products.<br /><br />'),(723,85,0,121,'API 225L Discrete Compressor/Limiter'),(724,85,1,121,'API 225L Discrete Compressor/Limiter'),(725,76,0,121,''),(726,76,1,121,''),(727,75,0,122,'<h1>API 235L Discrete Noise Gate</h1>\n\nThe API 235L Noise Gate/Expander has the ability to reduce noise in any type of program. The 235L can open unusually fast, without losing any part of the sound. Its extreme flexibility, repeatable settings, and superb sound make it ideal for all studio, live sound, and broadcast applications.<br /><br />\nThe 235L is one of the fastest noise gates manufactured today. When an engineer is faced with program material with a high level of background noise, the 235L can either Gate the signal at a preset Threshold, or with the use of the Expander function, can reduce the background noise to an almost undetectable level. This can be achieved without the typical loss of the program material caused by slow triggering of the signal, or \"pinging\" caused by false triggering.<br /><br />\nWith a wide range of adjustment, the 235L can operate from -45 to +25 dBu, fitting into any audio situation regardless of program level. Once the Threshold level is set, the Attack time can be selected to react faster than 100uS or slightly slower than 25mS to reduce false triggering. Although the Depth control has a full range of -80 dB, the scale is expanded in the first half of rotation so 0 to 9 dB is available for fine tuning of subtle, undetectable gating. The second half of rotation is from 10 to 80 dB for more drastic noise reduction.<br /><br />\nThe Expander function uses a 1:2 ratio, allowing the signal to \"sneak up\" to the full signal level without any loss of \"under threshold\" vocal or percussion nuances. Setting the threshold in the Gate function to the desired level, then switching to the Expander mode is the perfect setup.<br /><br />\nFor special gating functions such as the famed \"gated snare reverb\", the Release function can be switched to Hold, and the Release control becomes the Hold time. In both scenarios, the unselected function has a set time of 100mS.\nWhen used with the other 200L series modules, a complete input strip can be built from input through dynamics, equalization, and final output.<br /><br />\nThe 235L makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life, and uniformity which are characteristic of all API products.<br /><br />'),(728,75,1,122,'<h1>API 235L Discrete Noise Gate</h1>\n\nThe API 235L Noise Gate/Expander has the ability to reduce noise in any type of program. The 235L can open unusually fast, without losing any part of the sound. Its extreme flexibility, repeatable settings, and superb sound make it ideal for all studio, live sound, and broadcast applications.<br /><br />\nThe 235L is one of the fastest noise gates manufactured today. When an engineer is faced with program material with a high level of background noise, the 235L can either Gate the signal at a preset Threshold, or with the use of the Expander function, can reduce the background noise to an almost undetectable level. This can be achieved without the typical loss of the program material caused by slow triggering of the signal, or \"pinging\" caused by false triggering.<br /><br />\nWith a wide range of adjustment, the 235L can operate from -45 to +25 dBu, fitting into any audio situation regardless of program level. Once the Threshold level is set, the Attack time can be selected to react faster than 100uS or slightly slower than 25mS to reduce false triggering. Although the Depth control has a full range of -80 dB, the scale is expanded in the first half of rotation so 0 to 9 dB is available for fine tuning of subtle, undetectable gating. The second half of rotation is from 10 to 80 dB for more drastic noise reduction.<br /><br />\nThe Expander function uses a 1:2 ratio, allowing the signal to \"sneak up\" to the full signal level without any loss of \"under threshold\" vocal or percussion nuances. Setting the threshold in the Gate function to the desired level, then switching to the Expander mode is the perfect setup.<br /><br />\nFor special gating functions such as the famed \"gated snare reverb\", the Release function can be switched to Hold, and the Release control becomes the Hold time. In both scenarios, the unselected function has a set time of 100mS.\nWhen used with the other 200L series modules, a complete input strip can be built from input through dynamics, equalization, and final output.<br /><br />\nThe 235L makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life, and uniformity which are characteristic of all API products.<br /><br />'),(729,85,0,122,'API 235L Discrete Noise Gate'),(730,85,1,122,'API 235L Discrete Noise Gate'),(731,76,0,122,''),(732,76,1,122,''),(733,75,0,123,'<h1>API 2448 24-Channel Recording and Mixing Console</h1>\n<i>24-Channel Analog console with dual-signal path, 24 Mic Pre and EQs, 8 summing Busses, 8 Aux Busses and of course–legendary API sound.</i><br/><br/>\nThe API 2448 analog recording and mixing console is a dual-signal path, inline recording console based on the vintage 1604 and classic 1608 consoles, but provides 24 channels of multitrack recording and 56 channels for mixing. The 2448 offers a powerful and impressive feature set including Dual Inputs on each channel, Stereo Returns and optionally, API\'s new cross-platform Final Touch fader automation system. The 2448 expands API\'s powerful line of world-class analog recording consoles and continues API\'s nearly 50 year legacy of combining functionality and reliability with the unmistakable warmth of the API sound.<br/><br/>\n<h3>API 2448 key features:</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">Available in 24, 32, and 40 channel frame sizes</span></li>\n	<li><span style=\"background-color: initial;\"><span style=\"letter-spacing: 0px;\">Dual audio path architecture: Two complete audio paths in each channel</span></span></li>\n	<li>24 Input Channels each with Mic Pre and Equalizer</li>\n	<li>56 Channels available to the Mix Bus - in a 24 Channel Frame</li>\n	<li>Accepts up to eight VPR Alliance 500 Series signal processing modules</li>\n	<li>8 Summing Buses</li>\n	<li>8 Auxiliary Buses</li>\n	<li>1 Stereo Bus</li>\n	<li>529C Stereo Bus Compressor (optional)</li>\n	<li>4 Stereo Returns</li>\n	<li>Full Master Section</li>\n	<li>Switchable Metering</li>\n	<li>3 Peak Indicators Per Channel</li>\n	<li>5.1 External Input Monitoring</li>\n	<li>Comprehensive Rear Patch Connections</li>\n	<li>Optional Final TouchTM Automation System, with 2 Automatable Control Group Masters</li>\n</ul>\n<br/>\n<h3>Dual-Signal Path Design</h3>\nThe 2448 is a “dual-channel” or “in-line” console. Each channel strip provides two independent, discrete audio paths for multitrack recording and mixing. The Large Fader path (input and tracking) and the Small Fader path (playback & monitoring). Using the Program Bus to combine these 2 paths with the 4 Stereo Returns provides 56 channels of audio for mixdown. Contained within the 648C channel module, either path can be used for tracking or mixing, depending on your needs.\n<br/><br/>\n<h3>Final Touch™ Automation (Optional - Contact RSPE Audio For Details)</h3>\nFinal Touch automation combines system reliability, user flexibility and operational simplicity and offers a host of features found only in the most expensive and sophisticated console automation systems typically costing many times more. Consoles can be factory-fitted with Final Touch automation prior to delivery, and existing 2448 consoles can be retrofitted with Final Touch automation.\n<br/><br/>\nNew: In addition to the 2448, API\'s Final Touch automation systems are available for the flagship Vision console, the Legacy AXS, and the 1608-II. This allows for mix files to be easily transferred across any of these API console products.\n<br/><br/><b>Final Touch Automation Features:</b><br/>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Reliable, self-contained system requiring no external computer</span></li>\n	<li>Individual Switch Control on each fader</li>\n	<li>Global Control Panel in the console Center Section</li>\n	<li>Hi Resolution 7.5\" Touch Screen Control</li>\n	<li>Files are easily saved to standard memory cards</li>\n	<li>Automated Mute and Insert switches on each channel</li>\n	<li>Unlimited Fader Groups with 2 dedicated Group Master Faders</li>\n	<li>Motorized Stereo Program Fader</li>\n	<li>4 Motorized Stereo Returns</li>\n	<li>DAW Control with unity gain audio bypass</li>\n	<li>Unlimited Mix Restore points</li>\n	<li>Comprehensive Operations Manual</li>\n</ul>\n<br/>\n<h3>The API 2448 console carries on the tradition of legendary API analog sound and would make a fantastic centerpiece for any studio! For more information, call or chat with an RSPE representative today.</h3>'),(734,75,1,123,'<h1>API 2448 24-Channel Recording and Mixing Console</h1>\n<i>24-Channel Analog console with dual-signal path, 24 Mic Pre and EQs, 8 summing Busses, 8 Aux Busses and of course–legendary API sound.</i><br/><br/>\nThe API 2448 analog recording and mixing console is a dual-signal path, inline recording console based on the vintage 1604 and classic 1608 consoles, but provides 24 channels of multitrack recording and 56 channels for mixing. The 2448 offers a powerful and impressive feature set including Dual Inputs on each channel, Stereo Returns and optionally, API\'s new cross-platform Final Touch fader automation system. The 2448 expands API\'s powerful line of world-class analog recording consoles and continues API\'s nearly 50 year legacy of combining functionality and reliability with the unmistakable warmth of the API sound.<br/><br/>\n<h3>API 2448 key features:</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">Available in 24, 32, and 40 channel frame sizes</span></li>\n	<li><span style=\"background-color: initial;\"><span style=\"letter-spacing: 0px;\">Dual audio path architecture: Two complete audio paths in each channel</span></span></li>\n	<li>24 Input Channels each with Mic Pre and Equalizer</li>\n	<li>56 Channels available to the Mix Bus - in a 24 Channel Frame</li>\n	<li>Accepts up to eight VPR Alliance 500 Series signal processing modules</li>\n	<li>8 Summing Buses</li>\n	<li>8 Auxiliary Buses</li>\n	<li>1 Stereo Bus</li>\n	<li>529C Stereo Bus Compressor (optional)</li>\n	<li>4 Stereo Returns</li>\n	<li>Full Master Section</li>\n	<li>Switchable Metering</li>\n	<li>3 Peak Indicators Per Channel</li>\n	<li>5.1 External Input Monitoring</li>\n	<li>Comprehensive Rear Patch Connections</li>\n	<li>Optional Final TouchTM Automation System, with 2 Automatable Control Group Masters</li>\n</ul>\n<br/>\n<h3>Dual-Signal Path Design</h3>\nThe 2448 is a “dual-channel” or “in-line” console. Each channel strip provides two independent, discrete audio paths for multitrack recording and mixing. The Large Fader path (input and tracking) and the Small Fader path (playback & monitoring). Using the Program Bus to combine these 2 paths with the 4 Stereo Returns provides 56 channels of audio for mixdown. Contained within the 648C channel module, either path can be used for tracking or mixing, depending on your needs.\n<br/><br/>\n<h3>Final Touch™ Automation (Optional - Contact RSPE Audio For Details)</h3>\nFinal Touch automation combines system reliability, user flexibility and operational simplicity and offers a host of features found only in the most expensive and sophisticated console automation systems typically costing many times more. Consoles can be factory-fitted with Final Touch automation prior to delivery, and existing 2448 consoles can be retrofitted with Final Touch automation.\n<br/><br/>\nNew: In addition to the 2448, API\'s Final Touch automation systems are available for the flagship Vision console, the Legacy AXS, and the 1608-II. This allows for mix files to be easily transferred across any of these API console products.\n<br/><br/><b>Final Touch Automation Features:</b><br/>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Reliable, self-contained system requiring no external computer</span></li>\n	<li>Individual Switch Control on each fader</li>\n	<li>Global Control Panel in the console Center Section</li>\n	<li>Hi Resolution 7.5\" Touch Screen Control</li>\n	<li>Files are easily saved to standard memory cards</li>\n	<li>Automated Mute and Insert switches on each channel</li>\n	<li>Unlimited Fader Groups with 2 dedicated Group Master Faders</li>\n	<li>Motorized Stereo Program Fader</li>\n	<li>4 Motorized Stereo Returns</li>\n	<li>DAW Control with unity gain audio bypass</li>\n	<li>Unlimited Mix Restore points</li>\n	<li>Comprehensive Operations Manual</li>\n</ul>\n<br/>\n<h3>The API 2448 console carries on the tradition of legendary API analog sound and would make a fantastic centerpiece for any studio! For more information, call or chat with an RSPE representative today.</h3>'),(735,85,0,123,'API 2448 24-Channel Recording and Mixing Console'),(736,85,1,123,'API 2448 24-Channel Recording and Mixing Console'),(737,76,0,123,''),(738,76,1,123,''),(739,75,0,124,'<h1>API 2448 24-Channel Recording and Mixing Console with Automation</h1>\n<i>24-Channel Analog console with Final Touch Automation, festuring dual-signal path, 24 Mic Pre and EQs, 8 summing Busses, 8 Aux Busses, and of course–legendary API sound.</i><br/><br/>\nThe API 2448 analog recording and mixing console is a dual-signal path, inline recording console based on the vintage 1604 and classic 1608 consoles, but provides 24 channels of multitrack recording and 56 channels for mixing. The 2448 offers a powerful and impressive feature set including Dual Inputs on each channel, Stereo Returns and optionally, API\'s new cross-platform Final Touch fader automation system. The 2448 expands API\'s powerful line of world-class analog recording consoles and continues API\'s nearly 50 year legacy of combining functionality and reliability with the unmistakable warmth of the API sound.<br/><br/>\n<h3>API 2448 key features:</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">Available in 24, 32, and 40 channel frame sizes</span></li>\n	<li><span style=\"background-color: initial;\"><span style=\"letter-spacing: 0px;\">Dual audio path architecture: Two complete audio paths in each channel</span></span></li>\n	<li>24 Input Channels each with Mic Pre and Equalizer</li>\n	<li>56 Channels available to the Mix Bus - in a 24 Channel Frame</li>\n	<li>Final Touch Automation System, with 2 Automatable Control Group Masters</li>\n	<li>Accepts up to eight VPR Alliance 500 Series signal processing modules</li>\n	<li>8 Summing Buses</li>\n	<li>8 Auxiliary Buses</li>\n	<li>1 Stereo Bus</li>\n	<li>529C Stereo Bus Compressor (optional)</li>\n	<li>4 Stereo Returns</li>\n	<li>Full Master Section</li>\n	<li>Switchable Metering</li>\n	<li>3 Peak Indicators Per Channel</li>\n	<li>5.1 External Input Monitoring</li>\n	<li>Comprehensive Rear Patch Connections</li>\n</ul>\n<br/>\n<h3>Dual-Signal Path Design</h3>\nThe 2448 is a “dual-channel” or “in-line” console. Each channel strip provides two independent, discrete audio paths for multitrack recording and mixing. The Large Fader path (input and tracking) and the Small Fader path (playback & monitoring). Using the Program Bus to combine these 2 paths with the 4 Stereo Returns provides 56 channels of audio for mixdown. Contained within the 648C channel module, either path can be used for tracking or mixing, depending on your needs.\n<br/><br/>\n<h3>Final Touch™ Automation</h3>\nFinal Touch automation combines system reliability, user flexibility and operational simplicity and offers a host of features found only in the most expensive and sophisticated console automation systems typically costing many times more. Consoles can be factory-fitted with Final Touch automation prior to delivery, and existing 2448 consoles can be retrofitted with Final Touch automation.\n<br/><br/>\nNew: In addition to the 2448, API\'s Final Touch automation systems are available for the flagship Vision console, the Legacy AXS, and the 1608-II. This allows for mix files to be easily transferred across any of these API console products.\n<br/><br/><b>Final Touch Automation Features:</b><br/>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Reliable, self-contained system requiring no external computer</span></li>\n	<li>Individual Switch Control on each fader</li>\n	<li>Global Control Panel in the console Center Section</li>\n	<li>Hi Resolution 7.5\" Touch Screen Control</li>\n	<li>Files are easily saved to standard memory cards</li>\n	<li>Automated Mute and Insert switches on each channel</li>\n	<li>Unlimited Fader Groups with 2 dedicated Group Master Faders</li>\n	<li>Motorized Stereo Program Fader</li>\n	<li>4 Motorized Stereo Returns</li>\n	<li>DAW Control with unity gain audio bypass</li>\n	<li>Unlimited Mix Restore points</li>\n	<li>Comprehensive Operations Manual</li>\n</ul>\n<br/>\n<h3>The API 2448 console carries on the tradition of legendary API analog sound and Final Touch Automation makes it the heart of any modern studio! For more information, call or chat with an RSPE representative today.</h3>'),(740,75,1,124,'<h1>API 2448 24-Channel Recording and Mixing Console with Automation</h1>\n<i>24-Channel Analog console with Final Touch Automation, festuring dual-signal path, 24 Mic Pre and EQs, 8 summing Busses, 8 Aux Busses, and of course–legendary API sound.</i><br/><br/>\nThe API 2448 analog recording and mixing console is a dual-signal path, inline recording console based on the vintage 1604 and classic 1608 consoles, but provides 24 channels of multitrack recording and 56 channels for mixing. The 2448 offers a powerful and impressive feature set including Dual Inputs on each channel, Stereo Returns and optionally, API\'s new cross-platform Final Touch fader automation system. The 2448 expands API\'s powerful line of world-class analog recording consoles and continues API\'s nearly 50 year legacy of combining functionality and reliability with the unmistakable warmth of the API sound.<br/><br/>\n<h3>API 2448 key features:</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">Available in 24, 32, and 40 channel frame sizes</span></li>\n	<li><span style=\"background-color: initial;\"><span style=\"letter-spacing: 0px;\">Dual audio path architecture: Two complete audio paths in each channel</span></span></li>\n	<li>24 Input Channels each with Mic Pre and Equalizer</li>\n	<li>56 Channels available to the Mix Bus - in a 24 Channel Frame</li>\n	<li>Final Touch Automation System, with 2 Automatable Control Group Masters</li>\n	<li>Accepts up to eight VPR Alliance 500 Series signal processing modules</li>\n	<li>8 Summing Buses</li>\n	<li>8 Auxiliary Buses</li>\n	<li>1 Stereo Bus</li>\n	<li>529C Stereo Bus Compressor (optional)</li>\n	<li>4 Stereo Returns</li>\n	<li>Full Master Section</li>\n	<li>Switchable Metering</li>\n	<li>3 Peak Indicators Per Channel</li>\n	<li>5.1 External Input Monitoring</li>\n	<li>Comprehensive Rear Patch Connections</li>\n</ul>\n<br/>\n<h3>Dual-Signal Path Design</h3>\nThe 2448 is a “dual-channel” or “in-line” console. Each channel strip provides two independent, discrete audio paths for multitrack recording and mixing. The Large Fader path (input and tracking) and the Small Fader path (playback & monitoring). Using the Program Bus to combine these 2 paths with the 4 Stereo Returns provides 56 channels of audio for mixdown. Contained within the 648C channel module, either path can be used for tracking or mixing, depending on your needs.\n<br/><br/>\n<h3>Final Touch™ Automation</h3>\nFinal Touch automation combines system reliability, user flexibility and operational simplicity and offers a host of features found only in the most expensive and sophisticated console automation systems typically costing many times more. Consoles can be factory-fitted with Final Touch automation prior to delivery, and existing 2448 consoles can be retrofitted with Final Touch automation.\n<br/><br/>\nNew: In addition to the 2448, API\'s Final Touch automation systems are available for the flagship Vision console, the Legacy AXS, and the 1608-II. This allows for mix files to be easily transferred across any of these API console products.\n<br/><br/><b>Final Touch Automation Features:</b><br/>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Reliable, self-contained system requiring no external computer</span></li>\n	<li>Individual Switch Control on each fader</li>\n	<li>Global Control Panel in the console Center Section</li>\n	<li>Hi Resolution 7.5\" Touch Screen Control</li>\n	<li>Files are easily saved to standard memory cards</li>\n	<li>Automated Mute and Insert switches on each channel</li>\n	<li>Unlimited Fader Groups with 2 dedicated Group Master Faders</li>\n	<li>Motorized Stereo Program Fader</li>\n	<li>4 Motorized Stereo Returns</li>\n	<li>DAW Control with unity gain audio bypass</li>\n	<li>Unlimited Mix Restore points</li>\n	<li>Comprehensive Operations Manual</li>\n</ul>\n<br/>\n<h3>The API 2448 console carries on the tradition of legendary API analog sound and Final Touch Automation makes it the heart of any modern studio! For more information, call or chat with an RSPE representative today.</h3>'),(741,85,0,124,'API 2448 24-Channel Recording and Mixing Console with Automation'),(742,85,1,124,'API 2448 24-Channel Recording and Mixing Console with Automation'),(743,76,0,124,''),(744,76,1,124,''),(745,75,0,125,'<h1>API 2500+ Stereo Bus Compressor</h1><i>Stereo Bus Compressor featuring old \"feed back\" and new \"feed forward\" compression, patented THRUST Filter, and Mix/Blend circuit delivering a wide range of compression options.</i><br /><br />The API 2500+ Stereo Bus Compressor is API’s flagship compressor that provides the unmistakable sound of API’s compression technology combined with unmatched parametric control. The result is one of the world’s best sounding and versatile stereo bus compressors that’s capable of handling an infinite number of production applications. Carefully designed to deliver a wide range of compression options, the 2500+ delivers warmth, clarity and punch, whether used for subtle adjustments or heavy compression effects.<br /><br />\n<h3>API 2500+ Features:</h3>\n<ul>\n	<li>API 2520 Op Amps</li>\n	<li>Expanded variable threshold between -20dBu to +20dBu</li>\n	<li>Selectable ratio, attack, and release times</li>\n	<li>Patented THRUST® filter with 3 settings for frequency dependent side chain control</li>\n	<li>Variable link between left and right channels</li>\n	<li>Old \"feed back\" and new \"feed forward\" compression</li>\n	<li>Soft, Medium, or Hard knee for easy to sharp compression</li>\n	<li>Auto or manual gain make up</li>\n	<li>1/4\" balanced side chain inputs</li>\n	<li>Output clips at +32dBu</li>\n	<li>New Mix/Blend circuit</li>\n	<li>\"Over Threshold\" LED illuminates when input audio crosses the set threshold</li>\n	<li>Stereo analog meters to show input level, output level, and gain reduction</li>\n	<li>Full hard-wired relay bypass</li>\n</ul><br />The API 2500+ Stereo Bus Compressor allows adjustment of sonic qualities to alter the punch and tone of the stereo mix. The 19-inch, rack-mountable unit features a dual-channel design that can be configured for stereo compression or for use as two separate units via a single compression setting. <br /><br />Among the many qualities which make the 2500+\'s unique is its use of API\'s patented THRUST® circuit for a chest-hitting, punchy bottom end. Another distinctive feature of the 2500+ is its selectable \"old\" or \"new\" compression, with the old style using the \"feed back\" type of compression found in the API 525, and the new style using the \"feed forward\" type in which the compressor side chain is fed directly from the unit input. Additionally, the output stage of the 2500+ offers an auto-makeup gain button that permits the user to vary the threshold or ratio while automatically maintaining a constant output level. <br /><br />Added to the 2500+ is the Mix/Blend circuit. First featured in the limited production 50th Anniversary Edition, Mix/Blend control provides either cross fader or parallel mixing of the compressed and uncompressed signal. Three different user settings are offered:<br /><br /><ul style=\"letter-spacing: normal;\"><li>OFF - compressed signal only</li><li>X (Cross) - allows the MIX control to adjust between 100% uncompressed to 100% compressed - increasing one, while decreasing the other</li><li>|| (Parallel) - allows the MIX control to dial in compressed signal to blend into the uncompressed signal, (which remains the same).</li></ul>The 2500+ ensures fidelity with its fully balanced design and two front panel VU meters showing input, output and gain reduction levels. The 2500+ features API\'s industry exclusive five-year parts warranty and offers the user the reliability, sonic excellence and long life characteristic of all API products.'),(746,75,1,125,'<h1>API 2500+ Stereo Bus Compressor</h1><i>Stereo Bus Compressor featuring old \"feed back\" and new \"feed forward\" compression, patented THRUST Filter, and Mix/Blend circuit delivering a wide range of compression options.</i><br /><br />The API 2500+ Stereo Bus Compressor is API’s flagship compressor that provides the unmistakable sound of API’s compression technology combined with unmatched parametric control. The result is one of the world’s best sounding and versatile stereo bus compressors that’s capable of handling an infinite number of production applications. Carefully designed to deliver a wide range of compression options, the 2500+ delivers warmth, clarity and punch, whether used for subtle adjustments or heavy compression effects.<br /><br />\n<h3>API 2500+ Features:</h3>\n<ul>\n	<li>API 2520 Op Amps</li>\n	<li>Expanded variable threshold between -20dBu to +20dBu</li>\n	<li>Selectable ratio, attack, and release times</li>\n	<li>Patented THRUST® filter with 3 settings for frequency dependent side chain control</li>\n	<li>Variable link between left and right channels</li>\n	<li>Old \"feed back\" and new \"feed forward\" compression</li>\n	<li>Soft, Medium, or Hard knee for easy to sharp compression</li>\n	<li>Auto or manual gain make up</li>\n	<li>1/4\" balanced side chain inputs</li>\n	<li>Output clips at +32dBu</li>\n	<li>New Mix/Blend circuit</li>\n	<li>\"Over Threshold\" LED illuminates when input audio crosses the set threshold</li>\n	<li>Stereo analog meters to show input level, output level, and gain reduction</li>\n	<li>Full hard-wired relay bypass</li>\n</ul><br />The API 2500+ Stereo Bus Compressor allows adjustment of sonic qualities to alter the punch and tone of the stereo mix. The 19-inch, rack-mountable unit features a dual-channel design that can be configured for stereo compression or for use as two separate units via a single compression setting. <br /><br />Among the many qualities which make the 2500+\'s unique is its use of API\'s patented THRUST® circuit for a chest-hitting, punchy bottom end. Another distinctive feature of the 2500+ is its selectable \"old\" or \"new\" compression, with the old style using the \"feed back\" type of compression found in the API 525, and the new style using the \"feed forward\" type in which the compressor side chain is fed directly from the unit input. Additionally, the output stage of the 2500+ offers an auto-makeup gain button that permits the user to vary the threshold or ratio while automatically maintaining a constant output level. <br /><br />Added to the 2500+ is the Mix/Blend circuit. First featured in the limited production 50th Anniversary Edition, Mix/Blend control provides either cross fader or parallel mixing of the compressed and uncompressed signal. Three different user settings are offered:<br /><br /><ul style=\"letter-spacing: normal;\"><li>OFF - compressed signal only</li><li>X (Cross) - allows the MIX control to adjust between 100% uncompressed to 100% compressed - increasing one, while decreasing the other</li><li>|| (Parallel) - allows the MIX control to dial in compressed signal to blend into the uncompressed signal, (which remains the same).</li></ul>The 2500+ ensures fidelity with its fully balanced design and two front panel VU meters showing input, output and gain reduction levels. The 2500+ features API\'s industry exclusive five-year parts warranty and offers the user the reliability, sonic excellence and long life characteristic of all API products.'),(747,85,0,125,'API 2500+ Stereo Bus Compressor'),(748,85,1,125,'API 2500+ Stereo Bus Compressor'),(749,76,0,125,''),(750,76,1,125,''),(751,75,0,126,'<h1>API 312 Discrete Mic Pre 500 Series Module</h1>\n<span style=\"font-size:16px; font-style:italic;\">A faithful representation of the original API 312 Mic Preamp found in API consoles of the 1970s. Get the distinct API mic pre sound in your 500 series lunchbox.</span><br /><br />\nThe API 312 Mic Pre <span style=\"background-color: initial;\">is a 500 series version of the legendary 312 - one of API\'s most sought after and famous mic preamps. First introduced in the 1970s, it is well known and respected throughout the recording industry, and is the building block of the modern 3124 rack unit.<br /><br /></span><span style=\"background-color: initial;\">Based on API co-founder Saul Walker\'s original designs, the API 312 Mic Pre combines our 2520 op-amps and proprietary transformers. It delivers the analog warmth, massive headroom and unmistakable sound for which API is known, in a convenient 500 Series format.<br /><br /></span><span style=\"background-color: initial;\">Following the success of the hand wired 312 50th Anniversary Edition, this standard production version offers the classic API sound at an affordable price. Like all API products, the 312 is backed by API\'s unique Five Year Warranty.</span><span style=\"background-color: initial;\"><br /></span><br />\n<h3>API 312 Discrete Mic Pre key features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">API\'s Classic 312 Microphone Preamp in a 500 Series module</span></li>\n	<li>Vintage Style Analog VU Meter</li>\n	<li>Maximum 69dB of gain</li>\n	<li>Traditional API fully discrete circuit design with 2520 Op Amp</li>\n	<li>Proprietary AP2516 Input Transformer</li>\n	<li>20 dB pad switch</li>\n	<li>3:1 Output Transformer Tap Selection</li>\n	<li>Switchable 48V phantom power</li>\n	<li>Peak LED</li>\n	<li>API\'s Five Year Warranty</li>\n</ul>'),(752,75,1,126,'<h1>API 312 Discrete Mic Pre 500 Series Module</h1>\n<span style=\"font-size:16px; font-style:italic;\">A faithful representation of the original API 312 Mic Preamp found in API consoles of the 1970s. Get the distinct API mic pre sound in your 500 series lunchbox.</span><br /><br />\nThe API 312 Mic Pre <span style=\"background-color: initial;\">is a 500 series version of the legendary 312 - one of API\'s most sought after and famous mic preamps. First introduced in the 1970s, it is well known and respected throughout the recording industry, and is the building block of the modern 3124 rack unit.<br /><br /></span><span style=\"background-color: initial;\">Based on API co-founder Saul Walker\'s original designs, the API 312 Mic Pre combines our 2520 op-amps and proprietary transformers. It delivers the analog warmth, massive headroom and unmistakable sound for which API is known, in a convenient 500 Series format.<br /><br /></span><span style=\"background-color: initial;\">Following the success of the hand wired 312 50th Anniversary Edition, this standard production version offers the classic API sound at an affordable price. Like all API products, the 312 is backed by API\'s unique Five Year Warranty.</span><span style=\"background-color: initial;\"><br /></span><br />\n<h3>API 312 Discrete Mic Pre key features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">API\'s Classic 312 Microphone Preamp in a 500 Series module</span></li>\n	<li>Vintage Style Analog VU Meter</li>\n	<li>Maximum 69dB of gain</li>\n	<li>Traditional API fully discrete circuit design with 2520 Op Amp</li>\n	<li>Proprietary AP2516 Input Transformer</li>\n	<li>20 dB pad switch</li>\n	<li>3:1 Output Transformer Tap Selection</li>\n	<li>Switchable 48V phantom power</li>\n	<li>Peak LED</li>\n	<li>API\'s Five Year Warranty</li>\n</ul>'),(753,85,0,126,'API 312 Discrete Mic Pre 500 Series Module'),(754,85,1,126,'API 312 Discrete Mic Pre 500 Series Module'),(755,76,0,126,''),(756,76,1,126,''),(757,75,0,127,'<h1>API 3124MV Discrete 4-Channel Mic/Line Pre w/ Stereo Mixer</h1>\n<i>\nHigh quality, compact, 4-channel mic preamp featuring Variable Output Level Control, switchable 3:1 output transformer selection, 48-volt phantom power, and -20dB pad switches that affect both the mic and Hi-Z instrument inputs, plus integrated stereo mixer with transformer balanced output.</i><br /><br /><div>The API 3124MV is a 4-channel mic/line preamp with integrates stereo mixer and featuring four channels of the highest possible quality mic preamp. Additionally, the 3124MV provides an additional audio mixer with a transformer balanced output, keeping the unit size and price reasonable. the 3124MV is equally at home in the control room, studio, and recording truck or on stage.<br /><br /><span style=\"background-color: initial;\">The 3124MV utilizes the same microphone preamp circuit that is used in all API consoles. It is equipped with the AP2516 input transformer and the proprietary output transformer found in all API mic pres and throughout the API product line. The unit offers Variable Output Level Control, switchable 3:1 output transformer selection, and an internal 48-volt phantom power supply, which is front panel switchable for each channel. Also provided is a front panel -20 dB pad switch that affects both the mic and line in. A 1/4\" phone jack is available on the rear panel for each channel as an insert tip-send/ ring-return placed between the mic pre amp output and the mixer input.</span></div><div><br /><span style=\"background-color: initial;\">Like the 3124V, the 3124MV provides up to 65 dB of gain. The Hi-Z front panel input goes directly to the op-amp, allowing a low level input such as a guitar or bass to be amplified without a matching transformer or direct box. This Hi-Z input can accept input levels as high as +20 dBu, making it perfect for keyboards and other high level devices. The rear output is an XLR connector.</span></div><div><br /><span style=\"background-color: initial;\">Additionally, the 3124MV adds a stereo panner with a level control, and a post \"fader\" aux send. The stereo panners and the aux sends are bussed to master output controls and then to the rear panel jacks. A stereo AUX return is provided to return effects or cascade additional mixers for more inputs. The unique stereo aux return control acts to balance the left/right signal, yet staying stereo. It can also be used as a mono return.</span></div><br />\n<h3>API 3124MV Features:</h3>\n<ul>\n	<li></li><li>Classic API Circuit Design</li><li>Uses API 2520 Op Amps</li><li>Variable Output Level Control</li><li>3:1 Output Transformer Tap Selection</li><li>Four XLR Mic Inputs</li><li>Four 1/4\" Un-Balanced Inputs</li><li>Front Panel Polarity Switch</li><li>Front Panel 20 dB Pad Switch</li><li>Front Panel Mic/Line Switch</li><li>Front Panel 48V Power Switch</li>\n</ul>'),(758,75,1,127,'<h1>API 3124MV Discrete 4-Channel Mic/Line Pre w/ Stereo Mixer</h1>\n<i>\nHigh quality, compact, 4-channel mic preamp featuring Variable Output Level Control, switchable 3:1 output transformer selection, 48-volt phantom power, and -20dB pad switches that affect both the mic and Hi-Z instrument inputs, plus integrated stereo mixer with transformer balanced output.</i><br /><br /><div>The API 3124MV is a 4-channel mic/line preamp with integrates stereo mixer and featuring four channels of the highest possible quality mic preamp. Additionally, the 3124MV provides an additional audio mixer with a transformer balanced output, keeping the unit size and price reasonable. the 3124MV is equally at home in the control room, studio, and recording truck or on stage.<br /><br /><span style=\"background-color: initial;\">The 3124MV utilizes the same microphone preamp circuit that is used in all API consoles. It is equipped with the AP2516 input transformer and the proprietary output transformer found in all API mic pres and throughout the API product line. The unit offers Variable Output Level Control, switchable 3:1 output transformer selection, and an internal 48-volt phantom power supply, which is front panel switchable for each channel. Also provided is a front panel -20 dB pad switch that affects both the mic and line in. A 1/4\" phone jack is available on the rear panel for each channel as an insert tip-send/ ring-return placed between the mic pre amp output and the mixer input.</span></div><div><br /><span style=\"background-color: initial;\">Like the 3124V, the 3124MV provides up to 65 dB of gain. The Hi-Z front panel input goes directly to the op-amp, allowing a low level input such as a guitar or bass to be amplified without a matching transformer or direct box. This Hi-Z input can accept input levels as high as +20 dBu, making it perfect for keyboards and other high level devices. The rear output is an XLR connector.</span></div><div><br /><span style=\"background-color: initial;\">Additionally, the 3124MV adds a stereo panner with a level control, and a post \"fader\" aux send. The stereo panners and the aux sends are bussed to master output controls and then to the rear panel jacks. A stereo AUX return is provided to return effects or cascade additional mixers for more inputs. The unique stereo aux return control acts to balance the left/right signal, yet staying stereo. It can also be used as a mono return.</span></div><br />\n<h3>API 3124MV Features:</h3>\n<ul>\n	<li></li><li>Classic API Circuit Design</li><li>Uses API 2520 Op Amps</li><li>Variable Output Level Control</li><li>3:1 Output Transformer Tap Selection</li><li>Four XLR Mic Inputs</li><li>Four 1/4\" Un-Balanced Inputs</li><li>Front Panel Polarity Switch</li><li>Front Panel 20 dB Pad Switch</li><li>Front Panel Mic/Line Switch</li><li>Front Panel 48V Power Switch</li>\n</ul>'),(759,85,0,127,'API 3124MV Discrete 4-Channel Mic/Line Pre w/ Stereo Mixer'),(760,85,1,127,'API 3124MV Discrete 4-Channel Mic/Line Pre w/ Stereo Mixer'),(761,76,0,127,''),(762,76,1,127,''),(763,75,0,128,'<h1>API 3124V Discrete 4-Channel Mic/Line Pre</h1>\n<i>\nHigh quality, compact, 4-channel mic preamp featuring Variable Output Level Control, switchable 3:1 output transformer selection, 48-volt phantom power, and -20dB pad switches that affect both the mic and Hi-Z instrument inputs.</i><br /><br />\nThe API 3124V is a high quality, compact, 4-channel mic preamp. It is equipped with the AP2516 input transformer and the proprietary output transformer found in all API mic pres and throughout the API product line. Additionally, the 3124V offers Variable Output Level Control and switchable 3:1 output transformer selection. The unit has an internal 48-volt phantom power supply, which is switchable for each channel, as well as -20dB pad switches that affect both the mic and Hi-Z instrument inputs, both located on the front panel.\n<br /><br />\nThe 3124V also features up to 65dB of gain. Additionally, the Hi-Z front panel inputs feed directly to the op amps, which allow a low level input such as a guitar or bass to be amplified without a matching transformer or direct box. These Hi-Z inputs can take levels as high as +20dBu, making them perfect for keyboards and other high level devices. The mic preamp outputs are on rear panel male XLR connectors.<br /><br />\n<h3>API 3124V Features:</h3>\n<ul>\n	<li>Classic API Circuit Design</li>\n	<li>Uses API 2520 Op Amps</li>\n	<li>Variable Output Level Control</li>\n	<li>3:1 Output Transformer Tap Selection</li>\n	<li>Four female XLR mic inputs</li>\n	<li>Four front panel 1/4\" Hi Z instrument inputs</li>\n	<li>Front panel polarity switches</li>\n	<li>Front panel -20dB pad switches</li>\n	<li>Front panel mic/instrument switches</li>\n	<li>Front panel 48V power switches</li>\n</ul>'),(764,75,1,128,'<h1>API 3124V Discrete 4-Channel Mic/Line Pre</h1>\n<i>\nHigh quality, compact, 4-channel mic preamp featuring Variable Output Level Control, switchable 3:1 output transformer selection, 48-volt phantom power, and -20dB pad switches that affect both the mic and Hi-Z instrument inputs.</i><br /><br />\nThe API 3124V is a high quality, compact, 4-channel mic preamp. It is equipped with the AP2516 input transformer and the proprietary output transformer found in all API mic pres and throughout the API product line. Additionally, the 3124V offers Variable Output Level Control and switchable 3:1 output transformer selection. The unit has an internal 48-volt phantom power supply, which is switchable for each channel, as well as -20dB pad switches that affect both the mic and Hi-Z instrument inputs, both located on the front panel.\n<br /><br />\nThe 3124V also features up to 65dB of gain. Additionally, the Hi-Z front panel inputs feed directly to the op amps, which allow a low level input such as a guitar or bass to be amplified without a matching transformer or direct box. These Hi-Z inputs can take levels as high as +20dBu, making them perfect for keyboards and other high level devices. The mic preamp outputs are on rear panel male XLR connectors.<br /><br />\n<h3>API 3124V Features:</h3>\n<ul>\n	<li>Classic API Circuit Design</li>\n	<li>Uses API 2520 Op Amps</li>\n	<li>Variable Output Level Control</li>\n	<li>3:1 Output Transformer Tap Selection</li>\n	<li>Four female XLR mic inputs</li>\n	<li>Four front panel 1/4\" Hi Z instrument inputs</li>\n	<li>Front panel polarity switches</li>\n	<li>Front panel -20dB pad switches</li>\n	<li>Front panel mic/instrument switches</li>\n	<li>Front panel 48V power switches</li>\n</ul>'),(765,85,0,128,'API 3124V Discrete 4-Channel Mic/Line Pre'),(766,85,1,128,'API 3124V Discrete 4-Channel Mic/Line Pre'),(767,76,0,128,''),(768,76,1,128,''),(769,75,0,129,'<h1>API 500-6B 6-Slot 500-Series Lunchbox</h1>\n<span style=\"font-size:16px; font-style:italic;\">Six-slot 500-series lunchbox® with built-in power supply</span><br /><br />\nFrom the inventors of the 500-series format, the API 500-6B lunchbox is a 6-slot, 500-series power rack designed to accept all API standard 5.25\" X 1.5\" modules, allowing you to configure a recording or mixing package to suit your specific needs. The API 500-6B lunchbox is self-powered with a rear-panel selected AC voltage switch and a removable power cord. The input/output jacks are XLR. The API 500-6B lunchbox comes standard with a +48 volt internal phantom power supply, bussed to pin 15 for interface with the API 512c Mic Preamplifier.<br /><br />\n<h3>API 500-6B key features:</h3>\n<ul>\n	<li>Holds 6 API standard modules</li>\n	<li>Rack-ears available for rack mounting</li>\n	<li>215mA per slot</li>\n	<li>DB-25 connectors for easy input and output connection </li>\n	<li>XLRs to access channels 7 and 8 of the multi-pins</li>\n	<li>Power rail LED indication</li>\n	<li>Self-Powered, 100 to 250 volts switchable, 47 to 63Hz</li>\n	<li>Rubber feet and carrying handle for portability</li>\n	<li>Rugged steel chassis</li>\n	<li>Perfect for remote recording of Vocalist and Instruments</li>\n</ul>\n<br />\nAPI makes several modules for the 500-6B, including the <a href=\"http://www.rspeaudio.com/API-512c-Discrete-Mic-Line-Pre-p/api-512c.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">512c Mic Preamplifier</a>, the <a href=\"http://www.rspeaudio.com/API-525-Discrete-Compressor-Re-Issue-p/api-525.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">525 Compressor</a>, the <a href=\"http://www.rspeaudio.com/API-527-Compressor-Limiter-Module-p/api-527.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">527 Compressor</a>, the <a href=\"http://www.rspeaudio.com/API-550A-Discrete-3-Band-EQ-p/api-550a.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">550A 3-band EQ</a>, the <a href=\"http://www.rspeaudio.com/API-550b-Discrete-4-Band-EQ-p/api-550b.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">550b 4-band EQ</a>, and the <a href=\"http://www.rspeaudio.com/API-560-Discrete-10-Band-Graphic-EQ-p/api-560.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">560 Graphic EQ</a>. Combinations of these modules make perfect stereo recording packages (two 512cs and two 550bs) or vocalist\'s box (one 512c, two EQs and one 527).<br />\n<div>\n	<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n	<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n</div>\n<p>\n	Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n</p>\n<br />\n<h3>Other uses for the versatile API 500-6B lunchbox include:</h3>\n<ul>\n	<li>Multi-track recording of acoustic and electronic audio sources</li>\n	<li>Sound reinforcement systems and recording to multi-track formats</li>\n	<li>Multiple facility projects where portability is a plus</li>\n	<li>Broadcast and audio for video production</li>\n	<li>Custom channel input strips</li>\n</ul>\n<br />\n*NOTE: The older 560A equalizer may use pin 15 for a \"direct output\" and must be disabled on the 560A circuit board edge connector by cutting a trace. This will eliminate 48 volts from damaging the 560A series equalizers.<br /><br />\n<h2>API 500-6B Outside The Box:</h2>\nThe rear panel of the 500-6B lunchbox has two 8-channel DB-25 connectors for input and output, plus eight XLRF inputs and eight XLRM outputs. Why does a 6-space lunchbox have eight outputs? Glad you asked. XLR 7/8 connectors are for throughput from the 8-channel DB-25 connectors to channel 7/8 XLR inputs and outputs. This enables you to connect additional outboard gear to an audio interface, for example. There is also an IEC power connector and AC power selector switch for international use.   \n<br /><br />\n<h3>API Audio\'s VPR Alliance </h3>\nThe VPR Alliance is a program of standardization and consistency guidelines for approved manufacturers wishing to design products for API\'s 500-series rack format. The program provides complete design specifications for manufacturers interested in producing third-party modules that physically fit and electronically conform to API\'s rack specifications.\n<br /><br />\nThe creation of the VPR Alliance was encouraged by the overwhelming popularity of API\'s 500-series racks, including the 10-space 500V and the six-space lunchbox®, which led to a proliferation of third party modules that fit the API format. Typically installed into API racks, these third party modules had raised issues of warranty and interaction with API-manufactured modules in the same rack.<br /><br />\nBecause of the variables related to those third party modules, API had previously been forced to declare that inserting any third-party modules into a 500V or lunchbox voided the warranty on that rack. Through the VPR Alliance, API is now able to eliminate confusion as to which third-party products definitively do and do not void the API warranty. The VPR Alliance is a straightforward resolution that saves the company time and money while promoting goodwill to API customers.<br /><br />\nAPI’s customers benefit from the VPR Alliance with the knowledge of exactly which products are approved for placement in API racks; customers have a wider range of module choices for their racks that have been tested by API staff for specification compliance.<br /><br />\n<h3>An Abbreviated History of API</h3>\nIt all began with a dream. It was 1968. The company: Automated Processes Inc., formed by men with a vision. Best known for their now legendary \"2520 amplifier\", this unique amp has been and will continue to be the heart of all API discrete products. It continues to provide reliability and sonic purity unmatched by the competition. The resulting console met the needs of the music, commercial and broadcast industry.\n<br /><br />\nAPI became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. In addition, recording studios, large and small, began using API...and receiving rave reviews from engineers and producers. There are over 700 API consoles across the nation and around the world, including the three major networks. Over thirty years later, many of these consoles are still in daily use in some of the most prestigious recording and broadcast facilities in the world because, to date, there are few, if any consoles of equal sound quality at a cost-effective price.<br /><br />\n<h3>Pack your API 500-6B lunchbox with goodies and go old school analog. For more information, call or chat with an RSPE representative.</h3>'),(770,75,1,129,'<h1>API 500-6B 6-Slot 500-Series Lunchbox</h1>\n<span style=\"font-size:16px; font-style:italic;\">Six-slot 500-series lunchbox® with built-in power supply</span><br /><br />\nFrom the inventors of the 500-series format, the API 500-6B lunchbox is a 6-slot, 500-series power rack designed to accept all API standard 5.25\" X 1.5\" modules, allowing you to configure a recording or mixing package to suit your specific needs. The API 500-6B lunchbox is self-powered with a rear-panel selected AC voltage switch and a removable power cord. The input/output jacks are XLR. The API 500-6B lunchbox comes standard with a +48 volt internal phantom power supply, bussed to pin 15 for interface with the API 512c Mic Preamplifier.<br /><br />\n<h3>API 500-6B key features:</h3>\n<ul>\n	<li>Holds 6 API standard modules</li>\n	<li>Rack-ears available for rack mounting</li>\n	<li>215mA per slot</li>\n	<li>DB-25 connectors for easy input and output connection </li>\n	<li>XLRs to access channels 7 and 8 of the multi-pins</li>\n	<li>Power rail LED indication</li>\n	<li>Self-Powered, 100 to 250 volts switchable, 47 to 63Hz</li>\n	<li>Rubber feet and carrying handle for portability</li>\n	<li>Rugged steel chassis</li>\n	<li>Perfect for remote recording of Vocalist and Instruments</li>\n</ul>\n<br />\nAPI makes several modules for the 500-6B, including the <a href=\"http://www.rspeaudio.com/API-512c-Discrete-Mic-Line-Pre-p/api-512c.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">512c Mic Preamplifier</a>, the <a href=\"http://www.rspeaudio.com/API-525-Discrete-Compressor-Re-Issue-p/api-525.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">525 Compressor</a>, the <a href=\"http://www.rspeaudio.com/API-527-Compressor-Limiter-Module-p/api-527.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">527 Compressor</a>, the <a href=\"http://www.rspeaudio.com/API-550A-Discrete-3-Band-EQ-p/api-550a.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">550A 3-band EQ</a>, the <a href=\"http://www.rspeaudio.com/API-550b-Discrete-4-Band-EQ-p/api-550b.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">550b 4-band EQ</a>, and the <a href=\"http://www.rspeaudio.com/API-560-Discrete-10-Band-Graphic-EQ-p/api-560.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">560 Graphic EQ</a>. Combinations of these modules make perfect stereo recording packages (two 512cs and two 550bs) or vocalist\'s box (one 512c, two EQs and one 527).<br />\n<div>\n	<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n	<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n</div>\n<p>\n	Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n</p>\n<br />\n<h3>Other uses for the versatile API 500-6B lunchbox include:</h3>\n<ul>\n	<li>Multi-track recording of acoustic and electronic audio sources</li>\n	<li>Sound reinforcement systems and recording to multi-track formats</li>\n	<li>Multiple facility projects where portability is a plus</li>\n	<li>Broadcast and audio for video production</li>\n	<li>Custom channel input strips</li>\n</ul>\n<br />\n*NOTE: The older 560A equalizer may use pin 15 for a \"direct output\" and must be disabled on the 560A circuit board edge connector by cutting a trace. This will eliminate 48 volts from damaging the 560A series equalizers.<br /><br />\n<h2>API 500-6B Outside The Box:</h2>\nThe rear panel of the 500-6B lunchbox has two 8-channel DB-25 connectors for input and output, plus eight XLRF inputs and eight XLRM outputs. Why does a 6-space lunchbox have eight outputs? Glad you asked. XLR 7/8 connectors are for throughput from the 8-channel DB-25 connectors to channel 7/8 XLR inputs and outputs. This enables you to connect additional outboard gear to an audio interface, for example. There is also an IEC power connector and AC power selector switch for international use.   \n<br /><br />\n<h3>API Audio\'s VPR Alliance </h3>\nThe VPR Alliance is a program of standardization and consistency guidelines for approved manufacturers wishing to design products for API\'s 500-series rack format. The program provides complete design specifications for manufacturers interested in producing third-party modules that physically fit and electronically conform to API\'s rack specifications.\n<br /><br />\nThe creation of the VPR Alliance was encouraged by the overwhelming popularity of API\'s 500-series racks, including the 10-space 500V and the six-space lunchbox®, which led to a proliferation of third party modules that fit the API format. Typically installed into API racks, these third party modules had raised issues of warranty and interaction with API-manufactured modules in the same rack.<br /><br />\nBecause of the variables related to those third party modules, API had previously been forced to declare that inserting any third-party modules into a 500V or lunchbox voided the warranty on that rack. Through the VPR Alliance, API is now able to eliminate confusion as to which third-party products definitively do and do not void the API warranty. The VPR Alliance is a straightforward resolution that saves the company time and money while promoting goodwill to API customers.<br /><br />\nAPI’s customers benefit from the VPR Alliance with the knowledge of exactly which products are approved for placement in API racks; customers have a wider range of module choices for their racks that have been tested by API staff for specification compliance.<br /><br />\n<h3>An Abbreviated History of API</h3>\nIt all began with a dream. It was 1968. The company: Automated Processes Inc., formed by men with a vision. Best known for their now legendary \"2520 amplifier\", this unique amp has been and will continue to be the heart of all API discrete products. It continues to provide reliability and sonic purity unmatched by the competition. The resulting console met the needs of the music, commercial and broadcast industry.\n<br /><br />\nAPI became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. In addition, recording studios, large and small, began using API...and receiving rave reviews from engineers and producers. There are over 700 API consoles across the nation and around the world, including the three major networks. Over thirty years later, many of these consoles are still in daily use in some of the most prestigious recording and broadcast facilities in the world because, to date, there are few, if any consoles of equal sound quality at a cost-effective price.<br /><br />\n<h3>Pack your API 500-6B lunchbox with goodies and go old school analog. For more information, call or chat with an RSPE representative.</h3>'),(771,85,0,129,'API 500-6B 6-slot 500-Series Lunchbox'),(772,85,1,129,'API 500-6B 6-slot 500-Series Lunchbox'),(773,76,0,129,''),(774,76,1,129,''),(775,75,0,130,'<h1>API 500-8B 8-slot 500-Series Lunchbox</h1>\n<span style=\"font-size:16px; font-style:italic;\">Eight-slot 500-series lunchbox® with universal power supply</span><br /><br />\nFrom the inventors of the 500-series format, the API 500-8B lunchbox is an 8-slot, 500-series power rack designed to accept all API standard 5.25\" X 1.5\" modules, allowing you to configure a recording or mixing package to suit your specific needs. The big brother to the <a href=\"http://www.rspeaudio.com/API-500-6B-6-slot-Lunchbox-p/api-500-6b.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">API 500-6B</a>, the API 500-8B lunchbox uses the included universal power supply with a rear-panel selected AC voltage switch and a removable power cord. The input/output jacks are DB-25 (D-Sub) connectors for easy I/O. The API 500-8B lunchbox comes standard with a +48 volt internal phantom power supply, bussed to pin 15 for interface with the API 512c Mic Preamplifier.<br /><br />\n<h3>API 500-8B key features:</h3>\n<ul>\n	<li>Holds 8 API standard modules</li>\n	<li>Rack-ears available for rack mounting</li>\n	<li>215mA per slot</li>\n	<li>DB-25 connectors for easy input and output connection</li>\n	<li>Power rail LED indication</li>\n	<li>Universal Power Supply, 100 to 250 volts switchable, 47 to 63Hz</li>\n	<li>Rubber feet and carrying handle for portability</li>\n	<li>Rugged steel chassis</li>\n	<li>Perfect for remote recording of Vocalist and Instruments</li>\n</ul>\n<br />\nAPI makes several modules for the 500-8B, including the <a href=\"http://www.rspeaudio.com/API-512c-Discrete-Mic-Line-Pre-p/api-512c.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">512c Mic Preamplifier</a>, the <a href=\"http://www.rspeaudio.com/API-525-Discrete-Compressor-Re-Issue-p/api-525.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">525 Compressor</a>, the <a href=\"http://www.rspeaudio.com/API-527-Compressor-Limiter-Module-p/api-527.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">527 Compressor</a>, the <a href=\"http://www.rspeaudio.com/API-550A-Discrete-3-Band-EQ-p/api-550a.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">550A 3-band EQ</a>, the <a href=\"http://www.rspeaudio.com/API-550b-Discrete-4-Band-EQ-p/api-550b.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">550b 4-band EQ</a>, and the <a href=\"http://www.rspeaudio.com/API-560-Discrete-10-Band-Graphic-EQ-p/api-560.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">560 Graphic EQ</a>. Combinations of these modules make perfect stereo recording packages (two 512cs and two 550bs) or vocalist\'s box (one 512c, two EQs and one 527).<br />\n<br />\n<h3>Other uses for the versatile API 500-8B lunchbox include:</h3>\n<ul>\n	<li>Multi-track recording of acoustic and electronic audio sources</li>\n	<li>Sound reinforcement systems and recording to multi-track formats</li>\n	<li>Multiple facility projects where portability is a plus</li>\n	<li>Broadcast and audio for video production</li>\n	<li>Custom channel input strips</li>\n</ul>\n<br />\n*NOTE: The older 560A equalizer may use pin 15 for a \"direct output\" and must be disabled on the 560A circuit board edge connector by cutting a trace. This will eliminate 48 volts from damaging the 560A series equalizers.<br /><br />\n<h2>API 500-8B Outside The Box:</h2>\nThe rear panel of the 500-8B lunchbox has two 8-channel DB-25 connectors for input and output. There is also a power connector and AC power selector switch for international use.   \n<br /><br />\n<h3>API Audio\'s VPR Alliance </h3>\nThe VPR Alliance is a program of standardization and consistency guidelines for approved manufacturers wishing to design products for API\'s 500-series rack format. The program provides complete design specifications for manufacturers interested in producing third-party modules that physically fit and electronically conform to API\'s rack specifications.\n<br /><br />\nThe creation of the VPR Alliance was encouraged by the overwhelming popularity of API\'s 500-series racks, including the 10-space 500V and the six-space lunchbox®, which led to a proliferation of third party modules that fit the API format. Typically installed into API racks, these third party modules had raised issues of warranty and interaction with API-manufactured modules in the same rack.<br /><br />\nBecause of the variables related to those third party modules, API had previously been forced to declare that inserting any third-party modules into a 500V or lunchbox voided the warranty on that rack. Through the VPR Alliance, API is now able to eliminate confusion as to which third-party products definitively do and do not void the API warranty. The VPR Alliance is a straightforward resolution that saves the company time and money while promoting goodwill to API customers.<br /><br />\nAPI’s customers benefit from the VPR Alliance with the knowledge of exactly which products are approved for placement in API racks; customers have a wider range of module choices for their racks that have been tested by API staff for specification compliance.<br /><br />\n<h3>An Abbreviated History of API</h3>\nIt all began with a dream. It was 1968. The company: Automated Processes Inc., formed by men with a vision. Best known for their now legendary \"2520 amplifier\", this unique amp has been and will continue to be the heart of all API discrete products. It continues to provide reliability and sonic purity unmatched by the competition. The resulting console met the needs of the music, commercial and broadcast industry.\n<br /><br />\nAPI became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. In addition, recording studios, large and small, began using API...and receiving rave reviews from engineers and producers. There are over 700 API consoles across the nation and around the world, including the three major networks. Over thirty years later, many of these consoles are still in daily use in some of the most prestigious recording and broadcast facilities in the world because, to date, there are few, if any consoles of equal sound quality at a cost-effective price.<br /><br />\n<h3>Pack your API 500-8B lunchbox with goodies and go old school analog on the go. For more information, call or chat with an RSPE representative.</h3><br /><div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a></div><p style=\"letter-spacing: normal;\">Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.</p>'),(776,75,1,130,'<h1>API 500-8B 8-slot 500-Series Lunchbox</h1>\n<span style=\"font-size:16px; font-style:italic;\">Eight-slot 500-series lunchbox® with universal power supply</span><br /><br />\nFrom the inventors of the 500-series format, the API 500-8B lunchbox is an 8-slot, 500-series power rack designed to accept all API standard 5.25\" X 1.5\" modules, allowing you to configure a recording or mixing package to suit your specific needs. The big brother to the <a href=\"http://www.rspeaudio.com/API-500-6B-6-slot-Lunchbox-p/api-500-6b.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">API 500-6B</a>, the API 500-8B lunchbox uses the included universal power supply with a rear-panel selected AC voltage switch and a removable power cord. The input/output jacks are DB-25 (D-Sub) connectors for easy I/O. The API 500-8B lunchbox comes standard with a +48 volt internal phantom power supply, bussed to pin 15 for interface with the API 512c Mic Preamplifier.<br /><br />\n<h3>API 500-8B key features:</h3>\n<ul>\n	<li>Holds 8 API standard modules</li>\n	<li>Rack-ears available for rack mounting</li>\n	<li>215mA per slot</li>\n	<li>DB-25 connectors for easy input and output connection</li>\n	<li>Power rail LED indication</li>\n	<li>Universal Power Supply, 100 to 250 volts switchable, 47 to 63Hz</li>\n	<li>Rubber feet and carrying handle for portability</li>\n	<li>Rugged steel chassis</li>\n	<li>Perfect for remote recording of Vocalist and Instruments</li>\n</ul>\n<br />\nAPI makes several modules for the 500-8B, including the <a href=\"http://www.rspeaudio.com/API-512c-Discrete-Mic-Line-Pre-p/api-512c.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">512c Mic Preamplifier</a>, the <a href=\"http://www.rspeaudio.com/API-525-Discrete-Compressor-Re-Issue-p/api-525.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">525 Compressor</a>, the <a href=\"http://www.rspeaudio.com/API-527-Compressor-Limiter-Module-p/api-527.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">527 Compressor</a>, the <a href=\"http://www.rspeaudio.com/API-550A-Discrete-3-Band-EQ-p/api-550a.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">550A 3-band EQ</a>, the <a href=\"http://www.rspeaudio.com/API-550b-Discrete-4-Band-EQ-p/api-550b.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">550b 4-band EQ</a>, and the <a href=\"http://www.rspeaudio.com/API-560-Discrete-10-Band-Graphic-EQ-p/api-560.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">560 Graphic EQ</a>. Combinations of these modules make perfect stereo recording packages (two 512cs and two 550bs) or vocalist\'s box (one 512c, two EQs and one 527).<br />\n<br />\n<h3>Other uses for the versatile API 500-8B lunchbox include:</h3>\n<ul>\n	<li>Multi-track recording of acoustic and electronic audio sources</li>\n	<li>Sound reinforcement systems and recording to multi-track formats</li>\n	<li>Multiple facility projects where portability is a plus</li>\n	<li>Broadcast and audio for video production</li>\n	<li>Custom channel input strips</li>\n</ul>\n<br />\n*NOTE: The older 560A equalizer may use pin 15 for a \"direct output\" and must be disabled on the 560A circuit board edge connector by cutting a trace. This will eliminate 48 volts from damaging the 560A series equalizers.<br /><br />\n<h2>API 500-8B Outside The Box:</h2>\nThe rear panel of the 500-8B lunchbox has two 8-channel DB-25 connectors for input and output. There is also a power connector and AC power selector switch for international use.   \n<br /><br />\n<h3>API Audio\'s VPR Alliance </h3>\nThe VPR Alliance is a program of standardization and consistency guidelines for approved manufacturers wishing to design products for API\'s 500-series rack format. The program provides complete design specifications for manufacturers interested in producing third-party modules that physically fit and electronically conform to API\'s rack specifications.\n<br /><br />\nThe creation of the VPR Alliance was encouraged by the overwhelming popularity of API\'s 500-series racks, including the 10-space 500V and the six-space lunchbox®, which led to a proliferation of third party modules that fit the API format. Typically installed into API racks, these third party modules had raised issues of warranty and interaction with API-manufactured modules in the same rack.<br /><br />\nBecause of the variables related to those third party modules, API had previously been forced to declare that inserting any third-party modules into a 500V or lunchbox voided the warranty on that rack. Through the VPR Alliance, API is now able to eliminate confusion as to which third-party products definitively do and do not void the API warranty. The VPR Alliance is a straightforward resolution that saves the company time and money while promoting goodwill to API customers.<br /><br />\nAPI’s customers benefit from the VPR Alliance with the knowledge of exactly which products are approved for placement in API racks; customers have a wider range of module choices for their racks that have been tested by API staff for specification compliance.<br /><br />\n<h3>An Abbreviated History of API</h3>\nIt all began with a dream. It was 1968. The company: Automated Processes Inc., formed by men with a vision. Best known for their now legendary \"2520 amplifier\", this unique amp has been and will continue to be the heart of all API discrete products. It continues to provide reliability and sonic purity unmatched by the competition. The resulting console met the needs of the music, commercial and broadcast industry.\n<br /><br />\nAPI became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. In addition, recording studios, large and small, began using API...and receiving rave reviews from engineers and producers. There are over 700 API consoles across the nation and around the world, including the three major networks. Over thirty years later, many of these consoles are still in daily use in some of the most prestigious recording and broadcast facilities in the world because, to date, there are few, if any consoles of equal sound quality at a cost-effective price.<br /><br />\n<h3>Pack your API 500-8B lunchbox with goodies and go old school analog on the go. For more information, call or chat with an RSPE representative.</h3><br /><div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a></div><p style=\"letter-spacing: normal;\">Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.</p>'),(777,85,0,130,'API 500-8B 8-slot 500-Series Lunchbox'),(778,85,1,130,'API 500-8B 8-slot 500-Series Lunchbox'),(779,76,0,130,''),(780,76,1,130,''),(781,75,0,131,'<h1>API 5B1 500 Series Blank Module Plate</h1>\n\nBlank Module plate for 500 series racks. Keeps your rack looking good while protecting your other modules from excess dust.<br /><br /><div><div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\">\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>'),(782,75,1,131,'<h1>API 5B1 500 Series Blank Module Plate</h1>\n\nBlank Module plate for 500 series racks. Keeps your rack looking good while protecting your other modules from excess dust.<br /><br /><div><div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\">\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>'),(783,85,0,131,'API 5B1 500 Series Blank Module Plate'),(784,85,1,131,'API 5B1 500 Series Blank Module Plate'),(785,76,0,131,''),(786,76,1,131,''),(787,75,0,132,'<h1>API 500VPR 10-Slot 500-Series Rack </h1>\n<span style=\"font-size:16px; font-style:italic;\">10-slot 500-series lunchbox® with external power supply</span><br /><br />\nBuilt by the creators of the 500-series format, the 10-space API 500VPR lunchbox is for those who can’t get enough 500-series modules. (Really, who can?) The API 500VPR power rack is designed to accept all API standard 5.25\" X 1.5\" modules, allowing you to configure a multi-channel recording rig or full processing package for mixing. The API 500VPR comes with an external power supply to protect your 500-series modules from noise and heat. The 500VPR’s tri-polar PSU allows global use with switchable voltage and provides +48-voIt phantom power. <br /><br />\n<h3>API 500VPR key features:</h3>\n<ul>\n	<li>Holds 10 API standard modules</li>\n	<li>10 x 10 XLR I/O</li>\n	<li>Power rail LED indication</li>\n	<li>Rugged steel chassis</li>\n	<li>Perfect for remote recording of Vocalist and Instruments</li>\n	<li>Tri-polar +16V / -16V / +48V external power supply </li>\n	<li>120 to 240 volts switchable, 50 to 60Hz, 1.4 amps</li>\n	<li>External replaceable primary fuse</li>\n	<li>5-year warranty on chassis and power supply</li>\n</ul>\n<div><br /></div>\n<h2>API 500VPR Inside The Box </h2>\nThe 500VPR is internally wired for PIN-2 hot, and comes with the API L200PS power supply. The 500VPR can hold up to ten API modules or 10 VPR-compliant modules. API makes several modules to fit this rack, including the \n<a href=\"http://www.rspeaudio.com/API-512c-Discrete-Mic-Line-Pre-p/api-512c.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">512c Mic Preamplifier</a>, the <a href=\"http://www.rspeaudio.com/API-525-Discrete-Compressor-Re-Issue-p/api-525.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">525 Compressor</a>, the <a href=\"http://www.rspeaudio.com/API-527-Compressor-Limiter-Module-p/api-527.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">527 Compressor</a>, the <a href=\"http://www.rspeaudio.com/API-550A-Discrete-3-Band-EQ-p/api-550a.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">550A 3-band EQ</a>, the <a href=\"http://www.rspeaudio.com/API-550b-Discrete-4-Band-EQ-p/api-550b.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">550b 4-band EQ</a>, and the <a href=\"http://www.rspeaudio.com/API-560-Discrete-10-Band-Graphic-EQ-p/api-560.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">560 Graphic EQ</a>. Like all API products, the 500VPR rack enjoys API\'s standard 5-year warranty.<br /><br />\nAPI 500VPR Outside The Box \nThe rear panel of the 500VPR has 10 XLR inputs and 10 XLR outputs. The front panel has three LED indicators, two green power rail indicators for +16V and -16V, and a red phantom power indicator. The API L200PS supplies for the 500VPR rack and delivers 1.4 amps of power to symmetrical +/- 16-volt rails. Featuring a totally linear design, its power is free of any artifacts, which can arise out of switch-mode power supplies. Complete with current limiting and short-circuit protection, the L200PS provides consistently reliable, clean and quiet power. \n<br /><br />\n*NOTE: Older API 560A series equalizers used pin 15 for a \"direct output\" and must be disabled on the 560A circuit board edge connector by cutting a trace. This will eliminate 48 volts from damaging the 560A series equalizers.<br /><br /><br />\n<h3>API Audio\'s VPR Alliance </h3>\nThe VPR Alliance is a program of standardization and consistency guidelines for approved manufacturers wishing to design products for API\'s 500-series rack format. The program provides complete design specifications for manufacturers interested in producing third-party modules that physically fit and electronically conform to API\'s rack specifications.\n<br /><br />\nThe creation of the VPR Alliance was encouraged by the overwhelming popularity of API\'s 500-series racks, including the 10-space 500V and the six-space lunchbox®, which led to a proliferation of third party modules that fit the API format. Typically installed into API racks, these third party modules had raised issues of warranty and interaction with API-manufactured modules in the same rack.<br /><br />\nBecause of the variables related to those third party modules, API had previously been forced to declare that inserting any third-party modules into a 500V or lunchbox voided the warranty on that rack. Through the VPR Alliance, API is now able to eliminate confusion as to which third-party products definitively do and do not void the API warranty. The VPR Alliance is a straightforward resolution that saves the company time and money while promoting goodwill to API customers.<br /><br />\nAPI’s customers benefit from the VPR Alliance with the knowledge of exactly which products are approved for placement in API racks; customers have a wider range of module choices for their racks that have been tested by API staff for specification compliance.<br /><br />\n<h3>An Abbreviated History of API</h3>\nIt all began with a dream. It was 1968. The company: Automated Processes Inc., formed by men with a vision. Best known for their now legendary \"2520 amplifier\", this unique amp has been and will continue to be the heart of all API discrete products. It continues to provide reliability and sonic purity unmatched by the competition. The resulting console met the needs of the music, commercial and broadcast industry.\n<br /><br />\nAPI became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. In addition, recording studios, large and small, began using API...and receiving rave reviews from engineers and producers. There are over 700 API consoles across the nation and around the world, including the three major networks. Over thirty years later, many of these consoles are still in daily use in some of the most prestigious recording and broadcast facilities in the world because, to date, there are few, if any consoles of equal sound quality at a cost-effective price.<br /><br />\n<h3>Pack your API 500VPR lunchbox with goodies and go old school analog. For more information, call or chat with an RSPE representative.</h3><div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" /><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a></div><p style=\"letter-spacing: normal;\">Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.</p>'),(788,75,1,132,'<h1>API 500VPR 10-Slot 500-Series Rack </h1>\n<span style=\"font-size:16px; font-style:italic;\">10-slot 500-series lunchbox® with external power supply</span><br /><br />\nBuilt by the creators of the 500-series format, the 10-space API 500VPR lunchbox is for those who can’t get enough 500-series modules. (Really, who can?) The API 500VPR power rack is designed to accept all API standard 5.25\" X 1.5\" modules, allowing you to configure a multi-channel recording rig or full processing package for mixing. The API 500VPR comes with an external power supply to protect your 500-series modules from noise and heat. The 500VPR’s tri-polar PSU allows global use with switchable voltage and provides +48-voIt phantom power. <br /><br />\n<h3>API 500VPR key features:</h3>\n<ul>\n	<li>Holds 10 API standard modules</li>\n	<li>10 x 10 XLR I/O</li>\n	<li>Power rail LED indication</li>\n	<li>Rugged steel chassis</li>\n	<li>Perfect for remote recording of Vocalist and Instruments</li>\n	<li>Tri-polar +16V / -16V / +48V external power supply </li>\n	<li>120 to 240 volts switchable, 50 to 60Hz, 1.4 amps</li>\n	<li>External replaceable primary fuse</li>\n	<li>5-year warranty on chassis and power supply</li>\n</ul>\n<div><br /></div>\n<h2>API 500VPR Inside The Box </h2>\nThe 500VPR is internally wired for PIN-2 hot, and comes with the API L200PS power supply. The 500VPR can hold up to ten API modules or 10 VPR-compliant modules. API makes several modules to fit this rack, including the \n<a href=\"http://www.rspeaudio.com/API-512c-Discrete-Mic-Line-Pre-p/api-512c.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">512c Mic Preamplifier</a>, the <a href=\"http://www.rspeaudio.com/API-525-Discrete-Compressor-Re-Issue-p/api-525.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">525 Compressor</a>, the <a href=\"http://www.rspeaudio.com/API-527-Compressor-Limiter-Module-p/api-527.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">527 Compressor</a>, the <a href=\"http://www.rspeaudio.com/API-550A-Discrete-3-Band-EQ-p/api-550a.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">550A 3-band EQ</a>, the <a href=\"http://www.rspeaudio.com/API-550b-Discrete-4-Band-EQ-p/api-550b.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">550b 4-band EQ</a>, and the <a href=\"http://www.rspeaudio.com/API-560-Discrete-10-Band-Graphic-EQ-p/api-560.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">560 Graphic EQ</a>. Like all API products, the 500VPR rack enjoys API\'s standard 5-year warranty.<br /><br />\nAPI 500VPR Outside The Box \nThe rear panel of the 500VPR has 10 XLR inputs and 10 XLR outputs. The front panel has three LED indicators, two green power rail indicators for +16V and -16V, and a red phantom power indicator. The API L200PS supplies for the 500VPR rack and delivers 1.4 amps of power to symmetrical +/- 16-volt rails. Featuring a totally linear design, its power is free of any artifacts, which can arise out of switch-mode power supplies. Complete with current limiting and short-circuit protection, the L200PS provides consistently reliable, clean and quiet power. \n<br /><br />\n*NOTE: Older API 560A series equalizers used pin 15 for a \"direct output\" and must be disabled on the 560A circuit board edge connector by cutting a trace. This will eliminate 48 volts from damaging the 560A series equalizers.<br /><br /><br />\n<h3>API Audio\'s VPR Alliance </h3>\nThe VPR Alliance is a program of standardization and consistency guidelines for approved manufacturers wishing to design products for API\'s 500-series rack format. The program provides complete design specifications for manufacturers interested in producing third-party modules that physically fit and electronically conform to API\'s rack specifications.\n<br /><br />\nThe creation of the VPR Alliance was encouraged by the overwhelming popularity of API\'s 500-series racks, including the 10-space 500V and the six-space lunchbox®, which led to a proliferation of third party modules that fit the API format. Typically installed into API racks, these third party modules had raised issues of warranty and interaction with API-manufactured modules in the same rack.<br /><br />\nBecause of the variables related to those third party modules, API had previously been forced to declare that inserting any third-party modules into a 500V or lunchbox voided the warranty on that rack. Through the VPR Alliance, API is now able to eliminate confusion as to which third-party products definitively do and do not void the API warranty. The VPR Alliance is a straightforward resolution that saves the company time and money while promoting goodwill to API customers.<br /><br />\nAPI’s customers benefit from the VPR Alliance with the knowledge of exactly which products are approved for placement in API racks; customers have a wider range of module choices for their racks that have been tested by API staff for specification compliance.<br /><br />\n<h3>An Abbreviated History of API</h3>\nIt all began with a dream. It was 1968. The company: Automated Processes Inc., formed by men with a vision. Best known for their now legendary \"2520 amplifier\", this unique amp has been and will continue to be the heart of all API discrete products. It continues to provide reliability and sonic purity unmatched by the competition. The resulting console met the needs of the music, commercial and broadcast industry.\n<br /><br />\nAPI became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. In addition, recording studios, large and small, began using API...and receiving rave reviews from engineers and producers. There are over 700 API consoles across the nation and around the world, including the three major networks. Over thirty years later, many of these consoles are still in daily use in some of the most prestigious recording and broadcast facilities in the world because, to date, there are few, if any consoles of equal sound quality at a cost-effective price.<br /><br />\n<h3>Pack your API 500VPR lunchbox with goodies and go old school analog. For more information, call or chat with an RSPE representative.</h3><div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" /><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a></div><p style=\"letter-spacing: normal;\">Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.</p>'),(789,85,0,132,'API 500VPR 10-Slot 500-Series Rack'),(790,85,1,132,'API 500VPR 10-Slot 500-Series Rack'),(791,76,0,132,''),(792,76,1,132,''),(793,75,0,133,'<h1>API 505-DI Direct Input— 500-Series Module</h1>\n<span style=\"font-size:16px; font-style:italic;\">The distinct API sound of the console-based 205L now in the affordable, 500 series format</span><br/><br/>\n<div>\n	Designed after the console-based API 205L, the 505-DI Direct Input Module is specifically designed for guitar, bass or keyboard direct input while minimizing any loading effect on Hi-Z instrument pickups. Additionally, the 505-DI\'s Gain Control is used to normalize an instrument\'s input level, up to a +4 dBu output level. API\'s unique TONE control reduces potential low end \"mud\" in the signal, while turning on the BRIGHT switch adds additional clarity if desired. The various combinations of TONE and BRIGHT controls can eliminate the need for any EQ on the instrument while recording, keeping the signal path short and pure.<br/><br/>\n</div>\n<div>\n	This minimal signal path eliminates the need to use a standard direct box, which many times still requires a mic input, equalizer, and a fader to get the signal to a recordable level. The 505-DI is capable of boosting any instrument to a hefty line level without additional amplifiers. Use of the 100K / 400K LOAD switch allows the tone of the pickup to be altered slightly, alternately brightening or darkening the high frequency content. When inserting an instrument with an internal preamp or a line level instrument such as a sampler or a keyboard, the 505-DI offers a 20 dB PAD switch to drop the level without loading, thereby retaining the integrity of the incoming signal.\n</div>\n<br/>\n<h3>API 505-DI Direct Input key features</h3>\n<ul>\n	<li>Wide Range Gain Control with 55dB of gain</li>\n	<li>Front Panel Hi-Z Input</li>\n	<li>Front Panel Thru routing</li>\n	<li>TONE Control helps customize your sound</li>\n	<li>BRIGHT Switch boosts clarity and presence</li>\n	<li>10 segment LED VU meter for monitoring output level</li>\n	<li>Peak Output LED Indicator</li>\n	<li>20 dB pad switch, applies to mic/line/instrument</li>\n	<li>100K / 400K Switchable Load</li>\n	<li>Traditional API fully discrete circuit design</li>\n	<li>Uses the famous API 2520 and 2510 Op-Amps</li>\n</ul>\n<br/>\n<h3>API 2520 Op Amp—key to the API sound</h3>\nAPI’s 2520 Op Amp found in the 505-DI is given most of the credit for the API sound. Designed by API engineers, the 2520 is a high-gain, wide-band, direct-coupled amplifier specifically designed for audio applications. The circuit derives its characteristics mainly from the performance of its passive elements, being connected into a feedback loop, which provides predictable, stable performance. Furthermore, the discrete 10-transistor amplifier is encapsulated in a thermally conductive epoxy that protects against thermal shock, vibration, and humidity, assuring long life and reliable performance. \n<br/><br/>\nIn total, the elegant simplicity of 2520 discrete operational amplifier provides the core of the API sound.<br/><br/>\n<div>\n	<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\"/>\n	<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\"/></a>\n</div>\n<p>\n	Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n</p>\n<br/>\n<h3>API Audio\'s VPR Alliance </h3>\nThe VPR Alliance is a program of standardization and consistency guidelines for approved manufacturers wishing to design products for API\'s 500-series rack format. The program provides complete design specifications for manufacturers interested in producing third-party modules that physically fit and electronically conform to API\'s rack specifications.\n<br/><br/>\nThe creation of the VPR Alliance was encouraged by the overwhelming popularity of API\'s 500-series racks, including the 10-space 500V and the six-space lunchbox®, which led to a proliferation of third party modules that fit the API format. Typically installed into API racks, these third party modules had raised issues of warranty and interaction with API-manufactured modules in the same rack.<br/><br/>\nBecause of the variables related to those third party modules, API had previously been forced to declare that inserting any third-party modules into a 500V or lunchbox voided the warranty on that rack. Through the VPR Alliance, API is now able to eliminate confusion as to which third-party products definitively do and do not void the API warranty. The VPR Alliance is a straightforward resolution that saves the company time and money while promoting goodwill to API customers.<br/><br/>\nAPI’s customers benefit from the VPR Alliance with the knowledge of exactly which products are approved for placement in API racks; customers have a wider range of module choices for their racks that have been tested by API staff for specification compliance.<br/><br/>\n<h3>An Abbreviated History of API</h3>\nIt all began with a dream. It was 1968. The company: Automated Processes Inc., formed by men with a vision. Best known for their now legendary \"2520 amplifier\", this unique amp has been and will continue to be the heart of all API discrete products. It continues to provide reliability and sonic purity unmatched by the competition. The resulting console met the needs of the music, commercial and broadcast industry.\n<br/><br/>\nAPI became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. In addition, recording studios, large and small, began using API...and receiving rave reviews from engineers and producers. There are over 700 API consoles across the nation and around the world, including the three major networks. Over thirty years later, many of these consoles are still in daily use in some of the most prestigious recording and broadcast facilities in the world because, to date, there are few, if any consoles of equal sound quality at a cost-effective price.<br/><br/><br/>\n<h3>If you don’t have it already, there’s no time like the present to get the sound of API onto your tracks. Try RSPE’s Demo 4 Free service and find out for yourself. For more information, call or chat with an RSPE representative. </h3>\n<br/>This product is also available as part of the RSPE Demo 4 Free & Rental Program, <span class=\"colors_productprice\" style=\"font-weight: bold; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/API_512c_Discrete_Mic_Line_Pre_RENT_p/api-512c-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(794,75,1,133,'<h1>API 505-DI Direct Input— 500-Series Module</h1>\n<span style=\"font-size:16px; font-style:italic;\">The distinct API sound of the console-based 205L now in the affordable, 500 series format</span><br/><br/>\n<div>\n	Designed after the console-based API 205L, the 505-DI Direct Input Module is specifically designed for guitar, bass or keyboard direct input while minimizing any loading effect on Hi-Z instrument pickups. Additionally, the 505-DI\'s Gain Control is used to normalize an instrument\'s input level, up to a +4 dBu output level. API\'s unique TONE control reduces potential low end \"mud\" in the signal, while turning on the BRIGHT switch adds additional clarity if desired. The various combinations of TONE and BRIGHT controls can eliminate the need for any EQ on the instrument while recording, keeping the signal path short and pure.<br/><br/>\n</div>\n<div>\n	This minimal signal path eliminates the need to use a standard direct box, which many times still requires a mic input, equalizer, and a fader to get the signal to a recordable level. The 505-DI is capable of boosting any instrument to a hefty line level without additional amplifiers. Use of the 100K / 400K LOAD switch allows the tone of the pickup to be altered slightly, alternately brightening or darkening the high frequency content. When inserting an instrument with an internal preamp or a line level instrument such as a sampler or a keyboard, the 505-DI offers a 20 dB PAD switch to drop the level without loading, thereby retaining the integrity of the incoming signal.\n</div>\n<br/>\n<h3>API 505-DI Direct Input key features</h3>\n<ul>\n	<li>Wide Range Gain Control with 55dB of gain</li>\n	<li>Front Panel Hi-Z Input</li>\n	<li>Front Panel Thru routing</li>\n	<li>TONE Control helps customize your sound</li>\n	<li>BRIGHT Switch boosts clarity and presence</li>\n	<li>10 segment LED VU meter for monitoring output level</li>\n	<li>Peak Output LED Indicator</li>\n	<li>20 dB pad switch, applies to mic/line/instrument</li>\n	<li>100K / 400K Switchable Load</li>\n	<li>Traditional API fully discrete circuit design</li>\n	<li>Uses the famous API 2520 and 2510 Op-Amps</li>\n</ul>\n<br/>\n<h3>API 2520 Op Amp—key to the API sound</h3>\nAPI’s 2520 Op Amp found in the 505-DI is given most of the credit for the API sound. Designed by API engineers, the 2520 is a high-gain, wide-band, direct-coupled amplifier specifically designed for audio applications. The circuit derives its characteristics mainly from the performance of its passive elements, being connected into a feedback loop, which provides predictable, stable performance. Furthermore, the discrete 10-transistor amplifier is encapsulated in a thermally conductive epoxy that protects against thermal shock, vibration, and humidity, assuring long life and reliable performance. \n<br/><br/>\nIn total, the elegant simplicity of 2520 discrete operational amplifier provides the core of the API sound.<br/><br/>\n<div>\n	<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\"/>\n	<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\"/></a>\n</div>\n<p>\n	Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n</p>\n<br/>\n<h3>API Audio\'s VPR Alliance </h3>\nThe VPR Alliance is a program of standardization and consistency guidelines for approved manufacturers wishing to design products for API\'s 500-series rack format. The program provides complete design specifications for manufacturers interested in producing third-party modules that physically fit and electronically conform to API\'s rack specifications.\n<br/><br/>\nThe creation of the VPR Alliance was encouraged by the overwhelming popularity of API\'s 500-series racks, including the 10-space 500V and the six-space lunchbox®, which led to a proliferation of third party modules that fit the API format. Typically installed into API racks, these third party modules had raised issues of warranty and interaction with API-manufactured modules in the same rack.<br/><br/>\nBecause of the variables related to those third party modules, API had previously been forced to declare that inserting any third-party modules into a 500V or lunchbox voided the warranty on that rack. Through the VPR Alliance, API is now able to eliminate confusion as to which third-party products definitively do and do not void the API warranty. The VPR Alliance is a straightforward resolution that saves the company time and money while promoting goodwill to API customers.<br/><br/>\nAPI’s customers benefit from the VPR Alliance with the knowledge of exactly which products are approved for placement in API racks; customers have a wider range of module choices for their racks that have been tested by API staff for specification compliance.<br/><br/>\n<h3>An Abbreviated History of API</h3>\nIt all began with a dream. It was 1968. The company: Automated Processes Inc., formed by men with a vision. Best known for their now legendary \"2520 amplifier\", this unique amp has been and will continue to be the heart of all API discrete products. It continues to provide reliability and sonic purity unmatched by the competition. The resulting console met the needs of the music, commercial and broadcast industry.\n<br/><br/>\nAPI became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. In addition, recording studios, large and small, began using API...and receiving rave reviews from engineers and producers. There are over 700 API consoles across the nation and around the world, including the three major networks. Over thirty years later, many of these consoles are still in daily use in some of the most prestigious recording and broadcast facilities in the world because, to date, there are few, if any consoles of equal sound quality at a cost-effective price.<br/><br/><br/>\n<h3>If you don’t have it already, there’s no time like the present to get the sound of API onto your tracks. Try RSPE’s Demo 4 Free service and find out for yourself. For more information, call or chat with an RSPE representative. </h3>\n<br/>This product is also available as part of the RSPE Demo 4 Free & Rental Program, <span class=\"colors_productprice\" style=\"font-weight: bold; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/API_512c_Discrete_Mic_Line_Pre_RENT_p/api-512c-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(795,85,0,133,'API 505-DI 500 Series Direct Input Module'),(796,85,1,133,'API 505-DI 500 Series Direct Input Module'),(797,76,0,133,''),(798,76,1,133,''),(799,75,0,134,'<h1>API 512c Discrete Mic/Line Pre — 500-Series Module</h1>\n<span style=\"font-size:16px; font-style:italic;\">The distinct API sound at an extremely affordable price</span><br/><br/>\nAPI 512 preamps are most noted for their punch and clarity. The API 512c, first introduced in the ’70s, was an advancement of the original 512. Today’s 500-series API 512c preamp remains faithful to the original circuit designs of API\'s founder, Saul Walker. Full-featured and still hand assembled, the API 512c carefully preserves the original sound character that made API a prominent figure in the early days of recording. API innovated the modular approach to console building, plus the format and specs for the 500 series. API preamps and EQs have been used to create some of the most famous custom consoles, such as the API/De Medio console at Sunset Sound, responsible for seminal recordings by artists such as Van Halen, Crosby Stills & Nash, and the Rolling Stones, to name but a few. Offering high headroom and a wide variety of inputs and input access points, the API 512c excels on drums, percussion, guitars, and vocals.  <br/><br/>\n<h3>API 512c Discrete Mic / Line Pre key features</h3>\n<ul>\n	<li>Mic preamp with 65dB gain</li>\n	<li>Front- and rear-panel mic input access</li>\n	<li>Line/instrument preamp with 45dB gain</li>\n	<li>Front-panel line/instrument input</li>\n	<li>LED VU meter for monitoring output level</li>\n	<li>20dB pad switch, applies to mic/line/instrument</li>\n	<li>48V switchable phantom power</li>\n	<li>Proprietary API fully discrete circuit design</li>\n	<li>Uses the famous API 2520 Op-Amp</li>\n</ul>\n<div>\n	<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\"/>\n	<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\"/></a>\n</div>\n<p>\n	Don’t forget to check out \n	<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n</p>\n<br/>\n<h2>API 512c — Inside The Box</h2>\nThe API 512b and 512c were next-generation versions of the original 512, which was the first modular mic preamp made. What differentiated the 512 from the earlier 312 were two major factors. First, the 312 was a mic preamp card used in the early consoles, whereas the 512 was a modular design that featured all controls and functions on the front panel. Secondly, the 312 had no coupling capacitor between the output transformer and the op amp, which meant if there was any DC offset in the op amp, it could likely fry the transformer. To rectify this, API designed the 512c with a large coupling capacitor in parallel with a high-frequency capacitor, which in turn was in parallel with a resistor for transformer damping. Also, the 2520 op amp was given a servo to eliminate offset, which resulted in two things: increased headroom and the elimination of popping caused by the phase button being switched in and out of the circuit. \n<br/><br/>\n<h3>API 2520 Op Amp and 2503 transformer—key to the API sound</h3>\nAPI’s 2520 Op Amp found in the 512c is given most of the credit for the API sound. Designed by API engineers, the 2520 is a high-gain, wide-band, direct-coupled amplifier specifically designed for audio applications. The circuit derives its characteristics mainly from the performance of its passive elements, being connected into a feedback loop, which provides predictable, stable performance. Furthermore, the discrete 10-transistor amplifier is encapsulated in a thermally conductive epoxy that protects against thermal shock, vibration, and humidity, assuring long life and reliable performance. \n<br/><br/>\nAnother contributor to the API sound is the 2503 output transformer. Since the mid seventies, the API 2503 output transformer has gone through a number of iterations in an effort to get back to the original sound. The reason for the change in the sound of the output transformers was a mystery for many years—a mystery finally solved by former API owner, Paul Wolff in 1997. <br/><br/> \nAccording to Paul, the process for winding output transformers back in the early days was unknown to most manufacturers because they never specified it. The winding process was simply a part of the transformer maker’s procedure. They used a ribbon-like wire, where all four windings were done at once to save time and money. However, in later times, when trying to recreate the original sound of the 2503, the lacquer used to glue the windings together turned to powder, so no one could see the old process, or figure out why the old transformers sounded so good, whereas the new ones had an 80kHz peak, which extended down into audible range making the transformer sound brighter. Apparently, in the middle ’70s, and unbeknownst to most manufacturers, the ribbon wire had disappeared from use and subsequent transformers were wound from four separate spools of wire, which caused inconsistent wrapping, hence the high-frequency peak. \n<br/><br/>\nBy 1997 the winding problem was finally identified and the experimentation to return to the former glory of the 2503 began. The solution was a type of wire called Litz wire, which comprises multiple strands of wires electrically insulated form one another, twisted together in a prescribed pattern, and then wound around the bobbin. Litz wire reduces skin effect, which causes resistance to increase at high frequencies, and proximity effect, which causes power losses at high frequencies. Litz wire is very effective up to 500kHz and ultimately produced the same effect as the ribbon wire with identical sonic results. This 10-year odyssey of discovery is why the new API 2503 transformer is virtually an exact match to the old API 2503.<br/><br/>\nIn total, the elegant simplicity of 2520 discrete operational amplifier combined with the 2503 output transformer provides the core of the API sound, yielding one of the most sought-after mic preamps ever designed.<br/><br/>\n<h2>API 512c — Outside The Box</h2>\nOn API 512c front panel is a 7-segment LED VU meter next to a continuous gain control that provides 34dB to 65dB of low noise (-129 EIN) gain. Among the 512c’s front-panel controls are a 48V Phantom Power switch; Polarity switch, that reverses the output phase 180 degrees; -20dB Pad that controls both mic and line input; Mic or Hi-Z Instrument/Line selector, and ¼\" Hi-Z Line input. Front-panel XLR and ¼\" connectors combined with rear panel mic access allow for additional flexibility when installed into an API lunchbox, API 10-position 500V vertical rack, or an API console.\n<br/><br/>\n<h3>API Audio\'s VPR Alliance </h3>\nThe VPR Alliance is a program of standardization and consistency guidelines for approved manufacturers wishing to design products for API\'s 500-series rack format. The program provides complete design specifications for manufacturers interested in producing third-party modules that physically fit and electronically conform to API\'s rack specifications.\n<br/><br/>\nThe creation of the VPR Alliance was encouraged by the overwhelming popularity of API\'s 500-series racks, including the 10-space 500V and the six-space lunchbox®, which led to a proliferation of third party modules that fit the API format. Typically installed into API racks, these third party modules had raised issues of warranty and interaction with API-manufactured modules in the same rack.<br/><br/>\nBecause of the variables related to those third party modules, API had previously been forced to declare that inserting any third-party modules into a 500V or lunchbox voided the warranty on that rack. Through the VPR Alliance, API is now able to eliminate confusion as to which third-party products definitively do and do not void the API warranty. The VPR Alliance is a straightforward resolution that saves the company time and money while promoting goodwill to API customers.<br/><br/>\nAPI’s customers benefit from the VPR Alliance with the knowledge of exactly which products are approved for placement in API racks; customers have a wider range of module choices for their racks that have been tested by API staff for specification compliance.<br/><br/>\n<h3>An Abbreviated History of API</h3>\nIt all began with a dream. It was 1968. The company: Automated Processes Inc., formed by men with a vision. Best known for their now legendary \"2520 amplifier\", this unique amp has been and will continue to be the heart of all API discrete products. It continues to provide reliability and sonic purity unmatched by the competition. The resulting console met the needs of the music, commercial and broadcast industry.\n<br/><br/>\nAPI became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. In addition, recording studios, large and small, began using API...and receiving rave reviews from engineers and producers. There are over 700 API consoles across the nation and around the world, including the three major networks. Over thirty years later, many of these consoles are still in daily use in some of the most prestigious recording and broadcast facilities in the world because, to date, there are few, if any consoles of equal sound quality at a cost-effective price.<br/><br/>\n<h3>If you don’t have it already, there’s no time like the present to get the sound of API onto your tracks. Try RSPE’s Demo 4 Free service and find out for yourself. For more information, call or chat with an RSPE representative. </h3>\n<br/>This product is also available as part of the RSPE Demo 4 Free & Rental Program, <span class=\"colors_productprice\" style=\"font-weight: bold; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/API_512c_Discrete_Mic_Line_Pre_RENT_p/api-512c-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(800,75,1,134,'<h1>API 512c Discrete Mic/Line Pre — 500-Series Module</h1>\n<span style=\"font-size:16px; font-style:italic;\">The distinct API sound at an extremely affordable price</span><br/><br/>\nAPI 512 preamps are most noted for their punch and clarity. The API 512c, first introduced in the ’70s, was an advancement of the original 512. Today’s 500-series API 512c preamp remains faithful to the original circuit designs of API\'s founder, Saul Walker. Full-featured and still hand assembled, the API 512c carefully preserves the original sound character that made API a prominent figure in the early days of recording. API innovated the modular approach to console building, plus the format and specs for the 500 series. API preamps and EQs have been used to create some of the most famous custom consoles, such as the API/De Medio console at Sunset Sound, responsible for seminal recordings by artists such as Van Halen, Crosby Stills & Nash, and the Rolling Stones, to name but a few. Offering high headroom and a wide variety of inputs and input access points, the API 512c excels on drums, percussion, guitars, and vocals.  <br/><br/>\n<h3>API 512c Discrete Mic / Line Pre key features</h3>\n<ul>\n	<li>Mic preamp with 65dB gain</li>\n	<li>Front- and rear-panel mic input access</li>\n	<li>Line/instrument preamp with 45dB gain</li>\n	<li>Front-panel line/instrument input</li>\n	<li>LED VU meter for monitoring output level</li>\n	<li>20dB pad switch, applies to mic/line/instrument</li>\n	<li>48V switchable phantom power</li>\n	<li>Proprietary API fully discrete circuit design</li>\n	<li>Uses the famous API 2520 Op-Amp</li>\n</ul>\n<div>\n	<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\"/>\n	<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\"/></a>\n</div>\n<p>\n	Don’t forget to check out \n	<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n</p>\n<br/>\n<h2>API 512c — Inside The Box</h2>\nThe API 512b and 512c were next-generation versions of the original 512, which was the first modular mic preamp made. What differentiated the 512 from the earlier 312 were two major factors. First, the 312 was a mic preamp card used in the early consoles, whereas the 512 was a modular design that featured all controls and functions on the front panel. Secondly, the 312 had no coupling capacitor between the output transformer and the op amp, which meant if there was any DC offset in the op amp, it could likely fry the transformer. To rectify this, API designed the 512c with a large coupling capacitor in parallel with a high-frequency capacitor, which in turn was in parallel with a resistor for transformer damping. Also, the 2520 op amp was given a servo to eliminate offset, which resulted in two things: increased headroom and the elimination of popping caused by the phase button being switched in and out of the circuit. \n<br/><br/>\n<h3>API 2520 Op Amp and 2503 transformer—key to the API sound</h3>\nAPI’s 2520 Op Amp found in the 512c is given most of the credit for the API sound. Designed by API engineers, the 2520 is a high-gain, wide-band, direct-coupled amplifier specifically designed for audio applications. The circuit derives its characteristics mainly from the performance of its passive elements, being connected into a feedback loop, which provides predictable, stable performance. Furthermore, the discrete 10-transistor amplifier is encapsulated in a thermally conductive epoxy that protects against thermal shock, vibration, and humidity, assuring long life and reliable performance. \n<br/><br/>\nAnother contributor to the API sound is the 2503 output transformer. Since the mid seventies, the API 2503 output transformer has gone through a number of iterations in an effort to get back to the original sound. The reason for the change in the sound of the output transformers was a mystery for many years—a mystery finally solved by former API owner, Paul Wolff in 1997. <br/><br/> \nAccording to Paul, the process for winding output transformers back in the early days was unknown to most manufacturers because they never specified it. The winding process was simply a part of the transformer maker’s procedure. They used a ribbon-like wire, where all four windings were done at once to save time and money. However, in later times, when trying to recreate the original sound of the 2503, the lacquer used to glue the windings together turned to powder, so no one could see the old process, or figure out why the old transformers sounded so good, whereas the new ones had an 80kHz peak, which extended down into audible range making the transformer sound brighter. Apparently, in the middle ’70s, and unbeknownst to most manufacturers, the ribbon wire had disappeared from use and subsequent transformers were wound from four separate spools of wire, which caused inconsistent wrapping, hence the high-frequency peak. \n<br/><br/>\nBy 1997 the winding problem was finally identified and the experimentation to return to the former glory of the 2503 began. The solution was a type of wire called Litz wire, which comprises multiple strands of wires electrically insulated form one another, twisted together in a prescribed pattern, and then wound around the bobbin. Litz wire reduces skin effect, which causes resistance to increase at high frequencies, and proximity effect, which causes power losses at high frequencies. Litz wire is very effective up to 500kHz and ultimately produced the same effect as the ribbon wire with identical sonic results. This 10-year odyssey of discovery is why the new API 2503 transformer is virtually an exact match to the old API 2503.<br/><br/>\nIn total, the elegant simplicity of 2520 discrete operational amplifier combined with the 2503 output transformer provides the core of the API sound, yielding one of the most sought-after mic preamps ever designed.<br/><br/>\n<h2>API 512c — Outside The Box</h2>\nOn API 512c front panel is a 7-segment LED VU meter next to a continuous gain control that provides 34dB to 65dB of low noise (-129 EIN) gain. Among the 512c’s front-panel controls are a 48V Phantom Power switch; Polarity switch, that reverses the output phase 180 degrees; -20dB Pad that controls both mic and line input; Mic or Hi-Z Instrument/Line selector, and ¼\" Hi-Z Line input. Front-panel XLR and ¼\" connectors combined with rear panel mic access allow for additional flexibility when installed into an API lunchbox, API 10-position 500V vertical rack, or an API console.\n<br/><br/>\n<h3>API Audio\'s VPR Alliance </h3>\nThe VPR Alliance is a program of standardization and consistency guidelines for approved manufacturers wishing to design products for API\'s 500-series rack format. The program provides complete design specifications for manufacturers interested in producing third-party modules that physically fit and electronically conform to API\'s rack specifications.\n<br/><br/>\nThe creation of the VPR Alliance was encouraged by the overwhelming popularity of API\'s 500-series racks, including the 10-space 500V and the six-space lunchbox®, which led to a proliferation of third party modules that fit the API format. Typically installed into API racks, these third party modules had raised issues of warranty and interaction with API-manufactured modules in the same rack.<br/><br/>\nBecause of the variables related to those third party modules, API had previously been forced to declare that inserting any third-party modules into a 500V or lunchbox voided the warranty on that rack. Through the VPR Alliance, API is now able to eliminate confusion as to which third-party products definitively do and do not void the API warranty. The VPR Alliance is a straightforward resolution that saves the company time and money while promoting goodwill to API customers.<br/><br/>\nAPI’s customers benefit from the VPR Alliance with the knowledge of exactly which products are approved for placement in API racks; customers have a wider range of module choices for their racks that have been tested by API staff for specification compliance.<br/><br/>\n<h3>An Abbreviated History of API</h3>\nIt all began with a dream. It was 1968. The company: Automated Processes Inc., formed by men with a vision. Best known for their now legendary \"2520 amplifier\", this unique amp has been and will continue to be the heart of all API discrete products. It continues to provide reliability and sonic purity unmatched by the competition. The resulting console met the needs of the music, commercial and broadcast industry.\n<br/><br/>\nAPI became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. In addition, recording studios, large and small, began using API...and receiving rave reviews from engineers and producers. There are over 700 API consoles across the nation and around the world, including the three major networks. Over thirty years later, many of these consoles are still in daily use in some of the most prestigious recording and broadcast facilities in the world because, to date, there are few, if any consoles of equal sound quality at a cost-effective price.<br/><br/>\n<h3>If you don’t have it already, there’s no time like the present to get the sound of API onto your tracks. Try RSPE’s Demo 4 Free service and find out for yourself. For more information, call or chat with an RSPE representative. </h3>\n<br/>This product is also available as part of the RSPE Demo 4 Free & Rental Program, <span class=\"colors_productprice\" style=\"font-weight: bold; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/API_512c_Discrete_Mic_Line_Pre_RENT_p/api-512c-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(801,85,0,134,'API 512c Discrete Mic / Line Pre'),(802,85,1,134,'API 512c Discrete Mic / Line Pre'),(803,76,0,134,''),(804,76,1,134,''),(805,75,0,135,'<h1>API 525 500 Series Discrete Compressor</h1>\n<span style=\"font-size:16px; font-style:italic;\">Authentic reissue of API\'s original 525 compressor from the early ’70s</span><br /><br />\nThe 500-series API 525 Discrete Compressor is a dead-on re-issue of the original modular 525 compressor/limiter. Remaining one of the most popular compressors of all time, the API 525 has a number of unique design innovations including its Ceiling control, which allows you to change compression ratio on the fly while maintaining a constant output—no gain-makeup required. Tweaking the Ceiling control brings out the body of guitars and the resonance of synthesizers. A workhorse compressor that can be linked for stereo bus operation, the API 525 particularly excels on vocals. If you’ve heard Steve Perry’s vocals with Journey, you’ve “heard” the API 525 compressor in action. The 500-series API 525 Discrete Compressor is also great for presence and thickening sounds.<br /><br />\n<h3>API 525 unique features:</h3>\n<ul>\n	<li>Exact reissue of API\'s original 525 compressor</li>\n	<li>Ceiling control combines key functions</li>\n	<li>Traditional API fully discrete circuit design</li>\n</ul>\n<br />\n<h3>API 525 key features:</h3>\n<ul>\n	<li>Peak-detecting feedback compressor/limiter</li>\n	<li>Variable threshold and output levels</li>\n	<li>Analog VU meter for monitoring gain reduction</li>\n	<li>4 switchable release modes</li>\n	<li>De-ess function</li>\n	<li>Active balanced input/output</li>\n	<li>Hardwire bypass</li></ul>\n<br />\n<h2>API 525 — Inside The Box</h2>\nOriginally released in the 70\'s, the API 525 re-issue was built using the original blueprints and spec-control drawings from the API archives. A re-issue doesn’t get any closer than this. The API 525 is ideal for reduction of distortion due to overload or over modulation of program peaks. Attack time is as fast as 15u/s. Four auto-release modes are offered: 0.1s, 0.5s, 1.5s, and 2.0s. A de-ess function inserts an inverse vocal energy curve filter in the detector for effective sibilance/pop reduction.\n<br /><br />\nThe API 525’s unique Ceiling fine-tuning control offers extreme ease of operation by providing up to 20dB of compression or limiting in 2dB steps while maintaining a constant peak output level. The Ceiling control can increase gain reduction (lower threshold) while simultaneously raising output level to match, so you can adjust dynamics on the fly without level changes. <br /><br />\nFull range of operation is achieved with signal input levels from -15dBm to +20dBm, and output capability is +24dBm through an integral output transformer. Release times vary with frequency, with high frequency/full bandwidth content released faster than lower frequencies for natural envelope tracking. Attack time is fixed, carefully chosen by API to catch the fastest peaks without pumping. Although the API 525 compressor is designed for single-channel use, two or more 525s can be linked for multi-channel compression.<br /><br />\nThe API 525 compressor employs a feedback design, which means that the input signal passes through the gain control element to the detector (or control voltage converter), which sends the control voltage back to the gain control element and on to the output. This is a self-correcting system, wherein Attack, Release, and Ratio cannot be strictly defined as they are with feed-forward designs, and will change with the operation of the feedback loop. While not as fast and accurate as a feed-forward system, the feedback design is more musical and pleasing to the ear. After all, math is our attempt to describe nature, but as renowned audio researcher Dr. Richard Heyser once said, “Nature does not solve equations.”<br /><br />\n<h3>API 2520 Op-amp</h3>\nAPI’s 2520 Op Amp found in the 525 is responsible for the API sound. Designed by API engineers, the 2520 op-amp is a high-gain, wide-band, direct-coupled amplifier built specifically for audio applications. The circuit mainly derives its characteristics from the performance of its passive elements connected into the feedback loop, which provides predictable, stable performance. The 10-discrete transistor amplifier is encapsulated in a thermally conductive epoxy, which protects against thermal shock, vibration, and humidity, assuring long life and reliable performance. \n<br /><br />\n<h2>API 525 — Outside The Box</h2>\nLooking over the front-panel real estate of the API 525, you’ll see two small rotary controls at the top that set the initial operating parameters: Input (threshold) and Output (make-up gain). Below these controls are a Gain-Reduction Meter; Release, which are two switches that select four release times: all out = 0.1s, 1 in = 0.5s, 2 in = 1s, and all out = 2.5s; Compression switch, which sets ratio at 2:1; Limit switch for 20:1 ratio; Off switch, which shuts off the gain reduction but keeps the unit inline (to add the character of the 2520 op amp and transformers); hardwire Bypass switch; De-ess switch, which removes sibilance; and the Ceiling knob, which works the same as turning the threshold and output controls up or down at the same time. The API 525 Discrete Compressor has a balanced input and a pin-out that is the same as all the other 500 series modules. \n<br /><br />\n<h3>API Audio\'s VPR Alliance </h3>\nThe VPR Alliance is a program of standardization and consistency guidelines for approved manufacturers wishing to design products for API\'s 500-series rack format. The program provides complete design specifications for manufacturers interested in producing third-party modules that physically fit and electronically conform to API\'s rack specifications.\n<br /><br />\nThe creation of the VPR Alliance was encouraged by the overwhelming popularity of API\'s 500-series racks, including the 10-space 500V and the six-space lunchbox®, which led to a proliferation of third party modules that fit the API format. Typically installed into API racks, these third party modules had raised issues of warranty and interaction with API-manufactured modules in the same rack.<br /><br />\nBecause of the variables related to those third party modules, API had previously been forced to declare that inserting any third-party modules into a 500V or lunchbox voided the warranty on that rack. Through the VPR Alliance, API is now able to eliminate confusion as to which third-party products definitively do and do not void the API warranty. The VPR Alliance is a straightforward resolution that saves the company time and money while promoting goodwill to API customers.<br /><br />\nAPI’s customers benefit from the VPR Alliance with the knowledge of exactly which products are approved for placement in API racks; customers have a wider range of module choices for their racks that have been tested by API staff for specification compliance.<br /><br />\n<h3>An Abbreviated History of API</h3>\nIt all began with a dream. It was 1968. The company: Automated Processes Inc., formed by men with a vision. Best known for their now legendary \"2520 amplifier\", this unique amp has been and will continue to be the heart of all API discrete products. It continues to provide reliability and sonic purity unmatched by the competition. The resulting console met the needs of the music, commercial and broadcast industry.\n<br /><br />\nAPI became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. In addition, recording studios, large and small, began using API...and receiving rave reviews from engineers and producers. There are over 700 API consoles across the nation and around the world, including the three major networks. Over thirty years later, many of these consoles are still in daily use in some of the most prestigious recording and broadcast facilities in the world because, to date, there are few, if any consoles of equal sound quality at a cost-effective price.<br /><br />\n<h3>Equally useful as a tracking, mixdown, or program compressor/limiter, the API 525 gives you vintage dynamics control and an easy-to-use, multi-function control set. For more information, call or chat with an RSPE representative today. </h3>\n<br />'),(806,75,1,135,'<h1>API 525 500 Series Discrete Compressor</h1>\n<span style=\"font-size:16px; font-style:italic;\">Authentic reissue of API\'s original 525 compressor from the early ’70s</span><br /><br />\nThe 500-series API 525 Discrete Compressor is a dead-on re-issue of the original modular 525 compressor/limiter. Remaining one of the most popular compressors of all time, the API 525 has a number of unique design innovations including its Ceiling control, which allows you to change compression ratio on the fly while maintaining a constant output—no gain-makeup required. Tweaking the Ceiling control brings out the body of guitars and the resonance of synthesizers. A workhorse compressor that can be linked for stereo bus operation, the API 525 particularly excels on vocals. If you’ve heard Steve Perry’s vocals with Journey, you’ve “heard” the API 525 compressor in action. The 500-series API 525 Discrete Compressor is also great for presence and thickening sounds.<br /><br />\n<h3>API 525 unique features:</h3>\n<ul>\n	<li>Exact reissue of API\'s original 525 compressor</li>\n	<li>Ceiling control combines key functions</li>\n	<li>Traditional API fully discrete circuit design</li>\n</ul>\n<br />\n<h3>API 525 key features:</h3>\n<ul>\n	<li>Peak-detecting feedback compressor/limiter</li>\n	<li>Variable threshold and output levels</li>\n	<li>Analog VU meter for monitoring gain reduction</li>\n	<li>4 switchable release modes</li>\n	<li>De-ess function</li>\n	<li>Active balanced input/output</li>\n	<li>Hardwire bypass</li></ul>\n<br />\n<h2>API 525 — Inside The Box</h2>\nOriginally released in the 70\'s, the API 525 re-issue was built using the original blueprints and spec-control drawings from the API archives. A re-issue doesn’t get any closer than this. The API 525 is ideal for reduction of distortion due to overload or over modulation of program peaks. Attack time is as fast as 15u/s. Four auto-release modes are offered: 0.1s, 0.5s, 1.5s, and 2.0s. A de-ess function inserts an inverse vocal energy curve filter in the detector for effective sibilance/pop reduction.\n<br /><br />\nThe API 525’s unique Ceiling fine-tuning control offers extreme ease of operation by providing up to 20dB of compression or limiting in 2dB steps while maintaining a constant peak output level. The Ceiling control can increase gain reduction (lower threshold) while simultaneously raising output level to match, so you can adjust dynamics on the fly without level changes. <br /><br />\nFull range of operation is achieved with signal input levels from -15dBm to +20dBm, and output capability is +24dBm through an integral output transformer. Release times vary with frequency, with high frequency/full bandwidth content released faster than lower frequencies for natural envelope tracking. Attack time is fixed, carefully chosen by API to catch the fastest peaks without pumping. Although the API 525 compressor is designed for single-channel use, two or more 525s can be linked for multi-channel compression.<br /><br />\nThe API 525 compressor employs a feedback design, which means that the input signal passes through the gain control element to the detector (or control voltage converter), which sends the control voltage back to the gain control element and on to the output. This is a self-correcting system, wherein Attack, Release, and Ratio cannot be strictly defined as they are with feed-forward designs, and will change with the operation of the feedback loop. While not as fast and accurate as a feed-forward system, the feedback design is more musical and pleasing to the ear. After all, math is our attempt to describe nature, but as renowned audio researcher Dr. Richard Heyser once said, “Nature does not solve equations.”<br /><br />\n<h3>API 2520 Op-amp</h3>\nAPI’s 2520 Op Amp found in the 525 is responsible for the API sound. Designed by API engineers, the 2520 op-amp is a high-gain, wide-band, direct-coupled amplifier built specifically for audio applications. The circuit mainly derives its characteristics from the performance of its passive elements connected into the feedback loop, which provides predictable, stable performance. The 10-discrete transistor amplifier is encapsulated in a thermally conductive epoxy, which protects against thermal shock, vibration, and humidity, assuring long life and reliable performance. \n<br /><br />\n<h2>API 525 — Outside The Box</h2>\nLooking over the front-panel real estate of the API 525, you’ll see two small rotary controls at the top that set the initial operating parameters: Input (threshold) and Output (make-up gain). Below these controls are a Gain-Reduction Meter; Release, which are two switches that select four release times: all out = 0.1s, 1 in = 0.5s, 2 in = 1s, and all out = 2.5s; Compression switch, which sets ratio at 2:1; Limit switch for 20:1 ratio; Off switch, which shuts off the gain reduction but keeps the unit inline (to add the character of the 2520 op amp and transformers); hardwire Bypass switch; De-ess switch, which removes sibilance; and the Ceiling knob, which works the same as turning the threshold and output controls up or down at the same time. The API 525 Discrete Compressor has a balanced input and a pin-out that is the same as all the other 500 series modules. \n<br /><br />\n<h3>API Audio\'s VPR Alliance </h3>\nThe VPR Alliance is a program of standardization and consistency guidelines for approved manufacturers wishing to design products for API\'s 500-series rack format. The program provides complete design specifications for manufacturers interested in producing third-party modules that physically fit and electronically conform to API\'s rack specifications.\n<br /><br />\nThe creation of the VPR Alliance was encouraged by the overwhelming popularity of API\'s 500-series racks, including the 10-space 500V and the six-space lunchbox®, which led to a proliferation of third party modules that fit the API format. Typically installed into API racks, these third party modules had raised issues of warranty and interaction with API-manufactured modules in the same rack.<br /><br />\nBecause of the variables related to those third party modules, API had previously been forced to declare that inserting any third-party modules into a 500V or lunchbox voided the warranty on that rack. Through the VPR Alliance, API is now able to eliminate confusion as to which third-party products definitively do and do not void the API warranty. The VPR Alliance is a straightforward resolution that saves the company time and money while promoting goodwill to API customers.<br /><br />\nAPI’s customers benefit from the VPR Alliance with the knowledge of exactly which products are approved for placement in API racks; customers have a wider range of module choices for their racks that have been tested by API staff for specification compliance.<br /><br />\n<h3>An Abbreviated History of API</h3>\nIt all began with a dream. It was 1968. The company: Automated Processes Inc., formed by men with a vision. Best known for their now legendary \"2520 amplifier\", this unique amp has been and will continue to be the heart of all API discrete products. It continues to provide reliability and sonic purity unmatched by the competition. The resulting console met the needs of the music, commercial and broadcast industry.\n<br /><br />\nAPI became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. In addition, recording studios, large and small, began using API...and receiving rave reviews from engineers and producers. There are over 700 API consoles across the nation and around the world, including the three major networks. Over thirty years later, many of these consoles are still in daily use in some of the most prestigious recording and broadcast facilities in the world because, to date, there are few, if any consoles of equal sound quality at a cost-effective price.<br /><br />\n<h3>Equally useful as a tracking, mixdown, or program compressor/limiter, the API 525 gives you vintage dynamics control and an easy-to-use, multi-function control set. For more information, call or chat with an RSPE representative today. </h3>\n<br />'),(807,85,0,135,'API 525 500 Series Discrete Compressor'),(808,85,1,135,'API 525 500 Series Discrete Compressor'),(809,76,0,135,''),(810,76,1,135,''),(811,75,0,136,'<h1>API 527 500 Series Compressor/Limiter</h1>\nThe API 527 is a 500 Series Compresso/Limiter module that takes it\'s place alongside the family of API VCA based compressors, the 225L and the 2500 Stereo Bus Compressor. Anyone familiar with those units will immediately be at home with the 527. Features common to the line like \"feed forward\" (NEW) and \"feed back\" (OLD) gain reduction methods selectable on the front panel, provide a choice of \"that old way\", or \"the new way\" of compression, for the highest level of flexibility in signal gain control. The \"old way\" or Feed-Back method is what most of the classic compressors used for the gain control circuit. The \"new way\" gain reduction is more typical of the newer VCA type compressors that rely on RMS detectors for the gain control voltage.<br /><br />\nThere is a \"SOFT\"/\"HARD\" switch for an \"over-easy\" type compression resulting in a very natural, uncompressed sound or a typical sharp knee type that lends itself to a much more severe limiting effect.<br /><br />\nThe Threshold control sets the initial operating parameter. The 527 can be operated with signal input levels from +10 dBu to -20 dBu.<br /><br />\nThe 527 features an Output fader control that ranges from minus infinity to +10dB, and output capability is +28 dBu through our 2520 discrete amplifier and a large API output transformer. The output level remains fairly constant regardless of the threshold or ratio control, much like the \"more/less\" Ceiling control on the API 525 compressor. This allows for live adjustments without any noticeable gain changes in the program level.<br /><br />\nThe patented THRUST function can be switched in and out via the front panel as well, applying a high pass filter before the RMS detector circuit that preserves that punchy bottom end.<br /><br />\nAttack and Release are fully adjustable on the 527. Release time can be adjusted by rotating the inner concentric RELEASE knob. Release time constants: .3 sec to 3 sec. Attack time is adjusted on the outer concentric ATTACK knob, which ranges from 1 millisecond to 25 milliseconds.<br /><br />\nThe 527 is designed for individual channel use or, through the use of the LINK switch, two units can be combined for Stereo applications via a motherboard bus connection.<br /><br />\nThe 527 Compressor/Limiter makes use of the 2510 and 2520 Discrete Op-amps and exhibits the reliability, long life, and signature sound which are characteristic of API products.<br /><br />\n<div>\n	<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n	<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n</div>\n<p>\n	Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n</p>'),(812,75,1,136,'<h1>API 527 500 Series Compressor/Limiter</h1>\nThe API 527 is a 500 Series Compresso/Limiter module that takes it\'s place alongside the family of API VCA based compressors, the 225L and the 2500 Stereo Bus Compressor. Anyone familiar with those units will immediately be at home with the 527. Features common to the line like \"feed forward\" (NEW) and \"feed back\" (OLD) gain reduction methods selectable on the front panel, provide a choice of \"that old way\", or \"the new way\" of compression, for the highest level of flexibility in signal gain control. The \"old way\" or Feed-Back method is what most of the classic compressors used for the gain control circuit. The \"new way\" gain reduction is more typical of the newer VCA type compressors that rely on RMS detectors for the gain control voltage.<br /><br />\nThere is a \"SOFT\"/\"HARD\" switch for an \"over-easy\" type compression resulting in a very natural, uncompressed sound or a typical sharp knee type that lends itself to a much more severe limiting effect.<br /><br />\nThe Threshold control sets the initial operating parameter. The 527 can be operated with signal input levels from +10 dBu to -20 dBu.<br /><br />\nThe 527 features an Output fader control that ranges from minus infinity to +10dB, and output capability is +28 dBu through our 2520 discrete amplifier and a large API output transformer. The output level remains fairly constant regardless of the threshold or ratio control, much like the \"more/less\" Ceiling control on the API 525 compressor. This allows for live adjustments without any noticeable gain changes in the program level.<br /><br />\nThe patented THRUST function can be switched in and out via the front panel as well, applying a high pass filter before the RMS detector circuit that preserves that punchy bottom end.<br /><br />\nAttack and Release are fully adjustable on the 527. Release time can be adjusted by rotating the inner concentric RELEASE knob. Release time constants: .3 sec to 3 sec. Attack time is adjusted on the outer concentric ATTACK knob, which ranges from 1 millisecond to 25 milliseconds.<br /><br />\nThe 527 is designed for individual channel use or, through the use of the LINK switch, two units can be combined for Stereo applications via a motherboard bus connection.<br /><br />\nThe 527 Compressor/Limiter makes use of the 2510 and 2520 Discrete Op-amps and exhibits the reliability, long life, and signature sound which are characteristic of API products.<br /><br />\n<div>\n	<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n	<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n</div>\n<p>\n	Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n</p>'),(813,85,0,136,'API 527 500 Series Compressor/Limiter'),(814,85,1,136,'API 527 500 Series Compressor/Limiter'),(815,76,0,136,''),(816,76,1,136,''),(817,75,0,137,'<h1>API 5500 Dual EQ with Selectable Boost and Cut</h1>\n<div></div><div><i>Dual API 550 EQs in a single 19\" rack mount package, delivers the classic API sound.</i><br /><br />The API 550 Dual EQ features two classic API 550b design equalizers with selectable boost & cut<span style=\"background-color: initial;\">. The original 550 was designed as a console equalizer, which uses an unbalanced input due to the architecture of the recording console. Because the ergonomics of a console dictate that the controls take up little space, sometimes the number of included functions can be limited. The 5500 is specifically designed to address these limitations; it has a balanced input, a true straight-wire bypass, an integrated power supply with noiseless muting and a range control that expands its versatility to mastering applications.<br /><br /></span><span style=\"background-color: initial;\">Typical of API products, the 5500 contains no integrated circuits in its signal path. The gain comes from two hand-built 2520 Operational Amplifiers in each channel. The balanced input is handled by a 2510 Discrete Operational Amplifier, which is similar to the 2520, but without the high-current output stage. A key component of the API sound, the 2520 coupled with the API 2503 output transformer, is capable of delivering +30dBm before clipping.<br /><br /></span><span style=\"background-color: initial;\">An extremely useful feature in the 5500 is the range control. The range of the amplitude controls can be reduced to 1/2 or 1/4 of their stated scale, providing a means to adjust the tonal balance with finer resolution in an even gentler manner. This is especially useful for complex program material as contained in stems or submixes and is ideally suited for mastering purposes.<br /><br /></span><span style=\"background-color: initial;\">API\'s 5500 also features a true hard-wire bypass which wires the output connector directly to the input. Shortly after the power is first applied, or immediately after it is lost, a special circuit enables \"bypass mode\" so that power thumps are never heard.<br /><br /></span><span style=\"background-color: initial;\">The 5500\'s input XLR is connected to an active balanced circuit. The unit\'s output XLR is driven from a transformer coupled output and can drive any load from 600 ohms or more to full output capability. There is no change from input to output in the unit\'s polarity, so it is suitable in studios using either pin 2 or pin 3 as the \"hot\" connection. Additionally, the 5500 has a 1/4 inch input connector that interrupts any present signal on the input XLR. It is balanced and can be driven from either balanced or unbalanced sources. A positive signal on the tip will deliver a positive signal on pin 2 of the output XLR. Using the 1/4 inch input does not bypass any internal circuitry and does not change the gain or operating levels.<br /><br /></span><span style=\"background-color: initial;\">The 5500 features API\'s industry exclusive five-year parts warranty and exhibits the reliability and long life characteristic of all API products.</span></div><br /><h3><span style=\"background-color: initial;\">API 5500 Features</span></h3><span style=\"background-color: initial;\"></span><ul><li><span style=\"background-color: initial; letter-spacing: 0px;\">Classic 550b Equalizer design</span></li><li>Two range switches to individually alter gain steps</li><li>Usable as a 550b, 550D or 550M</li><li>Peak/shelf switch on Hi and Lo bands</li><li>True hardwire bypass</li><li>Balanced In and Out on XLR</li><li>Balanced input on 1/4\"</li><li>EQ In/Out switch</li></ul>'),(818,75,1,137,'<h1>API 5500 Dual EQ with Selectable Boost and Cut</h1>\n<div></div><div><i>Dual API 550 EQs in a single 19\" rack mount package, delivers the classic API sound.</i><br /><br />The API 550 Dual EQ features two classic API 550b design equalizers with selectable boost & cut<span style=\"background-color: initial;\">. The original 550 was designed as a console equalizer, which uses an unbalanced input due to the architecture of the recording console. Because the ergonomics of a console dictate that the controls take up little space, sometimes the number of included functions can be limited. The 5500 is specifically designed to address these limitations; it has a balanced input, a true straight-wire bypass, an integrated power supply with noiseless muting and a range control that expands its versatility to mastering applications.<br /><br /></span><span style=\"background-color: initial;\">Typical of API products, the 5500 contains no integrated circuits in its signal path. The gain comes from two hand-built 2520 Operational Amplifiers in each channel. The balanced input is handled by a 2510 Discrete Operational Amplifier, which is similar to the 2520, but without the high-current output stage. A key component of the API sound, the 2520 coupled with the API 2503 output transformer, is capable of delivering +30dBm before clipping.<br /><br /></span><span style=\"background-color: initial;\">An extremely useful feature in the 5500 is the range control. The range of the amplitude controls can be reduced to 1/2 or 1/4 of their stated scale, providing a means to adjust the tonal balance with finer resolution in an even gentler manner. This is especially useful for complex program material as contained in stems or submixes and is ideally suited for mastering purposes.<br /><br /></span><span style=\"background-color: initial;\">API\'s 5500 also features a true hard-wire bypass which wires the output connector directly to the input. Shortly after the power is first applied, or immediately after it is lost, a special circuit enables \"bypass mode\" so that power thumps are never heard.<br /><br /></span><span style=\"background-color: initial;\">The 5500\'s input XLR is connected to an active balanced circuit. The unit\'s output XLR is driven from a transformer coupled output and can drive any load from 600 ohms or more to full output capability. There is no change from input to output in the unit\'s polarity, so it is suitable in studios using either pin 2 or pin 3 as the \"hot\" connection. Additionally, the 5500 has a 1/4 inch input connector that interrupts any present signal on the input XLR. It is balanced and can be driven from either balanced or unbalanced sources. A positive signal on the tip will deliver a positive signal on pin 2 of the output XLR. Using the 1/4 inch input does not bypass any internal circuitry and does not change the gain or operating levels.<br /><br /></span><span style=\"background-color: initial;\">The 5500 features API\'s industry exclusive five-year parts warranty and exhibits the reliability and long life characteristic of all API products.</span></div><br /><h3><span style=\"background-color: initial;\">API 5500 Features</span></h3><span style=\"background-color: initial;\"></span><ul><li><span style=\"background-color: initial; letter-spacing: 0px;\">Classic 550b Equalizer design</span></li><li>Two range switches to individually alter gain steps</li><li>Usable as a 550b, 550D or 550M</li><li>Peak/shelf switch on Hi and Lo bands</li><li>True hardwire bypass</li><li>Balanced In and Out on XLR</li><li>Balanced input on 1/4\"</li><li>EQ In/Out switch</li></ul>'),(819,85,0,137,'API 5500 Dual EQ with Selectable Boost and Cut'),(820,85,1,137,'API 5500 Dual EQ with Selectable Boost and Cut'),(821,76,0,137,''),(822,76,1,137,''),(823,75,0,138,'<h1>API 550A 500 Series Discrete 3-Band EQ</h1>\n<span style=\"font-size:16px; font-style:italic;\">A long-awaited reissue EQ that has had such a part in the history of recording is continuing to make history in today\'s music</span><br /><br />\nThere’s a reason why platinum engineers back in the ’70s, ’80s, and ’90s (and today) would categorically state, “I won’t mix without my API 550 EQ.” Only a handful of equalizers (assuming you have really big hands) have achieved the legendary status of the API 550A. The also legendary Saul Walker designed the 550A in the late ‘60s before the days of commercial consoles. The discrete API 550A was first used as a modular equalizer for custom consoles in the days when recording engineers spec’d out the designs for their studio’s desk. In 1971, the 550A became API\'s standard channel-module EQ when the company began manufacturing consoles—and with virtually all units in existence already spoken for, popular demand prompted API to resume production in 2004. The 500-series API 550A reissue brings the coveted sound of API equalization to both professional and home studios alike. <br /><br />\n<h3>API 550A unique features:</h3>\n<ul>\n	<li>Proportional Q narrows filter bandwidth at extremes</li>\n	<li>Proprietary API fully discrete circuit design</li>\n</ul>\n<br />\n<h3>API 550A key features:</h3>\n<ul>\n	<li>3 bands of classic API equalization</li>\n	<li>Each band offers 7 API-selected frequency centers</li>\n	<li>Reciprocal and repeatable filtering</li>\n	<li>Maximum 12dB boost/cut per bands</li>\n	<li>EQ bands 1 and 3 offer shelf/peak switching</li>\n	<li>High headroom +30 dB clip level</li>\n</ul>\n<br />\nThe sound of the API 550A spread like wildfire in the industry. Custom consoles using API modules, including the 550AEQ module, were built for recording facilities such as CBS in-house studios, Fox sound stages, Sunset Sound, and Hollywood Sound Recorders—not to mention the Dal-Con at Oceanway, to which Alan Sides added a bank of 40 API 550A EQ modules. Many of these consoles are still in use today, including the two custom API consoles designed by Frank De Medio, Eric Benton, and Deane Jensen at Sunset Sound. <br /><br />\n<div>\n	<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n	<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n</div>\n<p>\n	Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n</p>\n<br />\n<h2>API 550A — Inside The Box</h2>\nThe combination of Saul Walker\'s incomparable 2520 op amp and “Proportional Q\" circuitry is what makes the API 550A unique and musical. Proportional Q narrows or widens EQ bandwidth depending on the amount of boost or cut applied to a selected frequency. With greater amounts of boost or cut, the bandwidth narrows, allowing for surgical correction without compromising the overall sound. For example, if you wanted to remove muddiness from an instrument, greater amounts of cut to -12dB narrows the bandwidth, removing the unwanted frequency while preserving the body of the instrument. Less gain applied to boost/cut widens the Q for a more musical sweetening effect. Another advantage of API’s Proportional Q is the near-elimination of phase shift, a malady found in many parametric equalizers.  \n<br /><br />\nThe 550A provides reciprocal equalization at 21 points in five steps of boost to a maximum of 12dB gain at each point. The fifteen equalization points are divided into three overlapping ranges. The high and low frequency ranges are individually selectable as either peaking or shelving, and a band-pass filter may be inserted independently of all other selected equalization settings. Three dual-concentric switches select frequency ranges and boost/cut, and a pushbutton \"in\" switch allows the EQ to be silently introduced to the signal path. A small toggle switch is used to insert the band-pass filter into the 550A.<br /><br />\n<h3>API 2520 Op Amp—key to the API sound</h3>\nAPI’s 2520 Op Amp found in the 550A is given most of the credit for the API sound. Designed by API engineers, the 2520 is a high-gain, wide-band, direct-coupled amplifier specifically designed for audio applications. The circuit derives its characteristics mainly from the performance of its passive elements, being connected into a feedback loop, which provides predictable, stable performance. Furthermore, the discrete 10-transistor amplifier is encapsulated in a thermally conductive epoxy that protects against thermal shock, vibration, and humidity, assuring long life and reliable performance. \n<br /><br />\n<h2>API 550A — Outside The Box</h2>\nThe front panel of the API 550A has three dual-concentric rotary knobs for high frequency, midrange, and low-frequency bands. The API custom aluminum, center-frequency selector knobs each have seven selections for each band. The inner knobs are stepped gain control ranging from -12dB to +12dB in 2dB increments. Below the rotary controls are a band-pass filter on/off toggle switch (-3dB down at 50Hz and 15kHz) and LED indicator, plus three buttons for LF shelving or peaking EQ, HF shelving or peaking EQ, and silent in/out button. The 550A fits into the API Lunchbox, 500VPR frame, and API 1608 console slots.   \n<br /><br />\n<h3>API 550A controls:</h3>\n<ul>\n	<li>Dual Concentric Rotary: HF select: 2.5k, 5k, 7k, 10k, 12.5k, 15k, 20kHz and stepped degree of equalization –12 dB to + 12 dB</li>\n	<li>Dual Concentric Rotary: MF select: 200, 400, 600, 800, 1.5k, 3k, 5kHz and stepped degree of equalization –12dB to +12 dB</li>\n	<li>Dual Concentric Rotary: LF select: 30, 40, 50, 100, 200, 300, 400Hz and stepped degree of equalization –12dB to +12 dB</li>\n</ul>\n<br />\n<h3>API 550A in use</h3>\nThe 550A is especially popular fattening up snare drum while emphasizing attack and boosting high-end clarity. To bring out the sound of a snare’s shell, boost the 200Hz peak by 4dB on the low band. Boosting 1.5kHZ in the mid band by 6dB will bring out the “crack” of the snare, and a 4dB boost at 10kHz will improve clarity. \n<br /><br />\nThe 550A is especially good on electric or acoustic guitar tracks, a 2dB boost at 200Hz widens the bandwidth to round out the body, while the same boost at 5kHz adds presence. A +4dB boost at 10kHz brings out the “air.” While your mileage may vary, this combination of settings will sound good almost all the time, plus it brings the guitar forward in the mix. <br /><br />\nOne of the favorite tricks of Grammy winner Vance Powell, chief engineer at Blackbird Studios, is to use the 550A to accentuate the midrange in bass guitar and help it sit better in the mix. To bring out the “Powell growl,” Vance sets the API 550A’s middle band to boost a full +12dB at .8kHz (800Hz). <br /><br />\n<h3>API Audio\'s VPR Alliance </h3>\nThe VPR Alliance is a program of standardization and consistency guidelines for approved manufacturers wishing to design products for API\'s 500-series rack format. The program provides complete design specifications for manufacturers interested in producing third-party modules that physically fit and electronically conform to API\'s rack specifications.\n<br /><br />\nThe creation of the VPR Alliance was encouraged by the overwhelming popularity of API\'s 500-series racks, including the 10-space 500V and the six-space lunchbox®, which led to a proliferation of third party modules that fit the API format. Typically installed into API racks, these third party modules had raised issues of warranty and interaction with API-manufactured modules in the same rack.<br /><br />\nBecause of the variables related to those third party modules, API had previously been forced to declare that inserting any third-party modules into a 500V or lunchbox voided the warranty on that rack. Through the VPR Alliance, API is now able to eliminate confusion as to which third-party products definitively do and do not void the API warranty. The VPR Alliance is a straightforward resolution that saves the company time and money while promoting goodwill to API customers.<br /><br />\nAPI’s customers benefit from the VPR Alliance with the knowledge of exactly which products are approved for placement in API racks; customers have a wider range of module choices for their racks that have been tested by API staff for specification compliance.<br /><br />\n<h3>An Abbreviated History of API</h3>\nIt all began with a dream. It was 1968. The company: Automated Processes Inc., formed by men with a vision. Best known for their now legendary \"2520 amplifier\", this unique amp has been and will continue to be the heart of all API discrete products. It continues to provide reliability and sonic purity unmatched by the competition. The resulting console met the needs of the music, commercial and broadcast industry.\n<br /><br />\nAPI became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. In addition, recording studios, large and small, began using API...and receiving rave reviews from engineers and producers. There are over 700 API consoles across the nation and around the world, including the three major networks. Over thirty years later, many of these consoles are still in daily use in some of the most prestigious recording and broadcast facilities in the world because, to date, there are few, if any consoles of equal sound quality at a cost-effective price.<br /><br />\n<h3>Forty years later, the 550A remains the standard against which other EQs are measured, and has played a major role in the recording industry for decades. For more information, call or chat with an RSPE representative today.</h3>\n<br />'),(824,75,1,138,'<h1>API 550A 500 Series Discrete 3-Band EQ</h1>\n<span style=\"font-size:16px; font-style:italic;\">A long-awaited reissue EQ that has had such a part in the history of recording is continuing to make history in today\'s music</span><br /><br />\nThere’s a reason why platinum engineers back in the ’70s, ’80s, and ’90s (and today) would categorically state, “I won’t mix without my API 550 EQ.” Only a handful of equalizers (assuming you have really big hands) have achieved the legendary status of the API 550A. The also legendary Saul Walker designed the 550A in the late ‘60s before the days of commercial consoles. The discrete API 550A was first used as a modular equalizer for custom consoles in the days when recording engineers spec’d out the designs for their studio’s desk. In 1971, the 550A became API\'s standard channel-module EQ when the company began manufacturing consoles—and with virtually all units in existence already spoken for, popular demand prompted API to resume production in 2004. The 500-series API 550A reissue brings the coveted sound of API equalization to both professional and home studios alike. <br /><br />\n<h3>API 550A unique features:</h3>\n<ul>\n	<li>Proportional Q narrows filter bandwidth at extremes</li>\n	<li>Proprietary API fully discrete circuit design</li>\n</ul>\n<br />\n<h3>API 550A key features:</h3>\n<ul>\n	<li>3 bands of classic API equalization</li>\n	<li>Each band offers 7 API-selected frequency centers</li>\n	<li>Reciprocal and repeatable filtering</li>\n	<li>Maximum 12dB boost/cut per bands</li>\n	<li>EQ bands 1 and 3 offer shelf/peak switching</li>\n	<li>High headroom +30 dB clip level</li>\n</ul>\n<br />\nThe sound of the API 550A spread like wildfire in the industry. Custom consoles using API modules, including the 550AEQ module, were built for recording facilities such as CBS in-house studios, Fox sound stages, Sunset Sound, and Hollywood Sound Recorders—not to mention the Dal-Con at Oceanway, to which Alan Sides added a bank of 40 API 550A EQ modules. Many of these consoles are still in use today, including the two custom API consoles designed by Frank De Medio, Eric Benton, and Deane Jensen at Sunset Sound. <br /><br />\n<div>\n	<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n	<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n</div>\n<p>\n	Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n</p>\n<br />\n<h2>API 550A — Inside The Box</h2>\nThe combination of Saul Walker\'s incomparable 2520 op amp and “Proportional Q\" circuitry is what makes the API 550A unique and musical. Proportional Q narrows or widens EQ bandwidth depending on the amount of boost or cut applied to a selected frequency. With greater amounts of boost or cut, the bandwidth narrows, allowing for surgical correction without compromising the overall sound. For example, if you wanted to remove muddiness from an instrument, greater amounts of cut to -12dB narrows the bandwidth, removing the unwanted frequency while preserving the body of the instrument. Less gain applied to boost/cut widens the Q for a more musical sweetening effect. Another advantage of API’s Proportional Q is the near-elimination of phase shift, a malady found in many parametric equalizers.  \n<br /><br />\nThe 550A provides reciprocal equalization at 21 points in five steps of boost to a maximum of 12dB gain at each point. The fifteen equalization points are divided into three overlapping ranges. The high and low frequency ranges are individually selectable as either peaking or shelving, and a band-pass filter may be inserted independently of all other selected equalization settings. Three dual-concentric switches select frequency ranges and boost/cut, and a pushbutton \"in\" switch allows the EQ to be silently introduced to the signal path. A small toggle switch is used to insert the band-pass filter into the 550A.<br /><br />\n<h3>API 2520 Op Amp—key to the API sound</h3>\nAPI’s 2520 Op Amp found in the 550A is given most of the credit for the API sound. Designed by API engineers, the 2520 is a high-gain, wide-band, direct-coupled amplifier specifically designed for audio applications. The circuit derives its characteristics mainly from the performance of its passive elements, being connected into a feedback loop, which provides predictable, stable performance. Furthermore, the discrete 10-transistor amplifier is encapsulated in a thermally conductive epoxy that protects against thermal shock, vibration, and humidity, assuring long life and reliable performance. \n<br /><br />\n<h2>API 550A — Outside The Box</h2>\nThe front panel of the API 550A has three dual-concentric rotary knobs for high frequency, midrange, and low-frequency bands. The API custom aluminum, center-frequency selector knobs each have seven selections for each band. The inner knobs are stepped gain control ranging from -12dB to +12dB in 2dB increments. Below the rotary controls are a band-pass filter on/off toggle switch (-3dB down at 50Hz and 15kHz) and LED indicator, plus three buttons for LF shelving or peaking EQ, HF shelving or peaking EQ, and silent in/out button. The 550A fits into the API Lunchbox, 500VPR frame, and API 1608 console slots.   \n<br /><br />\n<h3>API 550A controls:</h3>\n<ul>\n	<li>Dual Concentric Rotary: HF select: 2.5k, 5k, 7k, 10k, 12.5k, 15k, 20kHz and stepped degree of equalization –12 dB to + 12 dB</li>\n	<li>Dual Concentric Rotary: MF select: 200, 400, 600, 800, 1.5k, 3k, 5kHz and stepped degree of equalization –12dB to +12 dB</li>\n	<li>Dual Concentric Rotary: LF select: 30, 40, 50, 100, 200, 300, 400Hz and stepped degree of equalization –12dB to +12 dB</li>\n</ul>\n<br />\n<h3>API 550A in use</h3>\nThe 550A is especially popular fattening up snare drum while emphasizing attack and boosting high-end clarity. To bring out the sound of a snare’s shell, boost the 200Hz peak by 4dB on the low band. Boosting 1.5kHZ in the mid band by 6dB will bring out the “crack” of the snare, and a 4dB boost at 10kHz will improve clarity. \n<br /><br />\nThe 550A is especially good on electric or acoustic guitar tracks, a 2dB boost at 200Hz widens the bandwidth to round out the body, while the same boost at 5kHz adds presence. A +4dB boost at 10kHz brings out the “air.” While your mileage may vary, this combination of settings will sound good almost all the time, plus it brings the guitar forward in the mix. <br /><br />\nOne of the favorite tricks of Grammy winner Vance Powell, chief engineer at Blackbird Studios, is to use the 550A to accentuate the midrange in bass guitar and help it sit better in the mix. To bring out the “Powell growl,” Vance sets the API 550A’s middle band to boost a full +12dB at .8kHz (800Hz). <br /><br />\n<h3>API Audio\'s VPR Alliance </h3>\nThe VPR Alliance is a program of standardization and consistency guidelines for approved manufacturers wishing to design products for API\'s 500-series rack format. The program provides complete design specifications for manufacturers interested in producing third-party modules that physically fit and electronically conform to API\'s rack specifications.\n<br /><br />\nThe creation of the VPR Alliance was encouraged by the overwhelming popularity of API\'s 500-series racks, including the 10-space 500V and the six-space lunchbox®, which led to a proliferation of third party modules that fit the API format. Typically installed into API racks, these third party modules had raised issues of warranty and interaction with API-manufactured modules in the same rack.<br /><br />\nBecause of the variables related to those third party modules, API had previously been forced to declare that inserting any third-party modules into a 500V or lunchbox voided the warranty on that rack. Through the VPR Alliance, API is now able to eliminate confusion as to which third-party products definitively do and do not void the API warranty. The VPR Alliance is a straightforward resolution that saves the company time and money while promoting goodwill to API customers.<br /><br />\nAPI’s customers benefit from the VPR Alliance with the knowledge of exactly which products are approved for placement in API racks; customers have a wider range of module choices for their racks that have been tested by API staff for specification compliance.<br /><br />\n<h3>An Abbreviated History of API</h3>\nIt all began with a dream. It was 1968. The company: Automated Processes Inc., formed by men with a vision. Best known for their now legendary \"2520 amplifier\", this unique amp has been and will continue to be the heart of all API discrete products. It continues to provide reliability and sonic purity unmatched by the competition. The resulting console met the needs of the music, commercial and broadcast industry.\n<br /><br />\nAPI became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. In addition, recording studios, large and small, began using API...and receiving rave reviews from engineers and producers. There are over 700 API consoles across the nation and around the world, including the three major networks. Over thirty years later, many of these consoles are still in daily use in some of the most prestigious recording and broadcast facilities in the world because, to date, there are few, if any consoles of equal sound quality at a cost-effective price.<br /><br />\n<h3>Forty years later, the 550A remains the standard against which other EQs are measured, and has played a major role in the recording industry for decades. For more information, call or chat with an RSPE representative today.</h3>\n<br />'),(825,85,0,138,'API 550A 500 Series Discrete 3-Band EQ'),(826,85,1,138,'API 550A 500 Series Discrete 3-Band EQ'),(827,76,0,138,''),(828,76,1,138,''),(829,75,0,139,'<h1>API 550b Discrete 4-Band EQ — 500 Series</h1>\n<span style=\"font-size:16px; font-style:italic;\">A 500-series compatible 4-band version of the renowned API 550A and inheritor of the classic API 550 EQ designs</span><br /><br />\nThe API 550b is a modern design based on the classic API 550 and 550A. The 550b came about when API’s then owner and chief designer, Paul Wolff (1985 – 1999) was commissioned to build 75 550-style EQs for O’Henry Studios (Burbank, CA), where feature film scores and albums by notable artists such as Ray Charles, k.d. lang, The Wallflowers, and R.E.M. were recorded. The studio requested a 4-band version of the 3-band 550-type equalizers that would fit in a normal 550 chassis—and so the API 550b was born. A modern reissue of the original 550 EQ, the 550b incorporates API\'s exclusive circuitry innovated by API founder Saul Walker, plus proprietary components, such as the legendary API 2520 op amp. Once word got out about the API 550b, it began to outsell the 550A dramatically. <br /><br />\n<h3>API 550b discrete 4-band EQ unique features:</h3>\n<ul>\n	<li>Four bands of API signature equalization</li>\n	<li>\"Proportional Q\" narrows filter Q at extremes</li>\n	<li>Traditional API fully discrete circuit design</li>\n	<li>Re-issue of 1967 API 550 EQ with an extra band</li>\n</ul>\n<br />\n<h3>API 550b discrete 4-band EQ key features:</h3>\n<ul>\n	<li>Each band offers seven frequency centers</li>\n	<li>Reciprocal and repeatable filtering</li>\n	<li>12dB of boost/cut per band</li>\n	<li>EQ band 1 and 4 offer shelf/peak switching</li>\n	<li>High headroom, +30dB clip level</li>\n</ul>\n<div>\n	<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n	<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n</div>\n<p>\n	Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n</p>\n<br />\n<h2>API 550b Inside The Box </h2>\nThe API 550b has four EQ bands with seven switchable filter frequencies that span four to five octaves. The selectable frequencies are significantly overlapped to provide the 550b with dual functionality as both problem solver and sweetening device. These frequencies, purposely selected to be musical rather than numeric, were selected by an experienced \"who\'s who\" list of the industry\'s most proficient engineers, including Paul Wolff himself.\n<br /><br />\nWhat makes the API 550b unique and musical, apart from the additional mid frequency band is the combination of Saul Walker\'s incomparable 2520 opamp and “Proportional Q\" circuitry. Proportional Q narrows or widens EQ bandwidth depending on the amount of boost or cut applied to a selected frequency. With greater amounts of boost or cut, the bandwidth narrows, allowing for surgical correction without compromising the overall sound. For example, if you wanted to remove muddiness from an instrument, greater amounts of cut to -12dB narrows the bandwidth, removing the unwanted frequency while preserving the body of the instrument. Less gain applied to boost/cut widens the Q for a more musical sweetening effect. Another advantage of API’s Proportional Q is the near-elimination of phase shift, a malady found in many parametric equalizers. <br /><br />\nIn addition, the reciprocal nature of the 550b enables the user to \"undo\" what has been done previously with exact precision. With a surprisingly wide range of tonal variations, the 500b is an invaluable and professional audio tool with great flexibility and excellent sonic ability.<br /><br />\n<h3>API 2520 Op Amp—key to the API sound</h3>\nAPI’s 2520 Op Amp found in the 550A is given most of the credit for the API sound. Designed by API engineers, the 2520 is a high-gain, wide-band, direct-coupled amplifier specifically designed for audio applications. The circuit derives its characteristics mainly from the performance of its passive elements, being connected into a feedback loop, which provides predictable, stable performance. Furthermore, the discrete 10-transistor amplifier is encapsulated in a thermally conductive epoxy that protects against thermal shock, vibration, and humidity, assuring long life and reliable performance\n<br /><br />\nMaking use of API\'s \"Proportional Q,\" an innovation designed by Saul Walker in the \'60s, the 550b intuitively widens the filter bandwidth at minimal settings and narrows it at higher settings without the need for additional bandwidth controls. This unique feature minimizes the \"phase-shift\" sound found in many equalizers. <br /><br />\n<h2>API 550b Outside The Box</h2>\nOperating the API 550b is simplicity itself, which is what makes it so effective as an audio tool, since you can get creative without fighting complicated controls. The API 550b has four dual-concentric, custom API aluminum rotary knobs that select frequency and apply gain. The stepped center knob selects one of seven center frequencies in each band. The outer knob boosts or cuts the selected frequency by ±12dB. The low and high bands are peak/shelf switchable EQ, which are selected by positive-action, military grade toggle switches. The 550b’s low-mid and mid-high bands are peaking type EQ. At the bottom of the front panel is a silent EQ in/out switch that allows EQ to be switched in and out of the signal path silently. \n<br /><br />\n<h3>API 550b filter frequency centers:</h3>\n<ul>\n	<li>Low: 30, 40, 50, 100, 200, 300, 400Hz</li>\n	<li>Low-Mid: 75, 150, 180, 240, 500, 700, 1kHz</li>\n	<li>Mid-High: 800, 1.5k, 3k, 5k, 8k, 10k, 12.5kHz</li>\n	<li>High: 2.5k, 5k, 7k, 10k, 12.5k, 15k, 20kHz</li>\n</ul>\n<br />\n<h3>Do or undo, there is no try</h3>\nThe reciprocal nature of the 550b enables the user to “undo” what has been done previously. The benefits of the API 550b are most obvious to those who work with EQ on a continuous basis. The 550b’s ability to affect or reverse tonal modifications is perhaps the most important feature. If major tonal restructuring is required, the extraordinary headroom made possible with API’s 2520 opamp offers predictable and gentle analog performance under duress. With a surprisingly wide range of tonal variations, you can do no better than the API 550b—the force is strong with this one.  \n<br /><br />\n<h3>API Audio\'s VPR Alliance </h3>\nThe VPR Alliance is a program of standardization and consistency guidelines for approved manufacturers wishing to design products for API\'s 500-series rack format. The program provides complete design specifications for manufacturers interested in producing third-party modules that physically fit and electronically conform to API\'s rack specifications.\n<br /><br />\nThe creation of the VPR Alliance was encouraged by the overwhelming popularity of API\'s 500-series racks, including the 10-space 500V and the six-space lunchbox®, which led to a proliferation of third party modules that fit the API format. Typically installed into API racks, these third party modules had raised issues of warranty and interaction with API-manufactured modules in the same rack.<br /><br />\nBecause of the variables related to those third party modules, API had previously been forced to declare that inserting any third-party modules into a 500V or lunchbox voided the warranty on that rack. Through the VPR Alliance, API is now able to eliminate confusion as to which third-party products definitively do and do not void the API warranty. The VPR Alliance is a straightforward resolution that saves the company time and money while promoting goodwill to API customers.<br /><br />\nAPI’s customers benefit from the VPR Alliance with the knowledge of exactly which products are approved for placement in API racks; customers have a wider range of module choices for their racks that have been tested by API staff for specification compliance.<br /><br />\n<h3>An Abbreviated History of API</h3>\nIt all began with a dream. It was 1968. The company: Automated Processes Inc., formed by men with a vision. Best known for their now legendary \"2520 amplifier\", this unique amp has been and will continue to be the heart of all API discrete products. It continues to provide reliability and sonic purity unmatched by the competition. The resulting console met the needs of the music, commercial and broadcast industry.\n<br /><br />\nAPI became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. In addition, recording studios, large and small, began using API...and receiving rave reviews from engineers and producers. There are over 700 API consoles across the nation and around the world, including the three major networks. Over thirty years later, many of these consoles are still in daily use in some of the most prestigious recording and broadcast facilities in the world because, to date, there are few, if any consoles of equal sound quality at a cost-effective price.<br /><br />\n<h3>Why settle for three bands of amazing API EQ when you can have four bands with an API 550B. For more information, call or chat with an RSPE representative today.</h3>'),(830,75,1,139,'<h1>API 550b Discrete 4-Band EQ — 500 Series</h1>\n<span style=\"font-size:16px; font-style:italic;\">A 500-series compatible 4-band version of the renowned API 550A and inheritor of the classic API 550 EQ designs</span><br /><br />\nThe API 550b is a modern design based on the classic API 550 and 550A. The 550b came about when API’s then owner and chief designer, Paul Wolff (1985 – 1999) was commissioned to build 75 550-style EQs for O’Henry Studios (Burbank, CA), where feature film scores and albums by notable artists such as Ray Charles, k.d. lang, The Wallflowers, and R.E.M. were recorded. The studio requested a 4-band version of the 3-band 550-type equalizers that would fit in a normal 550 chassis—and so the API 550b was born. A modern reissue of the original 550 EQ, the 550b incorporates API\'s exclusive circuitry innovated by API founder Saul Walker, plus proprietary components, such as the legendary API 2520 op amp. Once word got out about the API 550b, it began to outsell the 550A dramatically. <br /><br />\n<h3>API 550b discrete 4-band EQ unique features:</h3>\n<ul>\n	<li>Four bands of API signature equalization</li>\n	<li>\"Proportional Q\" narrows filter Q at extremes</li>\n	<li>Traditional API fully discrete circuit design</li>\n	<li>Re-issue of 1967 API 550 EQ with an extra band</li>\n</ul>\n<br />\n<h3>API 550b discrete 4-band EQ key features:</h3>\n<ul>\n	<li>Each band offers seven frequency centers</li>\n	<li>Reciprocal and repeatable filtering</li>\n	<li>12dB of boost/cut per band</li>\n	<li>EQ band 1 and 4 offer shelf/peak switching</li>\n	<li>High headroom, +30dB clip level</li>\n</ul>\n<div>\n	<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n	<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n</div>\n<p>\n	Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n</p>\n<br />\n<h2>API 550b Inside The Box </h2>\nThe API 550b has four EQ bands with seven switchable filter frequencies that span four to five octaves. The selectable frequencies are significantly overlapped to provide the 550b with dual functionality as both problem solver and sweetening device. These frequencies, purposely selected to be musical rather than numeric, were selected by an experienced \"who\'s who\" list of the industry\'s most proficient engineers, including Paul Wolff himself.\n<br /><br />\nWhat makes the API 550b unique and musical, apart from the additional mid frequency band is the combination of Saul Walker\'s incomparable 2520 opamp and “Proportional Q\" circuitry. Proportional Q narrows or widens EQ bandwidth depending on the amount of boost or cut applied to a selected frequency. With greater amounts of boost or cut, the bandwidth narrows, allowing for surgical correction without compromising the overall sound. For example, if you wanted to remove muddiness from an instrument, greater amounts of cut to -12dB narrows the bandwidth, removing the unwanted frequency while preserving the body of the instrument. Less gain applied to boost/cut widens the Q for a more musical sweetening effect. Another advantage of API’s Proportional Q is the near-elimination of phase shift, a malady found in many parametric equalizers. <br /><br />\nIn addition, the reciprocal nature of the 550b enables the user to \"undo\" what has been done previously with exact precision. With a surprisingly wide range of tonal variations, the 500b is an invaluable and professional audio tool with great flexibility and excellent sonic ability.<br /><br />\n<h3>API 2520 Op Amp—key to the API sound</h3>\nAPI’s 2520 Op Amp found in the 550A is given most of the credit for the API sound. Designed by API engineers, the 2520 is a high-gain, wide-band, direct-coupled amplifier specifically designed for audio applications. The circuit derives its characteristics mainly from the performance of its passive elements, being connected into a feedback loop, which provides predictable, stable performance. Furthermore, the discrete 10-transistor amplifier is encapsulated in a thermally conductive epoxy that protects against thermal shock, vibration, and humidity, assuring long life and reliable performance\n<br /><br />\nMaking use of API\'s \"Proportional Q,\" an innovation designed by Saul Walker in the \'60s, the 550b intuitively widens the filter bandwidth at minimal settings and narrows it at higher settings without the need for additional bandwidth controls. This unique feature minimizes the \"phase-shift\" sound found in many equalizers. <br /><br />\n<h2>API 550b Outside The Box</h2>\nOperating the API 550b is simplicity itself, which is what makes it so effective as an audio tool, since you can get creative without fighting complicated controls. The API 550b has four dual-concentric, custom API aluminum rotary knobs that select frequency and apply gain. The stepped center knob selects one of seven center frequencies in each band. The outer knob boosts or cuts the selected frequency by ±12dB. The low and high bands are peak/shelf switchable EQ, which are selected by positive-action, military grade toggle switches. The 550b’s low-mid and mid-high bands are peaking type EQ. At the bottom of the front panel is a silent EQ in/out switch that allows EQ to be switched in and out of the signal path silently. \n<br /><br />\n<h3>API 550b filter frequency centers:</h3>\n<ul>\n	<li>Low: 30, 40, 50, 100, 200, 300, 400Hz</li>\n	<li>Low-Mid: 75, 150, 180, 240, 500, 700, 1kHz</li>\n	<li>Mid-High: 800, 1.5k, 3k, 5k, 8k, 10k, 12.5kHz</li>\n	<li>High: 2.5k, 5k, 7k, 10k, 12.5k, 15k, 20kHz</li>\n</ul>\n<br />\n<h3>Do or undo, there is no try</h3>\nThe reciprocal nature of the 550b enables the user to “undo” what has been done previously. The benefits of the API 550b are most obvious to those who work with EQ on a continuous basis. The 550b’s ability to affect or reverse tonal modifications is perhaps the most important feature. If major tonal restructuring is required, the extraordinary headroom made possible with API’s 2520 opamp offers predictable and gentle analog performance under duress. With a surprisingly wide range of tonal variations, you can do no better than the API 550b—the force is strong with this one.  \n<br /><br />\n<h3>API Audio\'s VPR Alliance </h3>\nThe VPR Alliance is a program of standardization and consistency guidelines for approved manufacturers wishing to design products for API\'s 500-series rack format. The program provides complete design specifications for manufacturers interested in producing third-party modules that physically fit and electronically conform to API\'s rack specifications.\n<br /><br />\nThe creation of the VPR Alliance was encouraged by the overwhelming popularity of API\'s 500-series racks, including the 10-space 500V and the six-space lunchbox®, which led to a proliferation of third party modules that fit the API format. Typically installed into API racks, these third party modules had raised issues of warranty and interaction with API-manufactured modules in the same rack.<br /><br />\nBecause of the variables related to those third party modules, API had previously been forced to declare that inserting any third-party modules into a 500V or lunchbox voided the warranty on that rack. Through the VPR Alliance, API is now able to eliminate confusion as to which third-party products definitively do and do not void the API warranty. The VPR Alliance is a straightforward resolution that saves the company time and money while promoting goodwill to API customers.<br /><br />\nAPI’s customers benefit from the VPR Alliance with the knowledge of exactly which products are approved for placement in API racks; customers have a wider range of module choices for their racks that have been tested by API staff for specification compliance.<br /><br />\n<h3>An Abbreviated History of API</h3>\nIt all began with a dream. It was 1968. The company: Automated Processes Inc., formed by men with a vision. Best known for their now legendary \"2520 amplifier\", this unique amp has been and will continue to be the heart of all API discrete products. It continues to provide reliability and sonic purity unmatched by the competition. The resulting console met the needs of the music, commercial and broadcast industry.\n<br /><br />\nAPI became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. In addition, recording studios, large and small, began using API...and receiving rave reviews from engineers and producers. There are over 700 API consoles across the nation and around the world, including the three major networks. Over thirty years later, many of these consoles are still in daily use in some of the most prestigious recording and broadcast facilities in the world because, to date, there are few, if any consoles of equal sound quality at a cost-effective price.<br /><br />\n<h3>Why settle for three bands of amazing API EQ when you can have four bands with an API 550B. For more information, call or chat with an RSPE representative today.</h3>'),(831,85,0,139,'API 550b Discrete 4 Band EQ'),(832,85,1,139,'API 550b Discrete 4 Band EQ'),(833,76,0,139,''),(834,76,1,139,''),(835,75,0,140,'<h1>API 560 Discrete - 500 Series 10 Band Graphic EQ</h1>\n\nThe API 560 is a 500 Series Graphic EQ designed to accomplish tasks that no other EQ can. Extremely fast to set and reset using accurate zero detents, the curve shaping potential of the 560 remains unmatched. With a wide range of 500 mounting options, from racks to consoles, the 560 proves an invaluable asset to all critical performance applications. Based on API\'s original 560 EQ, the current production 560 has improved resolution in the ±4 dB area and possesses our exclusive circuitry and proprietary components, including the API 2520 Op Amp.<br /><br />\nThe extraordinary headroom made possible with the 2520 offers consistent analog performance even when using radical EQ curves. Of course, the 2520\'s ability to drive low impedance loads is key when it is paired with API\'s custom output transformers. The results are quite audible with better low frequency reproduction and tighter imaging, which gives you that legendary API \"punch in your gut\" sound.<br /><br />\nThe 10 precision EQ bands make the 560 ideal for signal sweetening and room tuning. A great companion to a parametric EQ, the 560 utilizes API\'s unique \"Proportional Q\" design introduced during the \'60s. This design intuitively widens the filter bandwidth at lower boost/cut levels and narrows it at higher settings. Additionally, boost and cut characteristics are identical, allowing previous actions to be undone if desired.<br /><br />\nReliable, durable and uniform, the API 560 EQ delivers that \"one-of-a-kind API sound\" with precision easy set filtering and high headroom in a compact package. If you want the sound of classic American music in an easy-to-set graphic EQ package, you want the API 560.<br /><br />\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>'),(836,75,1,140,'<h1>API 560 Discrete - 500 Series 10 Band Graphic EQ</h1>\n\nThe API 560 is a 500 Series Graphic EQ designed to accomplish tasks that no other EQ can. Extremely fast to set and reset using accurate zero detents, the curve shaping potential of the 560 remains unmatched. With a wide range of 500 mounting options, from racks to consoles, the 560 proves an invaluable asset to all critical performance applications. Based on API\'s original 560 EQ, the current production 560 has improved resolution in the ±4 dB area and possesses our exclusive circuitry and proprietary components, including the API 2520 Op Amp.<br /><br />\nThe extraordinary headroom made possible with the 2520 offers consistent analog performance even when using radical EQ curves. Of course, the 2520\'s ability to drive low impedance loads is key when it is paired with API\'s custom output transformers. The results are quite audible with better low frequency reproduction and tighter imaging, which gives you that legendary API \"punch in your gut\" sound.<br /><br />\nThe 10 precision EQ bands make the 560 ideal for signal sweetening and room tuning. A great companion to a parametric EQ, the 560 utilizes API\'s unique \"Proportional Q\" design introduced during the \'60s. This design intuitively widens the filter bandwidth at lower boost/cut levels and narrows it at higher settings. Additionally, boost and cut characteristics are identical, allowing previous actions to be undone if desired.<br /><br />\nReliable, durable and uniform, the API 560 EQ delivers that \"one-of-a-kind API sound\" with precision easy set filtering and high headroom in a compact package. If you want the sound of classic American music in an easy-to-set graphic EQ package, you want the API 560.<br /><br />\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>'),(837,85,0,140,'API 560 Discrete 10 Band Graphic EQ'),(838,85,1,140,'API 560 Discrete 10 Band Graphic EQ'),(839,76,0,140,''),(840,76,1,140,''),(841,75,0,141,'<h1>API 565 500 Series Filter Bank</h1>\n<span style=\"font-size:16px; font-style:italic;\">A 500 series reissue of the 215L module found in large format API consoles</span><br /><br />\nThe 565 Filter Bank is a sweepable filter, designed specifically to contour the sound to preserve the natural tone of the signal. Its extreme flexibility, repeatable settings and superb sound make it ideal for all studio, live sound and broadcast applications. The 565 includes a sweepable low-pass filter, sweepable high-pass filter and a fully sweepable variable notch filter. The 565 Filter Bank module has circuits that are true to the musical filters of the famed 215 module found in large format API consoles.<br /><br />\n\n<h3>API 550A key features:</h3>\n<ul>\n	<li>sweepable low-pass filter (500Hz to 20kHz, -6 or -12dB slope)</li>\n	<li>sweepable high-pass filter (20Hz to 400Hz, -12 or -18dB slope)</li>\n	<li>variable notch filter (fully sweepable between 20Hz and 20kHz)</li></ul>\n<br />\n<h3>API 2520 Op Amp—key to the API sound</h3>\nAPI’s 2520 Op Amp found in the 505-DI is given most of the credit for the API sound. Designed by API engineers, the 2520 is a high-gain, wide-band, direct-coupled amplifier specifically designed for audio applications. The circuit derives its characteristics mainly from the performance of its passive elements, being connected into a feedback loop, which provides predictable, stable performance. Furthermore, the discrete 10-transistor amplifier is encapsulated in a thermally conductive epoxy that protects against thermal shock, vibration, and humidity, assuring long life and reliable performance. \n<br /><br />In total, the elegant simplicity of 2520 discrete operational amplifier provides the core of the API sound.<br /><br />\n<h2><span style=\"font-size: 24px;\">API Audio\'s VPR Alliance</span></h2>\nThe VPR Alliance is a program of standardization and consistency guidelines for approved manufacturers wishing to design products for API\'s 500-series rack format. The program provides complete design specifications for manufacturers interested in producing third-party modules that physically fit and electronically conform to API\'s rack specifications.\n<br /><br />\nThe creation of the VPR Alliance was encouraged by the overwhelming popularity of API\'s 500-series racks, including the 10-space 500V and the six-space lunchbox®, which led to a proliferation of third party modules that fit the API format. Typically installed into API racks, these third party modules had raised issues of warranty and interaction with API-manufactured modules in the same rack.<br /><br />\nBecause of the variables related to those third party modules, API had previously been forced to declare that inserting any third-party modules into a 500V or lunchbox voided the warranty on that rack. Through the VPR Alliance, API is now able to eliminate confusion as to which third-party products definitively do and do not void the API warranty. The VPR Alliance is a straightforward resolution that saves the company time and money while promoting goodwill to API customers.<br /><br />\nAPI’s customers benefit from the VPR Alliance with the knowledge of exactly which products are approved for placement in API racks; customers have a wider range of module choices for their racks that have been tested by API staff for specification compliance.<br /><br />\n<h3>An Abbreviated History of API</h3>\nIt all began with a dream. It was 1968. The company: Automated Processes Inc., formed by men with a vision. Best known for their now legendary \"2520 amplifier\", this unique amp has been and will continue to be the heart of all API discrete products. It continues to provide reliability and sonic purity unmatched by the competition. The resulting console met the needs of the music, commercial and broadcast industry.\n<br /><br />\nAPI became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. In addition, recording studios, large and small, began using API...and receiving rave reviews from engineers and producers. There are over 700 API consoles across the nation and around the world, including the three major networks. Over thirty years later, many of these consoles are still in daily use in some of the most prestigious recording and broadcast facilities in the world because, to date, there are few, if any consoles of equal sound quality at a cost-effective price.<br /><br />\n<h3>The API 565 can mean the difference between a good mix and the perfect mix! For more information, call or chat with an RSPE representative today.</h3><br />\n<div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a></div><p style=\"letter-spacing: normal;\">Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.</p>'),(842,75,1,141,'<h1>API 565 500 Series Filter Bank</h1>\n<span style=\"font-size:16px; font-style:italic;\">A 500 series reissue of the 215L module found in large format API consoles</span><br /><br />\nThe 565 Filter Bank is a sweepable filter, designed specifically to contour the sound to preserve the natural tone of the signal. Its extreme flexibility, repeatable settings and superb sound make it ideal for all studio, live sound and broadcast applications. The 565 includes a sweepable low-pass filter, sweepable high-pass filter and a fully sweepable variable notch filter. The 565 Filter Bank module has circuits that are true to the musical filters of the famed 215 module found in large format API consoles.<br /><br />\n\n<h3>API 550A key features:</h3>\n<ul>\n	<li>sweepable low-pass filter (500Hz to 20kHz, -6 or -12dB slope)</li>\n	<li>sweepable high-pass filter (20Hz to 400Hz, -12 or -18dB slope)</li>\n	<li>variable notch filter (fully sweepable between 20Hz and 20kHz)</li></ul>\n<br />\n<h3>API 2520 Op Amp—key to the API sound</h3>\nAPI’s 2520 Op Amp found in the 505-DI is given most of the credit for the API sound. Designed by API engineers, the 2520 is a high-gain, wide-band, direct-coupled amplifier specifically designed for audio applications. The circuit derives its characteristics mainly from the performance of its passive elements, being connected into a feedback loop, which provides predictable, stable performance. Furthermore, the discrete 10-transistor amplifier is encapsulated in a thermally conductive epoxy that protects against thermal shock, vibration, and humidity, assuring long life and reliable performance. \n<br /><br />In total, the elegant simplicity of 2520 discrete operational amplifier provides the core of the API sound.<br /><br />\n<h2><span style=\"font-size: 24px;\">API Audio\'s VPR Alliance</span></h2>\nThe VPR Alliance is a program of standardization and consistency guidelines for approved manufacturers wishing to design products for API\'s 500-series rack format. The program provides complete design specifications for manufacturers interested in producing third-party modules that physically fit and electronically conform to API\'s rack specifications.\n<br /><br />\nThe creation of the VPR Alliance was encouraged by the overwhelming popularity of API\'s 500-series racks, including the 10-space 500V and the six-space lunchbox®, which led to a proliferation of third party modules that fit the API format. Typically installed into API racks, these third party modules had raised issues of warranty and interaction with API-manufactured modules in the same rack.<br /><br />\nBecause of the variables related to those third party modules, API had previously been forced to declare that inserting any third-party modules into a 500V or lunchbox voided the warranty on that rack. Through the VPR Alliance, API is now able to eliminate confusion as to which third-party products definitively do and do not void the API warranty. The VPR Alliance is a straightforward resolution that saves the company time and money while promoting goodwill to API customers.<br /><br />\nAPI’s customers benefit from the VPR Alliance with the knowledge of exactly which products are approved for placement in API racks; customers have a wider range of module choices for their racks that have been tested by API staff for specification compliance.<br /><br />\n<h3>An Abbreviated History of API</h3>\nIt all began with a dream. It was 1968. The company: Automated Processes Inc., formed by men with a vision. Best known for their now legendary \"2520 amplifier\", this unique amp has been and will continue to be the heart of all API discrete products. It continues to provide reliability and sonic purity unmatched by the competition. The resulting console met the needs of the music, commercial and broadcast industry.\n<br /><br />\nAPI became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. In addition, recording studios, large and small, began using API...and receiving rave reviews from engineers and producers. There are over 700 API consoles across the nation and around the world, including the three major networks. Over thirty years later, many of these consoles are still in daily use in some of the most prestigious recording and broadcast facilities in the world because, to date, there are few, if any consoles of equal sound quality at a cost-effective price.<br /><br />\n<h3>The API 565 can mean the difference between a good mix and the perfect mix! For more information, call or chat with an RSPE representative today.</h3><br />\n<div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a></div><p style=\"letter-spacing: normal;\">Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.</p>'),(843,85,0,141,'API 565 500 Series Filter Bank'),(844,85,1,141,'API 565 500 Series Filter Bank'),(845,76,0,141,''),(846,76,1,141,''),(847,75,0,142,'<h1>API The Channel Strip - Mic Pre / EQ / Compressor</h1>\n<div></div><div>The API Channel Strip is a complete input module with mic pre, dynamics processing, precision EQ and output level control. With extensive signal metering, multiple balanced insert points and an output mute switch, The Channel Strip contains the best features of a large console input channel in a single rack space. It\'s the perfect choice for anyone looking for that high-performance API console sound.</div><br /><h3><span style=\"background-color: initial;\">Features</span></h3><span style=\"background-color: initial;\"></span><ul><li>API 512c Mic Preamplifier</li><li>API 550A Equalizer</li><li>API 527 Compressor</li><li>API 325 Line Driver</li><li>Complete patching facilities on rear panel</li><li>Two ten segment LED VU displays</li><li><span style=\"background-color: initial;\">Output clips at +30dBm</span></li></ul><br />\nThe result of thoughtful engineering, The Channel Strip includes everything needed to record an audio signal. It all starts with the famed 512c Mic Preamplifier, which includes the benefit of additional Mic, Line or Instrument input switching. Next is the 527 multi-mode Compressor with fully adjustable Threshold, Attack, Release, and Ratio controls on detented pots. The patented THRUST® circuit in the 527 gives your track the \"in-your-face\" punch that has made this circuit an award winner. Also included in The Channel Strip is probably the most recognized and revered API EQ of all time, the 550A three-band Equalizer with its switchable frequencies and 12dB of boost or cut. The 550A\'s High and Low frequency bands can be individually switched to be shelving EQs, and the \"B.P. Filter\" switch inserts a 50Hz to 15KHz bandpass filter.\n<br /><br />\nAt the output of the unit is the 325 Line Driver, taken directly from API console designs with an output level pot and 10 segment meter. The meter can also be switched to show the output level of the preamp. Each of The Channel Strip\'s processing pieces can be switched in or bypassed individually, while a flip switch internally routes the compressor after the EQ if desired. Additional features include a sidechain input and the famous API 2520/transformer combination.'),(848,75,1,142,'<h1>API The Channel Strip - Mic Pre / EQ / Compressor</h1>\n<div></div><div>The API Channel Strip is a complete input module with mic pre, dynamics processing, precision EQ and output level control. With extensive signal metering, multiple balanced insert points and an output mute switch, The Channel Strip contains the best features of a large console input channel in a single rack space. It\'s the perfect choice for anyone looking for that high-performance API console sound.</div><br /><h3><span style=\"background-color: initial;\">Features</span></h3><span style=\"background-color: initial;\"></span><ul><li>API 512c Mic Preamplifier</li><li>API 550A Equalizer</li><li>API 527 Compressor</li><li>API 325 Line Driver</li><li>Complete patching facilities on rear panel</li><li>Two ten segment LED VU displays</li><li><span style=\"background-color: initial;\">Output clips at +30dBm</span></li></ul><br />\nThe result of thoughtful engineering, The Channel Strip includes everything needed to record an audio signal. It all starts with the famed 512c Mic Preamplifier, which includes the benefit of additional Mic, Line or Instrument input switching. Next is the 527 multi-mode Compressor with fully adjustable Threshold, Attack, Release, and Ratio controls on detented pots. The patented THRUST® circuit in the 527 gives your track the \"in-your-face\" punch that has made this circuit an award winner. Also included in The Channel Strip is probably the most recognized and revered API EQ of all time, the 550A three-band Equalizer with its switchable frequencies and 12dB of boost or cut. The 550A\'s High and Low frequency bands can be individually switched to be shelving EQs, and the \"B.P. Filter\" switch inserts a 50Hz to 15KHz bandpass filter.\n<br /><br />\nAt the output of the unit is the 325 Line Driver, taken directly from API console designs with an output level pot and 10 segment meter. The meter can also be switched to show the output level of the preamp. Each of The Channel Strip\'s processing pieces can be switched in or bypassed individually, while a flip switch internally routes the compressor after the EQ if desired. Additional features include a sidechain input and the famous API 2520/transformer combination.'),(849,85,0,142,'API The Channel Strip Mic Pre / EQ / Compressor'),(850,85,1,142,'API The Channel Strip Mic Pre / EQ / Compressor'),(851,76,0,142,''),(852,76,1,142,''),(853,75,0,143,'<h1>Apogee Clearmountain\'s Domain Plug-In</h1>\n<i>Bob Clearmountain’s Personalized Hardware FX Signal Chain Recreated in a Simple, Powerful Plugin for Mac and Windows.</i><br /><br />\nApogee Clearmountain’s Domain is a multi-effects plugin that reproduces legendary mixer, Bob Clearmountain’s, personalized FX signal chain. The plugin simplifies Clearmountain’s very sophisticated and creative hardware routing, making it easier to emulate the cohesive spaces, expansive dimensions, and rich atmospheres his most celebrated mixes are known for.<br /><br />\nClassic presets allow you to recreate the sonic environment of your favorite Clearmountain mixes. Advanced view tabs take you behind the scenes of Clearmountain’s technique to reveal decades of expertise and empower you to create your own musical mix domain. Custom impulse responses of Clearmountain’s favorite spaces give you access to the reverb Bob has used on countless hit records. And, the multi-color FX Visualizer lets you see the placement of all effects in real-time. Clearmountain’s Domain expands Apogee’s plugin offering which also includes the only Pultec EQ plugins to be officially endorsed by Pulse Techniques, makers of Pultec hardware.<br /><br />\n<h3>Clearmountain\'s Domain Features</h3>\n<ul>\n	<li>Clearmountain’s Personalized FX Signal Flow</li>\n	<ul>\n		<li>Pre Delay/Reverb De-esser</li>\n		<li>Pre Delay/Reverb EQ</li>\n		<li>Stereo Delay with Spin Time Compensation    </li>\n		<li>Delay Blur (Saturation)</li>\n		<li>Stereo Unison to Octave Pitch-Shift</li>\n		<li>Clearmountain Spaces Convolution Reverbs</li>\n		<li>FX Mixer</li>\n	</ul>\n	<li>Clearmountain’s Classic Presets</li>\n	<li>Clearmountain Spaces, Convolution Reverbs</li>\n	<li>Real Time FX Visualizer</li>\n</ul>\n<br />\n<h3>Bob Clearmountain Redefined the Role of the “Mixer”</h3><div>For decades, engineers, producers, and musicians have marveled at Bob Clearmountain’s mixes. Recordings by iconic artists like David Bowie, Chic, Roxy Music, The Rolling Stones, Bruce Springsteen, Bryan Adams, INXS, and so many more are prime examples of how Clearmountain’s work elevated the role of “the mixer” to that of an essential creative partner in the process of making records. Clearmountain’s ability to build a soundscape and atmosphere, where voices and instruments effortlessly live in an intimate space but seamlessly blend together, set new standards for mixing. His passion to reveal the true character of the song, highlighting the emotion of the music, gets to the heart of what inspired the song from its inception.<br /><br /><span style=\"background-color: initial;\">While this is a craft honed over a career of many experiences, accomplishments and hit records, there are secrets that can be shared and Clearmountain’s Domain offers one of Bob’s most refined and important techniques in a simple, streamlined plugin.</span></div><br />\n<h3>Clearmountain’s Hardware FX Workflows Made Accessible in your DAW</h3><div>Over decades of mixing hit songs, Clearmountain has developed a complex and personalized hardware FX signal chain for creating the imaginary soundscapes where musical elements each have their own space and dimension, but remain cohesive to the whole. </div><div>This FX signal chain involves an entire studio’s worth of hardware gear - live echo chambers, delays, harmonizers, de-essers, EQs and a large format SSL analog mixing console. And lots of patch cords…so many patch cords!</div><div>Reproducing this complicated interconnection of hardware using individual plugins in a DAW proved to be almost impossible. With Clearmountain’s Domain, it’s refreshingly simple to achieve Clearmountain’s results with a mere click on a preset.</div><br />\n<h3>Classic Presets make it easy to access iconic Clearmountain sounds and create your own</h3><div>Thanks to the Clearmountain’s Classic presets, you don’t need an Engineering degree to get started - instead, start with the awe-inspiring sounds you know and love from your favorite Clearmountain mix! </div><div>Bob has carefully created each preset based on specific instruments and processing from his extensive catalog of timeless hit mixes. Looking to nail the Bowie Let’s Dance snare sound? Simply load the Let’s Dance Snare Delay!</div><br />\n<h3>Custom Impulse Responses of Clearmountain’s Reverb Spaces</h3><div>Earlier in his career, Clearmountain leaned heavily on physical rooms and chambers for realistic and unique reverb - for example, the custom designed echo chambers at his MixThis studios in Los Angeles </div><div>Once convolution reverb technology allowed him to “capture” the characteristics of his favorite rooms as digital impulse response files, he was free to use all his favorite spaces no matter their location.</div><div>With Clearmountain’s Domain, you now have access to these spaces, the very ones used on countless hit mixes.</div><br />'),(854,75,1,143,'<h1>Apogee Clearmountain\'s Domain Plug-In</h1>\n<i>Bob Clearmountain’s Personalized Hardware FX Signal Chain Recreated in a Simple, Powerful Plugin for Mac and Windows.</i><br /><br />\nApogee Clearmountain’s Domain is a multi-effects plugin that reproduces legendary mixer, Bob Clearmountain’s, personalized FX signal chain. The plugin simplifies Clearmountain’s very sophisticated and creative hardware routing, making it easier to emulate the cohesive spaces, expansive dimensions, and rich atmospheres his most celebrated mixes are known for.<br /><br />\nClassic presets allow you to recreate the sonic environment of your favorite Clearmountain mixes. Advanced view tabs take you behind the scenes of Clearmountain’s technique to reveal decades of expertise and empower you to create your own musical mix domain. Custom impulse responses of Clearmountain’s favorite spaces give you access to the reverb Bob has used on countless hit records. And, the multi-color FX Visualizer lets you see the placement of all effects in real-time. Clearmountain’s Domain expands Apogee’s plugin offering which also includes the only Pultec EQ plugins to be officially endorsed by Pulse Techniques, makers of Pultec hardware.<br /><br />\n<h3>Clearmountain\'s Domain Features</h3>\n<ul>\n	<li>Clearmountain’s Personalized FX Signal Flow</li>\n	<ul>\n		<li>Pre Delay/Reverb De-esser</li>\n		<li>Pre Delay/Reverb EQ</li>\n		<li>Stereo Delay with Spin Time Compensation    </li>\n		<li>Delay Blur (Saturation)</li>\n		<li>Stereo Unison to Octave Pitch-Shift</li>\n		<li>Clearmountain Spaces Convolution Reverbs</li>\n		<li>FX Mixer</li>\n	</ul>\n	<li>Clearmountain’s Classic Presets</li>\n	<li>Clearmountain Spaces, Convolution Reverbs</li>\n	<li>Real Time FX Visualizer</li>\n</ul>\n<br />\n<h3>Bob Clearmountain Redefined the Role of the “Mixer”</h3><div>For decades, engineers, producers, and musicians have marveled at Bob Clearmountain’s mixes. Recordings by iconic artists like David Bowie, Chic, Roxy Music, The Rolling Stones, Bruce Springsteen, Bryan Adams, INXS, and so many more are prime examples of how Clearmountain’s work elevated the role of “the mixer” to that of an essential creative partner in the process of making records. Clearmountain’s ability to build a soundscape and atmosphere, where voices and instruments effortlessly live in an intimate space but seamlessly blend together, set new standards for mixing. His passion to reveal the true character of the song, highlighting the emotion of the music, gets to the heart of what inspired the song from its inception.<br /><br /><span style=\"background-color: initial;\">While this is a craft honed over a career of many experiences, accomplishments and hit records, there are secrets that can be shared and Clearmountain’s Domain offers one of Bob’s most refined and important techniques in a simple, streamlined plugin.</span></div><br />\n<h3>Clearmountain’s Hardware FX Workflows Made Accessible in your DAW</h3><div>Over decades of mixing hit songs, Clearmountain has developed a complex and personalized hardware FX signal chain for creating the imaginary soundscapes where musical elements each have their own space and dimension, but remain cohesive to the whole. </div><div>This FX signal chain involves an entire studio’s worth of hardware gear - live echo chambers, delays, harmonizers, de-essers, EQs and a large format SSL analog mixing console. And lots of patch cords…so many patch cords!</div><div>Reproducing this complicated interconnection of hardware using individual plugins in a DAW proved to be almost impossible. With Clearmountain’s Domain, it’s refreshingly simple to achieve Clearmountain’s results with a mere click on a preset.</div><br />\n<h3>Classic Presets make it easy to access iconic Clearmountain sounds and create your own</h3><div>Thanks to the Clearmountain’s Classic presets, you don’t need an Engineering degree to get started - instead, start with the awe-inspiring sounds you know and love from your favorite Clearmountain mix! </div><div>Bob has carefully created each preset based on specific instruments and processing from his extensive catalog of timeless hit mixes. Looking to nail the Bowie Let’s Dance snare sound? Simply load the Let’s Dance Snare Delay!</div><br />\n<h3>Custom Impulse Responses of Clearmountain’s Reverb Spaces</h3><div>Earlier in his career, Clearmountain leaned heavily on physical rooms and chambers for realistic and unique reverb - for example, the custom designed echo chambers at his MixThis studios in Los Angeles </div><div>Once convolution reverb technology allowed him to “capture” the characteristics of his favorite rooms as digital impulse response files, he was free to use all his favorite spaces no matter their location.</div><div>With Clearmountain’s Domain, you now have access to these spaces, the very ones used on countless hit mixes.</div><br />'),(855,85,0,143,'Apogee Clearmountain\'s Domain Plug-in'),(856,85,1,143,'Apogee Clearmountain\'s Domain Plug-in'),(857,76,0,143,''),(858,76,1,143,''),(859,75,0,144,'<h1>Apogee Clearmountain\'s Spaces Plug-In</h1>\n<div><div><i>Three Customized, Clearmountain Spaces </i><i style=\"background-color: initial;\">Clearmountain Expert Presets </i><i style=\"background-color: initial;\">Composite Spaces Mixer</i></div></div>\n<br />\nOne of the most unique sonic building blocks from Clearmountain’s Domain is now available as a separate plugin at an incredible price! The Apogee Clearmountain’s Spaces plugin reproduces Bob Clearmountain’s personalized workflow for creating the distinctive, rich spaces where his mixes live. With the very same echo chamber profiles and processing he’s used on countless hit records, Clearmountain’s Spaces lets you envelope your tracks in unique and cohesive atmospheres that set your mixes apart.<br /><br />\n<h3>Clearmountain\'s Spaces Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Three Customized, Clearmountain Spaces</span></li><li>Clearmountain Expert Presets</li><li>Composite Spaces Mixer</li><li>Input Processing with 3 – Band EQ, De-esser</li><li>Pre-Delay</li><li>Real Time Spaces Visualizer</li><li>Flexible Plugin Window Resizing</li></ul><br />'),(860,75,1,144,'<h1>Apogee Clearmountain\'s Spaces Plug-In</h1>\n<div><div><i>Three Customized, Clearmountain Spaces </i><i style=\"background-color: initial;\">Clearmountain Expert Presets </i><i style=\"background-color: initial;\">Composite Spaces Mixer</i></div></div>\n<br />\nOne of the most unique sonic building blocks from Clearmountain’s Domain is now available as a separate plugin at an incredible price! The Apogee Clearmountain’s Spaces plugin reproduces Bob Clearmountain’s personalized workflow for creating the distinctive, rich spaces where his mixes live. With the very same echo chamber profiles and processing he’s used on countless hit records, Clearmountain’s Spaces lets you envelope your tracks in unique and cohesive atmospheres that set your mixes apart.<br /><br />\n<h3>Clearmountain\'s Spaces Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Three Customized, Clearmountain Spaces</span></li><li>Clearmountain Expert Presets</li><li>Composite Spaces Mixer</li><li>Input Processing with 3 – Band EQ, De-esser</li><li>Pre-Delay</li><li>Real Time Spaces Visualizer</li><li>Flexible Plugin Window Resizing</li></ul><br />'),(861,85,0,144,'Apogee Clearmountain\'s Spaces Plug-In'),(862,85,1,144,'Apogee Clearmountain\'s Spaces Plug-In'),(863,76,0,144,''),(864,76,1,144,''),(865,75,0,145,'<h1>Apogee ClipMic Digital Lavalier Mic</h1>\n<i>ClipMic digital is a high-quality lavalier microphone for iPhone and iPad that features Apogee digital conversion and a custom Apogee microphone capsule.</i><br /><br />\nApogee ClipMic Digital is a high quality lavalier mic for iOS that allows you to easily capture professional audio for field interviews, lectures, or even parents capturing a child’s performance. ClipMic digital combines Apogee’s A/D conversion expertise and advanced studio quality microphone design knowledge to give users optimum sound quality for their recordings, all in a small package that you can take with you anywhere.<br /><br />\n<h3>ClipMic Digital features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Premium lavalier microphone for iPhone and iPad</span></li>\n	<li>Professional microphone capsule captures speech clearly</li>\n	<li>Studio quality Apogee converters pick up every detail</li>\n	<li>Includes MetaRecorder, free iOS recording application</li>\n	\n</ul>\n<br />\n\n<h2>Applications</h2>\n\n<h3>Medical Note Recording and Dictation</h3>\nWith your iPhone and ClipMic digital you have a simple hands-free way to record spoken notes and conversations. This can be especially useful in critical, fast paced settings like hospitals and medical facilities where accuracy and efficiency are essential.<br /><br />\n\n<h3>Speaking, Interviews</h3>\nPerfect for anyone who wants a simple high-quality setup to record Podcasts, presentations, interviews or meetings directly to their iPhone.<br /><br />\n\n<h3>Events and Performances</h3>\nThere are amazing moments happening in your life you’ll want to relive in the years to come. Children’s recitals, performances, weddings, anniversaries and retirement parties – capture these memories with the best sound quality possible using ClipMic digital and the Apogee MetaRecorder App.<br /><br />\n\n<h3>Streaming, Chat and Vlogging</h3>\nIt has never been easier to produce and share your own videos on a blog or video chat with friends and family. iPhone, iPad and iPod touch all include a built-in camera with quality that exceeds that of expensive video gear from only a few years ago. Now you can connect ClipMic digital for incredible sound quality too, creating the ultimate mobile video solution simple enough for anyone to use.<br /><br />\n\n<h3>Audio for Film</h3>\nYou can rely on iPhone as flexible tools for film production. When paired with DSLR video cameras, ClipMic digital and an iOS device make capturing professional quality productions simple and efficient. Apogee’s MetaRecorder is the first app to offer a simple and customizable way to organize audio media files while recording in the field, transforming your post production video workflow.<br /><br />'),(866,75,1,145,'<h1>Apogee ClipMic Digital Lavalier Mic</h1>\n<i>ClipMic digital is a high-quality lavalier microphone for iPhone and iPad that features Apogee digital conversion and a custom Apogee microphone capsule.</i><br /><br />\nApogee ClipMic Digital is a high quality lavalier mic for iOS that allows you to easily capture professional audio for field interviews, lectures, or even parents capturing a child’s performance. ClipMic digital combines Apogee’s A/D conversion expertise and advanced studio quality microphone design knowledge to give users optimum sound quality for their recordings, all in a small package that you can take with you anywhere.<br /><br />\n<h3>ClipMic Digital features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Premium lavalier microphone for iPhone and iPad</span></li>\n	<li>Professional microphone capsule captures speech clearly</li>\n	<li>Studio quality Apogee converters pick up every detail</li>\n	<li>Includes MetaRecorder, free iOS recording application</li>\n	\n</ul>\n<br />\n\n<h2>Applications</h2>\n\n<h3>Medical Note Recording and Dictation</h3>\nWith your iPhone and ClipMic digital you have a simple hands-free way to record spoken notes and conversations. This can be especially useful in critical, fast paced settings like hospitals and medical facilities where accuracy and efficiency are essential.<br /><br />\n\n<h3>Speaking, Interviews</h3>\nPerfect for anyone who wants a simple high-quality setup to record Podcasts, presentations, interviews or meetings directly to their iPhone.<br /><br />\n\n<h3>Events and Performances</h3>\nThere are amazing moments happening in your life you’ll want to relive in the years to come. Children’s recitals, performances, weddings, anniversaries and retirement parties – capture these memories with the best sound quality possible using ClipMic digital and the Apogee MetaRecorder App.<br /><br />\n\n<h3>Streaming, Chat and Vlogging</h3>\nIt has never been easier to produce and share your own videos on a blog or video chat with friends and family. iPhone, iPad and iPod touch all include a built-in camera with quality that exceeds that of expensive video gear from only a few years ago. Now you can connect ClipMic digital for incredible sound quality too, creating the ultimate mobile video solution simple enough for anyone to use.<br /><br />\n\n<h3>Audio for Film</h3>\nYou can rely on iPhone as flexible tools for film production. When paired with DSLR video cameras, ClipMic digital and an iOS device make capturing professional quality productions simple and efficient. Apogee’s MetaRecorder is the first app to offer a simple and customizable way to organize audio media files while recording in the field, transforming your post production video workflow.<br /><br />'),(867,85,0,145,'Apogee ClipMic Digital Lavalier Mic'),(868,85,1,145,'Apogee ClipMic Digital Lavalier Mic'),(869,76,0,145,''),(870,76,1,145,''),(871,75,0,146,'<h2>Apogee Duet - 2 In x 4 Out USB Audio Interface</h2>\n<span style=\"font-size:16px; font-style:italic;\">The first and most respected portable audio interface for iPad, iMac and PC.</span><br />\n<br />The Apogee Duet is an award-winning audio interface, headphone amp and MIDI interface making it easy to create professional recordings anywhere on your iPod touch, iPhone, iPad or Mac. With Apogee’s legendary digital audio conversion and world-class mic preamps, Duet is the best way to capture your music with incredible dimension and detail.<br /><br />\nThe new Duet for iPad and Mac features special circuitry designed to deliver professional performance for iPad use along with low latency USB 2.0 performance for Mac. And with the addition of MIDI I/O you can connect and power a Core MID compatible keyboard/controller while using Duet with your iPad or iOS device.<br /><br />\n<h2>Apogee Duet Highlights:</h2>\n<ul>\n	<li><span style=\"background-color: initial;\">AD/DA conversion for recording up to 192kHz / 24-bit.</span></li>\n	<li>2 analog inputs with world-class mic preamps and selectable 48v phantom power for connecting microphones, instruments or line-level devices.</li>\n	<li>4 analog outputs – 2 balanced 1/4” outs for speakers or outboard gear, 1/4” stereo headphone output.</li>\n	<li>USB 2.0 High Speed connection to Mac.</li>\n	<li>Direct digital connection with iOS devices (iPhone, iPad and iPod touch. Lightning and 30-pin cable sold separately).</li>\n	<li>Software control of hardware parameters including input selection and low latency monitoring.</li>\n</ul>\n<br />\n<h2>Sound Quality</h2>\n<b>A difference you will hear. </b>From the mic preamps to the AD/DA converters and the clocking, Duet is best-in-class and cutting-edge Apogee technology. With components carefully selected in critical listening tests and a highly efficient circuit design, Duet was built by Apogee engineers to make a difference you can hear.\n<div>\n</div>\n<h3>Pristine, next generation AD/DA converters</h3>\n<div>\n	Duet’s AD/DA converters are designed to deliver the purest recordings and best listening experience possible. Duet’s efficient circuitry and state-of-the-art components provide a simplified signal path resulting in incredibly transparent recordings.\n</div>\n<div>\n</div>\n<h3>Smooth, detailed world-class mic preamps</h3>\n<div>\n	Much like the AD/DA converters, Duet’s mic preamps feature the latest components and offer seamless click-free transitions as the gain increases and decreases throughout the incredible range of 0-75dB. This unprecedented feature allows you to dial in the perfect level, either with the controller knob or from within software, while delivering ultra-low noise and smooth, crisp detail. Duet’s mic pres are suitable for all dynamic, condenser or ribbon microphones, allowing you to capture any sound without compromise.\n</div>\n<div>\n</div>\n<h3>Soft Limit</h3>\n<div>\n	<b>Soft Limit for protection from digital overs. </b>An Apogee technology first introduced in 1992 on Apogee’s AD-500 converter, Soft Limit can be heard on countless platinum selling records around the world. Once a technology exclusively reserved for Apogee’s most advanced audio converters, Soft Limit is included in Duet and can be enabled in Apogee Maestro software.\n</div>\n<div>\n</div>\nThis superior analog design prevents the digital clipping that causes distortion by instantaneously rounding off transient peaks before they hit the analog-to-digital converter. Soft Limit allows several more decibels of apparent level to be recorded while subtly providing an analog-like warmth to the sound.\n<br /><br />\n<h2>Inputs & Outputs</h2>\n<h3>Breakout Cable</h3>\n	Duet’s breakout cable includes 2 combination mic/instrument connectors (XLR and 1/4” built into a single connector) and 2 balanced 1/4” connectors for speakers. The elegant single cable-to-junction design allows for easy cable management and the locking connection to Duet is robust and stylish.\n<br /><br />\n<h3>2 Analog Inputs</h3>\n	Duet’s 2 combination input connectors (XLR and 1/4”) allow you to connect microphones, guitars and keyboards or your favorite external mic preamps, compressors and EQs.\n<br /><br />\n<h3>4 Analog Outputs</h3>\n	Duet includes 4 analog outputs. 2 1/4” balanced outputs for connection to speakers or outboard equipment and a separate, independently controlled 1/4” stereo headphone output.\n<br /><br />\nWith these 4 outputs it’s possible for a DJ to monitor a separate mix in headphones while sending a house mix to the club, a live performer to send a click track to in-ear monitors while sending a backing track to front-of-house, and a recording engineer to send a headphone mix to the performer while dedicating the main outputs to studio monitors.<br /><br />\n<h3>MIDI</h3>\n	Duet provides a single USB MIDI connection for your CoreMIDI compatible keyboard, synth, or DJ controller. This eliminates the need for an external MIDI interface and promotes an all-in-one music creation solution where Duet and Maestro manage all audio and MIDI. On iPad, Duet’s MIDI connection allows both Duet and a keyboard or DJ controller to be connected at the same time to the iPad\'s single connector (Lightning or 30-pin).\n<br /><br />\n<h3>Breakout Box Accessory</h3>\n	Available as a separate accessory for Duet is a solidly built, aluminum breakout box with 2 1/4” inputs, 2 XLR inputs (for 2 simultaneous channels of input) and 2 balanced XLR outputs. The Duet breakout box features studio-quality I/O connectors and includes a 2 meter cable allowing you to extend your input and output connections away from your desktop and minimize cable clutter.\n<br /><br />\n<i>Please note the breakout box does not enable extra inputs or outputs. Whether you are using the breakout cable or breakout box Duet is capable of 2 channels of analog input (mic, line, or instrument) and 4 channels of analog output (left/right headphones and left/right monitor outputs).</i><br /><br />'),(872,75,1,146,'<h2>Apogee Duet - 2 In x 4 Out USB Audio Interface</h2>\n<span style=\"font-size:16px; font-style:italic;\">The first and most respected portable audio interface for iPad, iMac and PC.</span><br />\n<br />The Apogee Duet is an award-winning audio interface, headphone amp and MIDI interface making it easy to create professional recordings anywhere on your iPod touch, iPhone, iPad or Mac. With Apogee’s legendary digital audio conversion and world-class mic preamps, Duet is the best way to capture your music with incredible dimension and detail.<br /><br />\nThe new Duet for iPad and Mac features special circuitry designed to deliver professional performance for iPad use along with low latency USB 2.0 performance for Mac. And with the addition of MIDI I/O you can connect and power a Core MID compatible keyboard/controller while using Duet with your iPad or iOS device.<br /><br />\n<h2>Apogee Duet Highlights:</h2>\n<ul>\n	<li><span style=\"background-color: initial;\">AD/DA conversion for recording up to 192kHz / 24-bit.</span></li>\n	<li>2 analog inputs with world-class mic preamps and selectable 48v phantom power for connecting microphones, instruments or line-level devices.</li>\n	<li>4 analog outputs – 2 balanced 1/4” outs for speakers or outboard gear, 1/4” stereo headphone output.</li>\n	<li>USB 2.0 High Speed connection to Mac.</li>\n	<li>Direct digital connection with iOS devices (iPhone, iPad and iPod touch. Lightning and 30-pin cable sold separately).</li>\n	<li>Software control of hardware parameters including input selection and low latency monitoring.</li>\n</ul>\n<br />\n<h2>Sound Quality</h2>\n<b>A difference you will hear. </b>From the mic preamps to the AD/DA converters and the clocking, Duet is best-in-class and cutting-edge Apogee technology. With components carefully selected in critical listening tests and a highly efficient circuit design, Duet was built by Apogee engineers to make a difference you can hear.\n<div>\n</div>\n<h3>Pristine, next generation AD/DA converters</h3>\n<div>\n	Duet’s AD/DA converters are designed to deliver the purest recordings and best listening experience possible. Duet’s efficient circuitry and state-of-the-art components provide a simplified signal path resulting in incredibly transparent recordings.\n</div>\n<div>\n</div>\n<h3>Smooth, detailed world-class mic preamps</h3>\n<div>\n	Much like the AD/DA converters, Duet’s mic preamps feature the latest components and offer seamless click-free transitions as the gain increases and decreases throughout the incredible range of 0-75dB. This unprecedented feature allows you to dial in the perfect level, either with the controller knob or from within software, while delivering ultra-low noise and smooth, crisp detail. Duet’s mic pres are suitable for all dynamic, condenser or ribbon microphones, allowing you to capture any sound without compromise.\n</div>\n<div>\n</div>\n<h3>Soft Limit</h3>\n<div>\n	<b>Soft Limit for protection from digital overs. </b>An Apogee technology first introduced in 1992 on Apogee’s AD-500 converter, Soft Limit can be heard on countless platinum selling records around the world. Once a technology exclusively reserved for Apogee’s most advanced audio converters, Soft Limit is included in Duet and can be enabled in Apogee Maestro software.\n</div>\n<div>\n</div>\nThis superior analog design prevents the digital clipping that causes distortion by instantaneously rounding off transient peaks before they hit the analog-to-digital converter. Soft Limit allows several more decibels of apparent level to be recorded while subtly providing an analog-like warmth to the sound.\n<br /><br />\n<h2>Inputs & Outputs</h2>\n<h3>Breakout Cable</h3>\n	Duet’s breakout cable includes 2 combination mic/instrument connectors (XLR and 1/4” built into a single connector) and 2 balanced 1/4” connectors for speakers. The elegant single cable-to-junction design allows for easy cable management and the locking connection to Duet is robust and stylish.\n<br /><br />\n<h3>2 Analog Inputs</h3>\n	Duet’s 2 combination input connectors (XLR and 1/4”) allow you to connect microphones, guitars and keyboards or your favorite external mic preamps, compressors and EQs.\n<br /><br />\n<h3>4 Analog Outputs</h3>\n	Duet includes 4 analog outputs. 2 1/4” balanced outputs for connection to speakers or outboard equipment and a separate, independently controlled 1/4” stereo headphone output.\n<br /><br />\nWith these 4 outputs it’s possible for a DJ to monitor a separate mix in headphones while sending a house mix to the club, a live performer to send a click track to in-ear monitors while sending a backing track to front-of-house, and a recording engineer to send a headphone mix to the performer while dedicating the main outputs to studio monitors.<br /><br />\n<h3>MIDI</h3>\n	Duet provides a single USB MIDI connection for your CoreMIDI compatible keyboard, synth, or DJ controller. This eliminates the need for an external MIDI interface and promotes an all-in-one music creation solution where Duet and Maestro manage all audio and MIDI. On iPad, Duet’s MIDI connection allows both Duet and a keyboard or DJ controller to be connected at the same time to the iPad\'s single connector (Lightning or 30-pin).\n<br /><br />\n<h3>Breakout Box Accessory</h3>\n	Available as a separate accessory for Duet is a solidly built, aluminum breakout box with 2 1/4” inputs, 2 XLR inputs (for 2 simultaneous channels of input) and 2 balanced XLR outputs. The Duet breakout box features studio-quality I/O connectors and includes a 2 meter cable allowing you to extend your input and output connections away from your desktop and minimize cable clutter.\n<br /><br />\n<i>Please note the breakout box does not enable extra inputs or outputs. Whether you are using the breakout cable or breakout box Duet is capable of 2 channels of analog input (mic, line, or instrument) and 4 channels of analog output (left/right headphones and left/right monitor outputs).</i><br /><br />'),(873,85,0,146,'Apogee Duet for iPad & Mac - 2 In x 4 Out USB Audio Interface'),(874,85,1,146,'Apogee Duet for iPad & Mac - 2 In x 4 Out USB Audio Interface'),(875,76,0,146,''),(876,76,1,146,''),(877,75,0,147,'<h1>Apogee ELEMENT 88 - Thunderbolt Audio Interface </h1>\n<span style=\"font-size: 16px; font-style: italic;\">16 IN x 16 OUT Thunderbolt Audio I/O Box for Mac</span><br /><br />Apogee Element 88 is a high quality Thunderbolt Audio Interface that offers the best sound quality of any 8 IN x 8 OUT audio interface under $1,500. Ideal for the producer, engineer or musician, Element 88 gives you all the I/O you need to record drums or a full band.<br /><br />Apogee’s Element 24, 46 and 88 are Thunderbolt audio I/O boxes for Mac. The Element Series takes the best of cutting-edge Apogee gear like Symphony I/O Mk II, Ensemble Thunderbolt and Groove and puts it into simple form factors. With streamlined hardware features and advanced software control, the Element series delivers ultimate recording quality and performance at unprecedented prices.<br /><br />\n<h2>Apogee Element 88 Highlights</h2>\n<div class=\"flex_column av_one_half flex_column_div av-zero-column-padding first avia-builder-el-13 el_after_av_heading el_before_av_one_half \" style=\"border-radius: 0px;\">\n	<section class=\"av_textblock_section\" itemscope=\"itemscope\" itemtype=\"https://schema.org/CreativeWork\">\n	<div class=\"avia_textblock \" itemprop=\"text\">\n		<div class=\"flex_column av_one_half flex_column_div av-zero-column-padding first avia-builder-el-13 el_after_av_heading el_before_av_one_half \" style=\"border-radius: 0px;\">\n			<section class=\"av_textblock_section\" itemscope=\"itemscope\" itemtype=\"https://schema.org/CreativeWork\">\n			<div class=\"avia_textblock \" itemprop=\"text\">\n				<div class=\"flex_column av_one_half flex_column_div av-zero-column-padding first avia-builder-el-13 el_after_av_heading el_before_av_one_half \" style=\"border-radius: 0px;\">\n					<section class=\"av_textblock_section\" itemscope=\"itemscope\" itemtype=\"https://schema.org/CreativeWork\">\n					<div class=\"avia_textblock \" itemprop=\"text\">\n						<ul>\n							<li>16 IN x 16 OUT Audio I/O box</li>\n							<li>AD/DA conversion for recording up to 192kHz/24-bit</li>\n							<li>8 analog inputs with world-class mic preamps and selectable 48v phantom power for connecting microphones, instruments or line-level devices\n							<ul>\n								<li>4 combination inputs</li>\n								<li>4 XLR inputs</li>\n							</ul>\n							</li>\n							<li>8 analog outputs\n							<ul>\n								<li>2 balanced L/R XLR outputs</li>\n								<li>2 balanced 1/4” outputs</li>\n								<li>2 1/4” stereo headphone outputs</li>\n							</ul>\n							</li>\n							<li>Single port Thunderbolt connectivity to Mac for ultra-low latency performance\n							<ul>\n								<li>1.41ms round-trip at 96kHz with a 32 buffer setting</li>\n							</ul>\n							</li>\n							<li>Optical IN: Supports ADAT, SMUX & S/PDIF\n							<ul>\n								<li>ADAT: 8 channels 44.1-48 kHz on 1 Toslink connector</li>\n								<li>SMUX: 4 channels 88.2-96 kHz on 1 Toslink connector</li>\n								<li>S/PDIF: 2 channels, up to 192 kHz on 1 Toslink connector</li>\n							</ul>\n							</li>\n						</ul>\n					</div>\n					</section>\n				</div>\n				<div class=\"flex_column av_one_half flex_column_div av-zero-column-padding avia-builder-el-15 el_after_av_one_half avia-builder-el-last \" style=\"border-radius: 0px;\">\n					<section class=\"av_textblock_section\" itemscope=\"itemscope\" itemtype=\"https://schema.org/CreativeWork\">\n					<div class=\"avia_textblock \" itemprop=\"text\">\n						<ul>\n							<li>Optical OUT: Supports ADAT, SMUX & S/PDIF\n							<ul>\n								<li>ADAT: 8 channels 44.1-48 kHz on 1 Toslink connector</li>\n								<li>SMUX: 4 channels 88.2-96 kHz on 1 Toslink connector</li>\n								<li>S/PDIF: 2 channels, up to 192 kHz on 1 Toslink connector</li>\n							</ul>\n							</li>\n							<li>Word Clock IN/OUT via BNC connections for syncing with other digital audio gear</li>\n							<li>Element Control Software for Mac provides all control of hardware parameters including input gain, output level and low latency monitoring</li>\n							<li>Element Control Mobile App provides wireless remote control of hardware via iPhone, iPad or iPod touch</li>\n							<li>Works with Apogee Control – Optional desktop hardware remote control (Sold separately)</li>\n							<li>Multi-Unit Thunderbolt support – Connect any two Element audio I/O boxes directly to Thunderbolt ports on your computer</li>\n						</ul>\n						<br />\n					</div>\n					</section>\n				</div>\n			</div>\n			</section>\n		</div>\n	</div>\n	</section>\n</div>\n<h2>The Elements of Excellent Audio</h2>\n<div class=\"flex_column av_four_fifth flex_column_div av-zero-column-padding avia-builder-el-9 el_after_av_one_fifth el_before_av_hr \" style=\"border-radius:0px; \">\n	<section class=\"av_textblock_section\" itemscope=\"itemscope\" itemtype=\"https://schema.org/CreativeWork\">\n	<div class=\"avia_textblock \" itemprop=\"text\">\n		<h3><span style=\"color: rgb(12, 12, 12);\"><span style=\"color: rgb(255, 255, 255);\"><span style=\"color: rgb(12, 12, 12);\">Analog to Digital Conversion</span></span></span></h3>\n		<span style=\"color: rgb(12, 12, 12);\">\n		</span>\n		<p>\n			<span style=\"color: rgb(12, 12, 12);\"><span style=\"color: rgb(12, 12, 12);\"><span style=\"color: rgb(255, 255, 255);\"><span style=\"color: rgb(0, 0, 0);\">A high-quality A/D converter is \ncritical for capturing every detail of your recordings into your \ncomputer. The Element series features some of the best Apogee A/D \nconversion. Recording through an Element ensures you will minimize \nunwanted noise and maximize the signal quality. Your tracks will sound \namazing and mixing your project will be easier.\n			</span></span></span></span>\n		</p>\n		<span style=\"color: rgb(0, 0, 0);\"><span style=\"color: rgb(12, 12, 12);\">\n		</span></span>\n	</div>\n	</section>\n</div>\n<br />\n<h3>Microphone Preamps</h3>\nWhether you are recording powerful drums, dynamic vocals or delicate strings, you need a premium mic preamp to capture the finest details of the performance. The Element Series mic preamps feature Apogee’s Advanced Stepped Gain Architecture™. This analog circuit is designed to dynamically optimize across a gain range of 0-75dB to provide superior bandwidth and low distortion.\n<br /><br /><br />\n<h3>Digital to Analog Conversion</h3>\nWith a high-quality D/A converter, you will hear more definition in each track and virtual instrument. This clarity makes it easier for you to make precise adjustments and achieve the ideal balance when mixing your music. When you listen to your sessions through an Element, tracks will blend more harmoniously and mixing will be easier. The high end will sound crisp and clear and the low end will be tight and well defined.\n<br /><br /><br />\n<h3>Clocking</h3>\nAn audio interface relies on a clock source like an orchestra relies on a conductor. A digital audio clock provides a timing signal to all the parts of a digital audio system so that each part of the AD/DA process may be synchronized. Element has its own built-in clock source and provides professional Word Clock IN and OUT for syncing with other digital audio gear. Use Element as the master clock to take advantage of Apogee’s superior built-in clocking technology.\n<br /><br />\n<div>\n	All of Symphony I/O Mk II’s essential input and output settings can be accessed from the front panel touchscreen. Change your input selection, monitoring levels, mic pre gain or calibrate your Symphony I/O Mk II to match the levels of the other analog gear in your system. \n	<span style=\"background-color: initial;\">A high-resolution TFT display delivers all the visual feedback critical for recording and monitoring. Without looking at your computer, Symphony I/O Mk II lets you see metering for up to 64 channels of I/O, 32 IN x 32 OUT – signal levels, polarity, muting, phantom power and Soft Limit.</span>\n</div>\n<br />\n<h3>Thunderbolt Connectivity</h3>\nThe Element Series Thunderbolt driver offers incredible low-latency performance (1.41 ms round-trip) and rock-solid stability. Apogee’s custom driver uses less of your computer’s CPU power with the help of Direct Memory Access (DMA) technology. This allows you to run more plugins and monitor through your DAW at a low buffer setting. Element’s low latency driver means you don’t have to choose between power and speed.ing.\n<br /><br />\n<h3>Element 88 is perfect for the independent musician who wants the best possible sound quality, lowest latency and high quality performance. For more information, talk to an RSPE representative.</h3>'),(878,75,1,147,'<h1>Apogee ELEMENT 88 - Thunderbolt Audio Interface </h1>\n<span style=\"font-size: 16px; font-style: italic;\">16 IN x 16 OUT Thunderbolt Audio I/O Box for Mac</span><br /><br />Apogee Element 88 is a high quality Thunderbolt Audio Interface that offers the best sound quality of any 8 IN x 8 OUT audio interface under $1,500. Ideal for the producer, engineer or musician, Element 88 gives you all the I/O you need to record drums or a full band.<br /><br />Apogee’s Element 24, 46 and 88 are Thunderbolt audio I/O boxes for Mac. The Element Series takes the best of cutting-edge Apogee gear like Symphony I/O Mk II, Ensemble Thunderbolt and Groove and puts it into simple form factors. With streamlined hardware features and advanced software control, the Element series delivers ultimate recording quality and performance at unprecedented prices.<br /><br />\n<h2>Apogee Element 88 Highlights</h2>\n<div class=\"flex_column av_one_half flex_column_div av-zero-column-padding first avia-builder-el-13 el_after_av_heading el_before_av_one_half \" style=\"border-radius: 0px;\">\n	<section class=\"av_textblock_section\" itemscope=\"itemscope\" itemtype=\"https://schema.org/CreativeWork\">\n	<div class=\"avia_textblock \" itemprop=\"text\">\n		<div class=\"flex_column av_one_half flex_column_div av-zero-column-padding first avia-builder-el-13 el_after_av_heading el_before_av_one_half \" style=\"border-radius: 0px;\">\n			<section class=\"av_textblock_section\" itemscope=\"itemscope\" itemtype=\"https://schema.org/CreativeWork\">\n			<div class=\"avia_textblock \" itemprop=\"text\">\n				<div class=\"flex_column av_one_half flex_column_div av-zero-column-padding first avia-builder-el-13 el_after_av_heading el_before_av_one_half \" style=\"border-radius: 0px;\">\n					<section class=\"av_textblock_section\" itemscope=\"itemscope\" itemtype=\"https://schema.org/CreativeWork\">\n					<div class=\"avia_textblock \" itemprop=\"text\">\n						<ul>\n							<li>16 IN x 16 OUT Audio I/O box</li>\n							<li>AD/DA conversion for recording up to 192kHz/24-bit</li>\n							<li>8 analog inputs with world-class mic preamps and selectable 48v phantom power for connecting microphones, instruments or line-level devices\n							<ul>\n								<li>4 combination inputs</li>\n								<li>4 XLR inputs</li>\n							</ul>\n							</li>\n							<li>8 analog outputs\n							<ul>\n								<li>2 balanced L/R XLR outputs</li>\n								<li>2 balanced 1/4” outputs</li>\n								<li>2 1/4” stereo headphone outputs</li>\n							</ul>\n							</li>\n							<li>Single port Thunderbolt connectivity to Mac for ultra-low latency performance\n							<ul>\n								<li>1.41ms round-trip at 96kHz with a 32 buffer setting</li>\n							</ul>\n							</li>\n							<li>Optical IN: Supports ADAT, SMUX & S/PDIF\n							<ul>\n								<li>ADAT: 8 channels 44.1-48 kHz on 1 Toslink connector</li>\n								<li>SMUX: 4 channels 88.2-96 kHz on 1 Toslink connector</li>\n								<li>S/PDIF: 2 channels, up to 192 kHz on 1 Toslink connector</li>\n							</ul>\n							</li>\n						</ul>\n					</div>\n					</section>\n				</div>\n				<div class=\"flex_column av_one_half flex_column_div av-zero-column-padding avia-builder-el-15 el_after_av_one_half avia-builder-el-last \" style=\"border-radius: 0px;\">\n					<section class=\"av_textblock_section\" itemscope=\"itemscope\" itemtype=\"https://schema.org/CreativeWork\">\n					<div class=\"avia_textblock \" itemprop=\"text\">\n						<ul>\n							<li>Optical OUT: Supports ADAT, SMUX & S/PDIF\n							<ul>\n								<li>ADAT: 8 channels 44.1-48 kHz on 1 Toslink connector</li>\n								<li>SMUX: 4 channels 88.2-96 kHz on 1 Toslink connector</li>\n								<li>S/PDIF: 2 channels, up to 192 kHz on 1 Toslink connector</li>\n							</ul>\n							</li>\n							<li>Word Clock IN/OUT via BNC connections for syncing with other digital audio gear</li>\n							<li>Element Control Software for Mac provides all control of hardware parameters including input gain, output level and low latency monitoring</li>\n							<li>Element Control Mobile App provides wireless remote control of hardware via iPhone, iPad or iPod touch</li>\n							<li>Works with Apogee Control – Optional desktop hardware remote control (Sold separately)</li>\n							<li>Multi-Unit Thunderbolt support – Connect any two Element audio I/O boxes directly to Thunderbolt ports on your computer</li>\n						</ul>\n						<br />\n					</div>\n					</section>\n				</div>\n			</div>\n			</section>\n		</div>\n	</div>\n	</section>\n</div>\n<h2>The Elements of Excellent Audio</h2>\n<div class=\"flex_column av_four_fifth flex_column_div av-zero-column-padding avia-builder-el-9 el_after_av_one_fifth el_before_av_hr \" style=\"border-radius:0px; \">\n	<section class=\"av_textblock_section\" itemscope=\"itemscope\" itemtype=\"https://schema.org/CreativeWork\">\n	<div class=\"avia_textblock \" itemprop=\"text\">\n		<h3><span style=\"color: rgb(12, 12, 12);\"><span style=\"color: rgb(255, 255, 255);\"><span style=\"color: rgb(12, 12, 12);\">Analog to Digital Conversion</span></span></span></h3>\n		<span style=\"color: rgb(12, 12, 12);\">\n		</span>\n		<p>\n			<span style=\"color: rgb(12, 12, 12);\"><span style=\"color: rgb(12, 12, 12);\"><span style=\"color: rgb(255, 255, 255);\"><span style=\"color: rgb(0, 0, 0);\">A high-quality A/D converter is \ncritical for capturing every detail of your recordings into your \ncomputer. The Element series features some of the best Apogee A/D \nconversion. Recording through an Element ensures you will minimize \nunwanted noise and maximize the signal quality. Your tracks will sound \namazing and mixing your project will be easier.\n			</span></span></span></span>\n		</p>\n		<span style=\"color: rgb(0, 0, 0);\"><span style=\"color: rgb(12, 12, 12);\">\n		</span></span>\n	</div>\n	</section>\n</div>\n<br />\n<h3>Microphone Preamps</h3>\nWhether you are recording powerful drums, dynamic vocals or delicate strings, you need a premium mic preamp to capture the finest details of the performance. The Element Series mic preamps feature Apogee’s Advanced Stepped Gain Architecture™. This analog circuit is designed to dynamically optimize across a gain range of 0-75dB to provide superior bandwidth and low distortion.\n<br /><br /><br />\n<h3>Digital to Analog Conversion</h3>\nWith a high-quality D/A converter, you will hear more definition in each track and virtual instrument. This clarity makes it easier for you to make precise adjustments and achieve the ideal balance when mixing your music. When you listen to your sessions through an Element, tracks will blend more harmoniously and mixing will be easier. The high end will sound crisp and clear and the low end will be tight and well defined.\n<br /><br /><br />\n<h3>Clocking</h3>\nAn audio interface relies on a clock source like an orchestra relies on a conductor. A digital audio clock provides a timing signal to all the parts of a digital audio system so that each part of the AD/DA process may be synchronized. Element has its own built-in clock source and provides professional Word Clock IN and OUT for syncing with other digital audio gear. Use Element as the master clock to take advantage of Apogee’s superior built-in clocking technology.\n<br /><br />\n<div>\n	All of Symphony I/O Mk II’s essential input and output settings can be accessed from the front panel touchscreen. Change your input selection, monitoring levels, mic pre gain or calibrate your Symphony I/O Mk II to match the levels of the other analog gear in your system. \n	<span style=\"background-color: initial;\">A high-resolution TFT display delivers all the visual feedback critical for recording and monitoring. Without looking at your computer, Symphony I/O Mk II lets you see metering for up to 64 channels of I/O, 32 IN x 32 OUT – signal levels, polarity, muting, phantom power and Soft Limit.</span>\n</div>\n<br />\n<h3>Thunderbolt Connectivity</h3>\nThe Element Series Thunderbolt driver offers incredible low-latency performance (1.41 ms round-trip) and rock-solid stability. Apogee’s custom driver uses less of your computer’s CPU power with the help of Direct Memory Access (DMA) technology. This allows you to run more plugins and monitor through your DAW at a low buffer setting. Element’s low latency driver means you don’t have to choose between power and speed.ing.\n<br /><br />\n<h3>Element 88 is perfect for the independent musician who wants the best possible sound quality, lowest latency and high quality performance. For more information, talk to an RSPE representative.</h3>'),(879,85,0,147,'Apogee ELEMENT 88 - Thunderbolt Audio Interface'),(880,85,1,147,'Apogee ELEMENT 88 - Thunderbolt Audio Interface'),(881,76,0,147,''),(882,76,1,147,''),(883,75,0,148,'<h1>Apogee ELEMENT Control </h1>\n<span style=\"font-size: 16px; font-style: italic;\">16 IN x 16 OUT Thunderbolt Audio I/O Box for Mac</span><br /><br /><div>Apogee Control is a desktop hardware remote control for the Apogee Element Series, Ensemble Thunderbolt, and Symphony I/O MK II</div><div>Sometimes, it just feels right to have hardware control at your fingertips – with the Apogee Control hardware remote, you have 8 buttons and a control knob that you can configure to control a wide range of settings. Apogee Control hardware remote connects directly to your Mac using a simple USB cable.</div><br />\n<h2>Apogee ELEMENT Control</h2>\n<div class=\"flex_column av_one_half flex_column_div av-zero-column-padding first avia-builder-el-13 el_after_av_heading el_before_av_one_half \" style=\"border-radius: 0px;\">\n	<section class=\"av_textblock_section\" itemscope=\"itemscope\" itemtype=\"https://schema.org/CreativeWork\">\n	<div class=\"avia_textblock \" itemprop=\"text\">\n		<div class=\"flex_column av_one_half flex_column_div av-zero-column-padding first avia-builder-el-13 el_after_av_heading el_before_av_one_half \" style=\"border-radius: 0px;\">\n			<section class=\"av_textblock_section\" itemscope=\"itemscope\" itemtype=\"https://schema.org/CreativeWork\">\n			<div class=\"avia_textblock \" itemprop=\"text\">\n				<div class=\"flex_column av_one_half flex_column_div av-zero-column-padding first avia-builder-el-13 el_after_av_heading el_before_av_one_half \" style=\"border-radius: 0px;\">\n					<section class=\"av_textblock_section\" itemscope=\"itemscope\" itemtype=\"https://schema.org/CreativeWork\">\n					<div class=\"avia_textblock \" itemprop=\"text\">\n						<ul>\n							<li><span style=\"background-color: initial; letter-spacing: 0px;\">Desktop hardware remote control</span></li><li>Works with Element Series, Ensemble Thunderbolt, and Symphony I/O Mk II Thunderbolt</li><li>Connects directly to any available USB port on your Mac</li><li>8 Assignable buttons</li><li>1 Assignable control knob</li><li>Can be configured to control multiple units</li></ul></div></section></div><div class=\"flex_column av_one_half flex_column_div av-zero-column-padding avia-builder-el-15 el_after_av_one_half avia-builder-el-last \" style=\"border-radius: 0px;\"><section class=\"av_textblock_section\" itemscope=\"itemscope\" itemtype=\"https://schema.org/CreativeWork\"><div class=\"avia_textblock \" itemprop=\"text\"><ul>\n						</ul>\n						</div></section></div></div></section></div></div></section></div><br />'),(884,75,1,148,'<h1>Apogee ELEMENT Control </h1>\n<span style=\"font-size: 16px; font-style: italic;\">16 IN x 16 OUT Thunderbolt Audio I/O Box for Mac</span><br /><br /><div>Apogee Control is a desktop hardware remote control for the Apogee Element Series, Ensemble Thunderbolt, and Symphony I/O MK II</div><div>Sometimes, it just feels right to have hardware control at your fingertips – with the Apogee Control hardware remote, you have 8 buttons and a control knob that you can configure to control a wide range of settings. Apogee Control hardware remote connects directly to your Mac using a simple USB cable.</div><br />\n<h2>Apogee ELEMENT Control</h2>\n<div class=\"flex_column av_one_half flex_column_div av-zero-column-padding first avia-builder-el-13 el_after_av_heading el_before_av_one_half \" style=\"border-radius: 0px;\">\n	<section class=\"av_textblock_section\" itemscope=\"itemscope\" itemtype=\"https://schema.org/CreativeWork\">\n	<div class=\"avia_textblock \" itemprop=\"text\">\n		<div class=\"flex_column av_one_half flex_column_div av-zero-column-padding first avia-builder-el-13 el_after_av_heading el_before_av_one_half \" style=\"border-radius: 0px;\">\n			<section class=\"av_textblock_section\" itemscope=\"itemscope\" itemtype=\"https://schema.org/CreativeWork\">\n			<div class=\"avia_textblock \" itemprop=\"text\">\n				<div class=\"flex_column av_one_half flex_column_div av-zero-column-padding first avia-builder-el-13 el_after_av_heading el_before_av_one_half \" style=\"border-radius: 0px;\">\n					<section class=\"av_textblock_section\" itemscope=\"itemscope\" itemtype=\"https://schema.org/CreativeWork\">\n					<div class=\"avia_textblock \" itemprop=\"text\">\n						<ul>\n							<li><span style=\"background-color: initial; letter-spacing: 0px;\">Desktop hardware remote control</span></li><li>Works with Element Series, Ensemble Thunderbolt, and Symphony I/O Mk II Thunderbolt</li><li>Connects directly to any available USB port on your Mac</li><li>8 Assignable buttons</li><li>1 Assignable control knob</li><li>Can be configured to control multiple units</li></ul></div></section></div><div class=\"flex_column av_one_half flex_column_div av-zero-column-padding avia-builder-el-15 el_after_av_one_half avia-builder-el-last \" style=\"border-radius: 0px;\"><section class=\"av_textblock_section\" itemscope=\"itemscope\" itemtype=\"https://schema.org/CreativeWork\"><div class=\"avia_textblock \" itemprop=\"text\"><ul>\n						</ul>\n						</div></section></div></div></section></div></div></section></div><br />'),(885,85,0,148,'Apogee ELEMENT Control'),(886,85,1,148,'Apogee ELEMENT Control'),(887,76,0,148,''),(888,76,1,148,''),(889,75,0,149,'<h2>Apogee Ensemble Thunderbolt - 30 IN × 34 OUT Thunderbolt 2 Audio Interface</h2>\n<span style=\"font-size: 16px; font-style: italic; \">Made for the Professional Home or Commercial Studio.</span><br style=\"clear: both; \" />\n<br />\nThe Apogee Ensemble is the first Thunderbolt 2 audio interface to offer superior sound quality, the lowest latency performance and the most comprehensive studio functionality all in one box. Ensemble includes 8 Advanced Stepped Gain™ mic preamps, monitor controller functionality including talkback, front panel Guitar I/O, two headphone outputs and digital connectivity for a total of 30 x 34 I/O. Blending acclaimed innovations, groundbreaking new features and an effortless user interface, Ensemble empowers you to capture inspiration \nwhen creative lightning strikes.\n<br /><br />\nLaunched in 2007, the first Ensemble re-defined the possibilities of the personal studio interface, setting new standards of quality, simplicity and value. Winning  that year’s TEC Award for Digital Audio Technology, Ensemble went on to become the preferred interface for thousands of hit-making producers, engineers and artists. Now, with 30 years of digital audio expertise and the latest technological innovations, Apogee has re-built Ensemble to introduce the next generation of music creation technology.<br /><br />\n<h3>Apogee Ensemble Highlights</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">8 Mic preamps with up to 75 dB of gain and Advanced Stepped Gain circuit</span></li>\n	<li>Thunderbolt connectivity for ultra-low latency (1.1ms round trip with Logic Pro X)</li>\n	<li>Front panel Guitar I/O with Class A JFET inputs, dual mode re-amp outputs</li>\n	<li>Includes Waves Gold Bundle (reg. $800) – 35 audio plugins</li>\n	<li>Talkback functionality with built-in mic and control button</li>\n	<li>2 PurePower headphone outputs</li>\n	<li>10 separately assignable analog inputs</li>\n	<li>16 analog outputs of premium Apogee conversion</li>\n	<li>Core Audio optimized DMA engine frees up Mac CPU for plugins and software instruments</li>\n</ul>\n<br />\n<h3>True Thunderbolt Performance</h3>\nEnsemble delivers the full potential of Thunderbolt 2 performance with the lowest latency, unmatched CPU efficiency, 2 ports for expanding your system and a revolutionary 32-bit playback signal path.\n<br /><br />\n<h3>The Lowest Latency of any Audio Interface</h3>\nEnsemble’s proprietary Thunderbolt driver has been written from the ground up for Mac OS X Mavericks, resulting in unmatched performance and efficiency. Latency has been reduced to an astounding 1.1ms round-trip*, allowing you to monitor through your DAW, plug-ins included, simplifying your workflow and leveraging the power of your Mac. Even when your session’s DSP demands require a higher buffer setting, Ensemble’s ultra-low latency means no longer having to choose between power and speed.\n<br /><br />\nTo accommodate different workflow preferences, Ensemble features optional direct hardware monitoring through Apogee’s Maestro App with 0.6ms of latency.<br /><br />\n* 96kHz / 32 buffer setting<br /><br />\n<h3>Devours Bits, Sips CPU</h3>\nEnsemble’s custom driver includes two innovative features to maximize the performance of the software-hardware interface: a full 32-bit signal path from the output of your DAW straight to the high-performance ESS DAC, and a revolutionary Direct Memory Access (DMA) engine to more efficiently read and write data directly to Mac memory independent of the Mac CPU.\n<br /><br />\nThe DMA engine, running on Ensemble’s hardware logic chip, reads digital audio data directly from your Mac’s memory in a 32-bit format, increasing the driver’s efficiency and providing the highest resolution signal possible to the DAC stage. This implementation allows the driver to crunch an enormous amount of data at an amazing speed, while making a very light demand on your Mac CPU. You benefit with lower latency, more plug-in power, and a transparent and encompassing listening experience.<br /><br />\n<h3>Expanding Your System</h3>\nIntel’s Thunderbolt™ technology was made for connecting multiple high bandwidth peripherals to your Mac. Ensemble includes two Thunderbolt™ 2 ports for conveniently connecting hard drive arrays, video capture devices and Thunderbolt monitors with up to 4k resolution from a single port.\n<br /><br />\n<h2>Inputs & Outputs</h2>\n<h3>Guitar I/O</h3>\nDirectly connect your guitars and other instruments to Ensemble using the two front panel ¼” inputs. The inputs’ Class A JFET circuits reproduce the feel and tone of a vintage tube amp for more realistic modeling and add harmonic character to keyboards and other electronic instruments. A “bootstrapping” circuit design provides an ultra-high impedance load to the connected instrument to preserve its tone and high frequency response.\n<br /><br />\nEnsemble Thunderbolt Close Up Guitar InputsConnect your amp to either ¼” output for effortless re-amping. Dual mode switching allows you to easily record your direct guitar signal while listening through your amp, then play the recorded signal back through your amp to refine amp settings and mic placement.<br /><br />\nYou can also use the Guitar I/O inputs & outputs to insert stomp boxes into your session as an alternative to software plugins. Impedance or level mismatches are not a concern – these connections were made for any guitar gear.<br /><br />\n<h3>Analog Inputs</h3>\nEnsemble features 4 Combo inputs (XLR or ¼”) and 4 XLR inputs for connecting up to 8 microphones or a combination of instruments, external mic preamps, and other analog audio devices.  Ensemble’s analog inputs now include a line level bypass relay for the purest unity gain signal path to the analog-to-digital converter when the input source is set to line level.\n<br /><br />\n<h3>Analog Outputs</h3>\nEnsemble includes 2 balanced monitor outputs on ¼” TRS connectors and 8 balanced line outputs on 1 D-Sub 25-pin connector.  These outputs can be configured for a wide variety of workflows, whether you’re integrating Ensemble with an external console, mixing in the box, or any hybrid of the two.\n<br /><br />\n<h3>Headphone Outputs</h3>\nWith the kind of discrete transistor output stage found on power amps, Ensemble’s two independently controlled front panel headphone outputs offer more pristine power than ever before. Drive high impedance headphones louder than you’ll ever need while maintaining ultra low distortion throughout the level range.\n<br /><br />\n<h3>Built-in Microphone</h3>\nEnsemble features the same high quality built-in mic capsule found in Apogee’s ONE for iPad & Mac. Instantly capture your inspirations, keep an audio archive of the session, or record a “crushed room” sound when tracking drums. Most importantly, the built-in mic may be used for talkback.\n<br /><br />\n<h3>Analog Inserts</h3>\nAnalog inputs 1 and 2 feature the ability to add a hardware insert between Ensemble’s built-in mic preamp and analog-to-digital converter stage.  Easily integrate your favorite analog compressor or EQ, in mono or as a stereo pair, into your recording chain with separate ¼”  balanced send and return connector for each channel.\n<br /><br />\n<h3>Digital I/O</h3>\nAs the centerpiece of your creative setup, Ensemble provides up to 18 channels of digital I/O, in ADAT, SMUX, S/PDIF optical and S/PDIF coaxial formats, to easily integrate expanders, hardware synths and digital effects. Thanks to Thunderbolt’s high bandwidth, all of Ensemble’s analog and digital I/O are available in your DAW simultaneously.\n<br /><br />\n<h3>Word Clock</h3>\nEnsemble provides Word Clock IN and OUT for syncing with other digital audio gear. Use Ensemble as the master clock to take advantage of Apogee’s superior built-in clocking technology.\n<br /><br />\n<h2>Sound Quality- The Apogee Advantage</h2>\n<h3>A Difference You Will Hear</h3>\nApogee is an award-winning industry leader in digital recording technology with over 25 years of experience. Preferred by recording pros around the world, Apogee products like Duet, Quartet, the original Ensemble and Symphony I/O have been instrumental in creating countless GRAMMY® and OSCAR® winning recordings and have set the industry standard in professional recording for over two decades. Ensemble is built solidly on this reputation.\n<br /><br />\n<h3>TEC Awards</h3>\nFrom the mic preamps to the AD/DA converters and the clocking, Ensemble is best-in-class and cutting-edge Apogee technology. With components carefully selected in critical listening tests and a highly efficient circuit design, Ensemble was built by Apogee engineers to make a difference you can hear.\n<br /><br />\n<h3>Measurably Superior A/D Conversion</h3>\nEnsemble’s analog-to-digital conversion stage has been upgraded from previous generations of Apogee products such as Duet and Quartet to provide greater dynamic range, lower distortion and an almost non-existent noise level.\n<br /><br />\n<h3>Dynamically Optimized Mic Preamps</h3>\nEnsemble’s 8 uniquely designed mic preamps feature Apogee’s Advanced Stepped Gain Architecture™, in which the circuit is dynamically optimized to provide superior bandwidth, ultra low noise and nonexistent distortion across the unprecedented gain range of 0-75 dB. Whether recording powerful drums, dynamic vocals or delicate strings, your recordings retain the full impact, intricate detail and lifelike dimension of the original performance.\n<br /><br />\n<h3>ESS Sabre32 DAC Technology</h3>\nESS Sabre32 32-bit Hyperstream DAC with Time Domain Jitter Eliminator offers unequalled dynamic range, ultra low distortion, and unmatched audio clarity free from input jitter.\n<br /><br />\n<h3>Custom Power Regulation for Ultra-Low Noise Performance</h3>\nEnsemble’s mic pre, A/D and D/A circuitry are powered by discrete, Apogee-designed power regulators for ultra-low noise not obtainable with off-the-shelf components. This design was first implemented in Apogee’s flagship Symphony I/O’s 3-Stage Cascaded power supply.\n<br /><br />\n<h3>Soft Limit for protection from digital overs</h3>\nAn Apogee technology first introduced in 1992 on Apogee’s AD-500 converter, Soft Limit can be heard on countless platinum selling records around the world. Once a technology exclusively reserved for Apogee’s most advanced audio converters, Soft Limit is included in Ensemble and can be enabled in Apogee Maestro software.\n<br /><br />\nThis superior FET-based analog design prevents the digital clipping that causes distortion by instantaneously rounding off transient peaks before they hit the analog-to-digital converter. Soft Limit allows several more decibels of apparent level to be recorded while subtly providing an analog tape-like warmth to the sound.<br /><br />'),(890,75,1,149,'<h2>Apogee Ensemble Thunderbolt - 30 IN × 34 OUT Thunderbolt 2 Audio Interface</h2>\n<span style=\"font-size: 16px; font-style: italic; \">Made for the Professional Home or Commercial Studio.</span><br style=\"clear: both; \" />\n<br />\nThe Apogee Ensemble is the first Thunderbolt 2 audio interface to offer superior sound quality, the lowest latency performance and the most comprehensive studio functionality all in one box. Ensemble includes 8 Advanced Stepped Gain™ mic preamps, monitor controller functionality including talkback, front panel Guitar I/O, two headphone outputs and digital connectivity for a total of 30 x 34 I/O. Blending acclaimed innovations, groundbreaking new features and an effortless user interface, Ensemble empowers you to capture inspiration \nwhen creative lightning strikes.\n<br /><br />\nLaunched in 2007, the first Ensemble re-defined the possibilities of the personal studio interface, setting new standards of quality, simplicity and value. Winning  that year’s TEC Award for Digital Audio Technology, Ensemble went on to become the preferred interface for thousands of hit-making producers, engineers and artists. Now, with 30 years of digital audio expertise and the latest technological innovations, Apogee has re-built Ensemble to introduce the next generation of music creation technology.<br /><br />\n<h3>Apogee Ensemble Highlights</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">8 Mic preamps with up to 75 dB of gain and Advanced Stepped Gain circuit</span></li>\n	<li>Thunderbolt connectivity for ultra-low latency (1.1ms round trip with Logic Pro X)</li>\n	<li>Front panel Guitar I/O with Class A JFET inputs, dual mode re-amp outputs</li>\n	<li>Includes Waves Gold Bundle (reg. $800) – 35 audio plugins</li>\n	<li>Talkback functionality with built-in mic and control button</li>\n	<li>2 PurePower headphone outputs</li>\n	<li>10 separately assignable analog inputs</li>\n	<li>16 analog outputs of premium Apogee conversion</li>\n	<li>Core Audio optimized DMA engine frees up Mac CPU for plugins and software instruments</li>\n</ul>\n<br />\n<h3>True Thunderbolt Performance</h3>\nEnsemble delivers the full potential of Thunderbolt 2 performance with the lowest latency, unmatched CPU efficiency, 2 ports for expanding your system and a revolutionary 32-bit playback signal path.\n<br /><br />\n<h3>The Lowest Latency of any Audio Interface</h3>\nEnsemble’s proprietary Thunderbolt driver has been written from the ground up for Mac OS X Mavericks, resulting in unmatched performance and efficiency. Latency has been reduced to an astounding 1.1ms round-trip*, allowing you to monitor through your DAW, plug-ins included, simplifying your workflow and leveraging the power of your Mac. Even when your session’s DSP demands require a higher buffer setting, Ensemble’s ultra-low latency means no longer having to choose between power and speed.\n<br /><br />\nTo accommodate different workflow preferences, Ensemble features optional direct hardware monitoring through Apogee’s Maestro App with 0.6ms of latency.<br /><br />\n* 96kHz / 32 buffer setting<br /><br />\n<h3>Devours Bits, Sips CPU</h3>\nEnsemble’s custom driver includes two innovative features to maximize the performance of the software-hardware interface: a full 32-bit signal path from the output of your DAW straight to the high-performance ESS DAC, and a revolutionary Direct Memory Access (DMA) engine to more efficiently read and write data directly to Mac memory independent of the Mac CPU.\n<br /><br />\nThe DMA engine, running on Ensemble’s hardware logic chip, reads digital audio data directly from your Mac’s memory in a 32-bit format, increasing the driver’s efficiency and providing the highest resolution signal possible to the DAC stage. This implementation allows the driver to crunch an enormous amount of data at an amazing speed, while making a very light demand on your Mac CPU. You benefit with lower latency, more plug-in power, and a transparent and encompassing listening experience.<br /><br />\n<h3>Expanding Your System</h3>\nIntel’s Thunderbolt™ technology was made for connecting multiple high bandwidth peripherals to your Mac. Ensemble includes two Thunderbolt™ 2 ports for conveniently connecting hard drive arrays, video capture devices and Thunderbolt monitors with up to 4k resolution from a single port.\n<br /><br />\n<h2>Inputs & Outputs</h2>\n<h3>Guitar I/O</h3>\nDirectly connect your guitars and other instruments to Ensemble using the two front panel ¼” inputs. The inputs’ Class A JFET circuits reproduce the feel and tone of a vintage tube amp for more realistic modeling and add harmonic character to keyboards and other electronic instruments. A “bootstrapping” circuit design provides an ultra-high impedance load to the connected instrument to preserve its tone and high frequency response.\n<br /><br />\nEnsemble Thunderbolt Close Up Guitar InputsConnect your amp to either ¼” output for effortless re-amping. Dual mode switching allows you to easily record your direct guitar signal while listening through your amp, then play the recorded signal back through your amp to refine amp settings and mic placement.<br /><br />\nYou can also use the Guitar I/O inputs & outputs to insert stomp boxes into your session as an alternative to software plugins. Impedance or level mismatches are not a concern – these connections were made for any guitar gear.<br /><br />\n<h3>Analog Inputs</h3>\nEnsemble features 4 Combo inputs (XLR or ¼”) and 4 XLR inputs for connecting up to 8 microphones or a combination of instruments, external mic preamps, and other analog audio devices.  Ensemble’s analog inputs now include a line level bypass relay for the purest unity gain signal path to the analog-to-digital converter when the input source is set to line level.\n<br /><br />\n<h3>Analog Outputs</h3>\nEnsemble includes 2 balanced monitor outputs on ¼” TRS connectors and 8 balanced line outputs on 1 D-Sub 25-pin connector.  These outputs can be configured for a wide variety of workflows, whether you’re integrating Ensemble with an external console, mixing in the box, or any hybrid of the two.\n<br /><br />\n<h3>Headphone Outputs</h3>\nWith the kind of discrete transistor output stage found on power amps, Ensemble’s two independently controlled front panel headphone outputs offer more pristine power than ever before. Drive high impedance headphones louder than you’ll ever need while maintaining ultra low distortion throughout the level range.\n<br /><br />\n<h3>Built-in Microphone</h3>\nEnsemble features the same high quality built-in mic capsule found in Apogee’s ONE for iPad & Mac. Instantly capture your inspirations, keep an audio archive of the session, or record a “crushed room” sound when tracking drums. Most importantly, the built-in mic may be used for talkback.\n<br /><br />\n<h3>Analog Inserts</h3>\nAnalog inputs 1 and 2 feature the ability to add a hardware insert between Ensemble’s built-in mic preamp and analog-to-digital converter stage.  Easily integrate your favorite analog compressor or EQ, in mono or as a stereo pair, into your recording chain with separate ¼”  balanced send and return connector for each channel.\n<br /><br />\n<h3>Digital I/O</h3>\nAs the centerpiece of your creative setup, Ensemble provides up to 18 channels of digital I/O, in ADAT, SMUX, S/PDIF optical and S/PDIF coaxial formats, to easily integrate expanders, hardware synths and digital effects. Thanks to Thunderbolt’s high bandwidth, all of Ensemble’s analog and digital I/O are available in your DAW simultaneously.\n<br /><br />\n<h3>Word Clock</h3>\nEnsemble provides Word Clock IN and OUT for syncing with other digital audio gear. Use Ensemble as the master clock to take advantage of Apogee’s superior built-in clocking technology.\n<br /><br />\n<h2>Sound Quality- The Apogee Advantage</h2>\n<h3>A Difference You Will Hear</h3>\nApogee is an award-winning industry leader in digital recording technology with over 25 years of experience. Preferred by recording pros around the world, Apogee products like Duet, Quartet, the original Ensemble and Symphony I/O have been instrumental in creating countless GRAMMY® and OSCAR® winning recordings and have set the industry standard in professional recording for over two decades. Ensemble is built solidly on this reputation.\n<br /><br />\n<h3>TEC Awards</h3>\nFrom the mic preamps to the AD/DA converters and the clocking, Ensemble is best-in-class and cutting-edge Apogee technology. With components carefully selected in critical listening tests and a highly efficient circuit design, Ensemble was built by Apogee engineers to make a difference you can hear.\n<br /><br />\n<h3>Measurably Superior A/D Conversion</h3>\nEnsemble’s analog-to-digital conversion stage has been upgraded from previous generations of Apogee products such as Duet and Quartet to provide greater dynamic range, lower distortion and an almost non-existent noise level.\n<br /><br />\n<h3>Dynamically Optimized Mic Preamps</h3>\nEnsemble’s 8 uniquely designed mic preamps feature Apogee’s Advanced Stepped Gain Architecture™, in which the circuit is dynamically optimized to provide superior bandwidth, ultra low noise and nonexistent distortion across the unprecedented gain range of 0-75 dB. Whether recording powerful drums, dynamic vocals or delicate strings, your recordings retain the full impact, intricate detail and lifelike dimension of the original performance.\n<br /><br />\n<h3>ESS Sabre32 DAC Technology</h3>\nESS Sabre32 32-bit Hyperstream DAC with Time Domain Jitter Eliminator offers unequalled dynamic range, ultra low distortion, and unmatched audio clarity free from input jitter.\n<br /><br />\n<h3>Custom Power Regulation for Ultra-Low Noise Performance</h3>\nEnsemble’s mic pre, A/D and D/A circuitry are powered by discrete, Apogee-designed power regulators for ultra-low noise not obtainable with off-the-shelf components. This design was first implemented in Apogee’s flagship Symphony I/O’s 3-Stage Cascaded power supply.\n<br /><br />\n<h3>Soft Limit for protection from digital overs</h3>\nAn Apogee technology first introduced in 1992 on Apogee’s AD-500 converter, Soft Limit can be heard on countless platinum selling records around the world. Once a technology exclusively reserved for Apogee’s most advanced audio converters, Soft Limit is included in Ensemble and can be enabled in Apogee Maestro software.\n<br /><br />\nThis superior FET-based analog design prevents the digital clipping that causes distortion by instantaneously rounding off transient peaks before they hit the analog-to-digital converter. Soft Limit allows several more decibels of apparent level to be recorded while subtly providing an analog tape-like warmth to the sound.<br /><br />'),(891,85,0,149,'Apogee Ensemble Thunderbolt - 30 IN × 34 OUT Thunderbolt 2 Audio Interface with Waves Gold Plugin Bundle'),(892,85,1,149,'Apogee Ensemble Thunderbolt - 30 IN × 34 OUT Thunderbolt 2 Audio Interface with Waves Gold Plugin Bundle'),(893,76,0,149,''),(894,76,1,149,''),(895,75,0,150,'<h2>Apogee GiO - Guitar Interface and Stomp Pedal for Mac</h2>\nApogee GiO is a studio quality, portable guitar interface that turns your Mac into the ultimate guitar rig for recording, rehearsing, or performing live on stage. GiO unlocks total control of the virtual guitar amps and effects in GarageBand, Logic, and MainStage through a single foot controller and professional audio interface. Easily turn effects on and off, select presets and control recording functions without ever letting your hands leave your guitar. With Apogee’s industry-leading conversion and preamps, you won’t need to lug around an amp or other heavy gear to sound amazing.\n<br /><br />\nGiO is simple to use and great for any guitar player with a Mac looking for a wide variety of virtual amps, effects and guitar tones for recording, rehearsing, or live performance.<br /><br />\n<h3>Apogee GiO Highlights</h3>\n<ul>\n	<li>Studio quality guitar interface for recording, rehearsing, or live performance            </li>\n	<li>Advanced AD/DA converters and instrument preamp technology deliver your guitar’s true tone</li>\n	<li>Designed specifically for electric guitar and electric bass                               </li>\n	<li>Optimized for active and passive pickups                                                  </li>\n	<li>GiO’s excellent signal quality optimizes the sound of virtual amps and effects            </li>\n	<li>Hands free recording, effects on/off and preset selection                                 </li>\n	<li>Can be used with guitar amp, headphones and powered speakers                              </li>\n</ul>\n<br />\n<h2>GiO Feature Overview</h2>\n<h3>Software Control with GiO</h3>\n<h4>Stomp on it. Effects control without the mouse.</h4>\nImagine finding your sound without going back and forth from your guitar to your Mac. With GiO, you can audition effects presets in GarageBand, Logic and MainStage, and turn effects on and off while playing or recording… all without touching your keyboard.\n<br /><br />\n<h4>Hands free recording.</h4>\nGiO frees you from key-command recording allowing you to concentrate on your performance and not the space bar. The five transport buttons on GiO let you record, play, stop and quickly navigate thru your track without taking your hands off the neck of your guitar.\n<br /><br />\n<h4>“Next” preset please.</h4>\nPrevious and Next preset select buttons let you quickly audition and toggle between guitar amps and effects presets in Logic and GarageBand and the patch lists in MainStage.\n<br /><br />\n<h3>Inputs and Outputs with GiO</h3>\n<h4>Instrument input</h4>\nGiO’s 1/4” instrument input features Apogee’s world-class instrument preamp and converters. Hear and record your guitar’s true tone straight into Apple’s Logic, MainStage and GarageBand software without compromise. GiO is optimized for all pickup configurations from the most basic single coil to sophisticated active electronics setups.\n<br /><br />\n<h4>MIDI Expression pedal input</h4>\nGiO’s Expression control pedal input allows access to traditional effects like wah-wah, and volume. Also, control effects parameters like the length of a delay or the speed of a tremolo. (Expression Control Pedal not included). Approved expression pedals include: Yamaha FC-7 and Roland EV-5\n<br /><br />\n<h4>USB</h4>\nGiO is fully powered by the USB connection to your Mac eliminating the need for an external power source. Simply plug into an available USB port on any Mac and you’re ready to go.\n<br /><br />\n<h4>Output: Headphones, monitors or instrument amplifier</h4>\nHear your guitar and recording like never before. Connect your headphones, powered monitors or instrument amplifier to Apogee converters via GiO’s 1/4” stereo output and listen to your guitar and mix with incredible clarity and dimension.\n<br /><br />\n<h3>GiO gives you truly hands-free guitar recording and control of a wide variety of amps and effects, paired with Apogee’s industry-leading conversion and preamps. For more information, call or chat with an RSPE representative today.</h3>\n<br />'),(896,75,1,150,'<h2>Apogee GiO - Guitar Interface and Stomp Pedal for Mac</h2>\nApogee GiO is a studio quality, portable guitar interface that turns your Mac into the ultimate guitar rig for recording, rehearsing, or performing live on stage. GiO unlocks total control of the virtual guitar amps and effects in GarageBand, Logic, and MainStage through a single foot controller and professional audio interface. Easily turn effects on and off, select presets and control recording functions without ever letting your hands leave your guitar. With Apogee’s industry-leading conversion and preamps, you won’t need to lug around an amp or other heavy gear to sound amazing.\n<br /><br />\nGiO is simple to use and great for any guitar player with a Mac looking for a wide variety of virtual amps, effects and guitar tones for recording, rehearsing, or live performance.<br /><br />\n<h3>Apogee GiO Highlights</h3>\n<ul>\n	<li>Studio quality guitar interface for recording, rehearsing, or live performance            </li>\n	<li>Advanced AD/DA converters and instrument preamp technology deliver your guitar’s true tone</li>\n	<li>Designed specifically for electric guitar and electric bass                               </li>\n	<li>Optimized for active and passive pickups                                                  </li>\n	<li>GiO’s excellent signal quality optimizes the sound of virtual amps and effects            </li>\n	<li>Hands free recording, effects on/off and preset selection                                 </li>\n	<li>Can be used with guitar amp, headphones and powered speakers                              </li>\n</ul>\n<br />\n<h2>GiO Feature Overview</h2>\n<h3>Software Control with GiO</h3>\n<h4>Stomp on it. Effects control without the mouse.</h4>\nImagine finding your sound without going back and forth from your guitar to your Mac. With GiO, you can audition effects presets in GarageBand, Logic and MainStage, and turn effects on and off while playing or recording… all without touching your keyboard.\n<br /><br />\n<h4>Hands free recording.</h4>\nGiO frees you from key-command recording allowing you to concentrate on your performance and not the space bar. The five transport buttons on GiO let you record, play, stop and quickly navigate thru your track without taking your hands off the neck of your guitar.\n<br /><br />\n<h4>“Next” preset please.</h4>\nPrevious and Next preset select buttons let you quickly audition and toggle between guitar amps and effects presets in Logic and GarageBand and the patch lists in MainStage.\n<br /><br />\n<h3>Inputs and Outputs with GiO</h3>\n<h4>Instrument input</h4>\nGiO’s 1/4” instrument input features Apogee’s world-class instrument preamp and converters. Hear and record your guitar’s true tone straight into Apple’s Logic, MainStage and GarageBand software without compromise. GiO is optimized for all pickup configurations from the most basic single coil to sophisticated active electronics setups.\n<br /><br />\n<h4>MIDI Expression pedal input</h4>\nGiO’s Expression control pedal input allows access to traditional effects like wah-wah, and volume. Also, control effects parameters like the length of a delay or the speed of a tremolo. (Expression Control Pedal not included). Approved expression pedals include: Yamaha FC-7 and Roland EV-5\n<br /><br />\n<h4>USB</h4>\nGiO is fully powered by the USB connection to your Mac eliminating the need for an external power source. Simply plug into an available USB port on any Mac and you’re ready to go.\n<br /><br />\n<h4>Output: Headphones, monitors or instrument amplifier</h4>\nHear your guitar and recording like never before. Connect your headphones, powered monitors or instrument amplifier to Apogee converters via GiO’s 1/4” stereo output and listen to your guitar and mix with incredible clarity and dimension.\n<br /><br />\n<h3>GiO gives you truly hands-free guitar recording and control of a wide variety of amps and effects, paired with Apogee’s industry-leading conversion and preamps. For more information, call or chat with an RSPE representative today.</h3>\n<br />'),(897,85,0,150,''),(898,85,1,150,''),(899,76,0,150,''),(900,76,1,150,''),(901,75,0,151,'<h1>Apogee HypeMiC - USB Microphone with Studio Quality Compression and Headphone Output</h1>\n<span style=\"font-size:16px; font-style:italic;\">Small, portable, studio quality USB microphone with integrated compression and headphone output, making it an all-in-one portable studio.</span><br /><br />\nApogee HypeMiC is a compact, portable microphone featuring studio-quality analog compression that’s easy to use and brings the magic to your vocals, voice-overs, instruments, percussion, and podcasts – anything you record! With HypeMiC and your iPhone or computer, you can make amazing recordings on the go.<br /><br />\n<h3>HypeMiC features</h3>\n<ul>\n	<li>Studio-quality analog compressor</li>\n	<li>PureDIGITAL connection for pristine sound quality up to 24-bit/96kHz</li>\n	<li>Premium cardioid condenser microphone capsule</li>\n	<li>Headphone output with Blend feature offers zero latency recording</li>\n	<li>Premium accessories kit includes tripod, pop filter and carrying case</li>\n	<li>No configuration required, just plug in and record with any audio app</li>\n	<li>Compatible with iOS, Mac and PC</li>\n	<li>Optimized for GarageBand, Logic, and Core Audio compatible apps on Mac</li>\n</ul>\n<br />\n<h3>Record Music</h3>\n<div><b>Singing</b></div>HypeMiC’s unique analog compression enhances vocals like no other microphone. The three compression settings available in HypeMiC give you a truly balanced and “mixed” recording, reducing the need for extensive processing and mixing. Capturing your perfect take has never been easier.<br /><br />\n<strong>Instruments</strong><br />\nHypeMiC brings a new level of smoothness and warmth to acoustic instrument recording. Varying compression levels allow you to capture the fullest tone of your instrument without compromise. Built for high SPL levels, HypeMiC provides greater clarity and detail when recording loud acoustic instruments from drums to horns to choirs.<br /><br />\n<h3>Voice and Streaming</h3>\n<b>Voice & Streaming</b><div><i>Record Podcasts, Voiceovers, Interviews, YouTube performances, Live streaming & Conference calls</i></div><div>Ideal for live streaming, podcasts and broadcasts, HypeMiC balances audio dynamics for greater clarity resulting in better ‘broadcast ready’ recordings. HypeMiC is compatible with any Mac/PC and iOS app that allows you to select an audio device so you’re never without a pro studio when you are on the go.</div><br />\n<h3>Speciality Recording</h3><div><b>HypeMiC analog output</b></div><div>HypeMiC is an awesome way to introduce new sounds into your recordings and mixes. You can send audio out of the HypeMiC stereo output into a mixer, audio interface and stand-alone recorder to capture the unique and bold sound of HypeMiC’s compression settings.</div><br />\n<h3>HypeMiC Includes:</h3>\n<ul>\n	<li>Apogee HypeMiC</li>\n	<li>Desktop tripod</li>\n	<li>Microphone stand adapter</li>\n	<li>Pop filter</li>\n	<li>Carry case</li>\n	<li>Micro-USB to USB-C cable</li>\n	<li>Micro-USB to USB-A cable</li>\n	<li>Micro B-to-Lightning cable</li>\n	<li>Quick start guide</li>\n</ul>\n<br />'),(902,75,1,151,'<h1>Apogee HypeMiC - USB Microphone with Studio Quality Compression and Headphone Output</h1>\n<span style=\"font-size:16px; font-style:italic;\">Small, portable, studio quality USB microphone with integrated compression and headphone output, making it an all-in-one portable studio.</span><br /><br />\nApogee HypeMiC is a compact, portable microphone featuring studio-quality analog compression that’s easy to use and brings the magic to your vocals, voice-overs, instruments, percussion, and podcasts – anything you record! With HypeMiC and your iPhone or computer, you can make amazing recordings on the go.<br /><br />\n<h3>HypeMiC features</h3>\n<ul>\n	<li>Studio-quality analog compressor</li>\n	<li>PureDIGITAL connection for pristine sound quality up to 24-bit/96kHz</li>\n	<li>Premium cardioid condenser microphone capsule</li>\n	<li>Headphone output with Blend feature offers zero latency recording</li>\n	<li>Premium accessories kit includes tripod, pop filter and carrying case</li>\n	<li>No configuration required, just plug in and record with any audio app</li>\n	<li>Compatible with iOS, Mac and PC</li>\n	<li>Optimized for GarageBand, Logic, and Core Audio compatible apps on Mac</li>\n</ul>\n<br />\n<h3>Record Music</h3>\n<div><b>Singing</b></div>HypeMiC’s unique analog compression enhances vocals like no other microphone. The three compression settings available in HypeMiC give you a truly balanced and “mixed” recording, reducing the need for extensive processing and mixing. Capturing your perfect take has never been easier.<br /><br />\n<strong>Instruments</strong><br />\nHypeMiC brings a new level of smoothness and warmth to acoustic instrument recording. Varying compression levels allow you to capture the fullest tone of your instrument without compromise. Built for high SPL levels, HypeMiC provides greater clarity and detail when recording loud acoustic instruments from drums to horns to choirs.<br /><br />\n<h3>Voice and Streaming</h3>\n<b>Voice & Streaming</b><div><i>Record Podcasts, Voiceovers, Interviews, YouTube performances, Live streaming & Conference calls</i></div><div>Ideal for live streaming, podcasts and broadcasts, HypeMiC balances audio dynamics for greater clarity resulting in better ‘broadcast ready’ recordings. HypeMiC is compatible with any Mac/PC and iOS app that allows you to select an audio device so you’re never without a pro studio when you are on the go.</div><br />\n<h3>Speciality Recording</h3><div><b>HypeMiC analog output</b></div><div>HypeMiC is an awesome way to introduce new sounds into your recordings and mixes. You can send audio out of the HypeMiC stereo output into a mixer, audio interface and stand-alone recorder to capture the unique and bold sound of HypeMiC’s compression settings.</div><br />\n<h3>HypeMiC Includes:</h3>\n<ul>\n	<li>Apogee HypeMiC</li>\n	<li>Desktop tripod</li>\n	<li>Microphone stand adapter</li>\n	<li>Pop filter</li>\n	<li>Carry case</li>\n	<li>Micro-USB to USB-C cable</li>\n	<li>Micro-USB to USB-A cable</li>\n	<li>Micro B-to-Lightning cable</li>\n	<li>Quick start guide</li>\n</ul>\n<br />'),(903,85,0,151,'Apogee HypeMiC'),(904,85,1,151,'Apogee HypeMiC'),(905,76,0,151,''),(906,76,1,151,''),(907,75,0,152,'<h1>Apogee JAM+ iOS / USB Guitar Interface</h1>\nApogee Jam+ is a professional, USB instrument input and stereo output. Jam+ connects your electric guitar, bass, acoustic instrument with pickup, dynamic mic or keyboard to your iOS device or computer. The simplicity and portability of Jam+ make it ideal for capturing your best take anywhere you go. And, the ease of use and sound quality make Jam+ a must-have for beginners and pros.\n<br /><br />\nJAM+ is a premium digital converter and instrument preamp featuring Apogee’s PureDIGITAL technology. PureDIGITAL means no noise, just great guitar tone. You will notice the sonic difference between JAM and other similar products immediately.<br /><br />\nJAM+ is great for beginners and advanced players who want a high quality guitar sound for practicing, recording, or just jamming.\n<br /><br />\n<h3>Apogee JAM+ Highlights</h3>\n<ul>\n	<li>Apogee’s PureDIGITAL connection for pristine sound quality</li>\n	<li>Works with guitar, bass, keyboards, synths, or any acoustic instrument with pick-up</li>\n	<li>Dual mode option for Clean or Overdrive signal</li>\n	<li>Drive mode makes virtual amps and effects sound more realistic</li>\n	<li>Stereo output connects to headphones or powered speakers</li>\n	<li>Blend mode minimizes delay in headphones while recording</li>\n	<li>No configuration, just plug in and play with any audio recording app</li>\n	<li>24-bit/96kHz high resolution audio</li>\n	<li>Rugged metal body with soft touch base</li>\n	<li>Works with iOS, Mac and Windows PC</li>\n	<li>Includes Lightning, USB and USB Type-C cables</li>\n	<li>Includes BIAS FX Jam software with premium amplifiers and pedal effects</li>\n	<li>Built in the U.S.A. using domestic and foreign parts</li>\n</ul>\n<br />\n<h3>Apogee JAM is the perfect portable weapon for recording guitar at any moment, unsurpassable quality in a super portable and rugged package. For more information, call or chat with an RSPE representative today.</h3>\n<br />'),(908,75,1,152,'<h1>Apogee JAM+ iOS / USB Guitar Interface</h1>\nApogee Jam+ is a professional, USB instrument input and stereo output. Jam+ connects your electric guitar, bass, acoustic instrument with pickup, dynamic mic or keyboard to your iOS device or computer. The simplicity and portability of Jam+ make it ideal for capturing your best take anywhere you go. And, the ease of use and sound quality make Jam+ a must-have for beginners and pros.\n<br /><br />\nJAM+ is a premium digital converter and instrument preamp featuring Apogee’s PureDIGITAL technology. PureDIGITAL means no noise, just great guitar tone. You will notice the sonic difference between JAM and other similar products immediately.<br /><br />\nJAM+ is great for beginners and advanced players who want a high quality guitar sound for practicing, recording, or just jamming.\n<br /><br />\n<h3>Apogee JAM+ Highlights</h3>\n<ul>\n	<li>Apogee’s PureDIGITAL connection for pristine sound quality</li>\n	<li>Works with guitar, bass, keyboards, synths, or any acoustic instrument with pick-up</li>\n	<li>Dual mode option for Clean or Overdrive signal</li>\n	<li>Drive mode makes virtual amps and effects sound more realistic</li>\n	<li>Stereo output connects to headphones or powered speakers</li>\n	<li>Blend mode minimizes delay in headphones while recording</li>\n	<li>No configuration, just plug in and play with any audio recording app</li>\n	<li>24-bit/96kHz high resolution audio</li>\n	<li>Rugged metal body with soft touch base</li>\n	<li>Works with iOS, Mac and Windows PC</li>\n	<li>Includes Lightning, USB and USB Type-C cables</li>\n	<li>Includes BIAS FX Jam software with premium amplifiers and pedal effects</li>\n	<li>Built in the U.S.A. using domestic and foreign parts</li>\n</ul>\n<br />\n<h3>Apogee JAM is the perfect portable weapon for recording guitar at any moment, unsurpassable quality in a super portable and rugged package. For more information, call or chat with an RSPE representative today.</h3>\n<br />'),(909,85,0,152,'Apogee JAM+ iOS / USB Guitar Interface'),(910,85,1,152,'Apogee JAM+ iOS / USB Guitar Interface'),(911,76,0,152,''),(912,76,1,152,''),(913,75,0,153,'<h2>Apogee MiC+ USB Condenser Microphone</h2>\n<i>Small, Portable, Studio quality cardioid condenser microphone USB microphone for iPad, iPhone, Mac and PC</i><br /><br />\nApogee MiC Plus is a professional studio quality USB microphone you can connect to your iPad, iPhone, iPod touch, Mac or PC. MiC Plus makes it easy to capture your best take with incredible quality, anywhere you go. Record any sound you can imagine, from vocals to voice-overs, instruments to interviews and everything in between.<br /><br />\n<h3>Highlights</h3>\n<ul>\n	<li>Professional cardioid condenser microphone capsule</li>\n	<li>PureDIGITAL connection for pristine sound quality up to 24-bit / 96kHz</li>\n	<li>46dB of mic preamp gain, digitally controlled for greater precision</li>\n	<li>Powerful headphone output with Blend feature for zero latency monitoring</li>\n	<li>No configuration required, just plug in and record</li>\n	<li>Made in the U.S.A.*<inline style=\"font-size: 12px;\"></inline></li>\n</ul>\n<br />\n<i><inline style=\"font-size: 12px;\">*Apogee products are built in the U.S.A. using domestic and foreign parts and components.</inline></i><br /><br />\n<h3>Microphone, Preamp and Converter in one small package</h3>\n	Apogee MiC Plus combines a microphone, microphone preamp and A/D and D/A converters into one compact device. Apogee has carefully designed each part of MiC Plus to deliver the highest quality signal possible with the lowest noise – we call this PureDIGITAL.\n <br /> <br />\n<h3>Portable</h3>\nMiC Plus is small enough to fit in your pocket and connects to iOS devices or your laptop, making it ideal for recording on the go. <br /> <br />\n\n<h3>Professional Quality</h3>\nMiC Plus’ professional-quality capsule, high sensitivity and ample gain give it a sound that is similar to a top studio condenser microphone going through a high-end mic preamp. You won’t find a better sounding USB microphone at this price point. <br /> <br />\n\n<h3>Simple</h3>\nWith MiC Plus, there’s no complicated setup. Just connect to your computer or iOS device, select MiC Plus as your audio interface and record in your favorite app. <br /> <br />'),(914,75,1,153,'<h2>Apogee MiC+ USB Condenser Microphone</h2>\n<i>Small, Portable, Studio quality cardioid condenser microphone USB microphone for iPad, iPhone, Mac and PC</i><br /><br />\nApogee MiC Plus is a professional studio quality USB microphone you can connect to your iPad, iPhone, iPod touch, Mac or PC. MiC Plus makes it easy to capture your best take with incredible quality, anywhere you go. Record any sound you can imagine, from vocals to voice-overs, instruments to interviews and everything in between.<br /><br />\n<h3>Highlights</h3>\n<ul>\n	<li>Professional cardioid condenser microphone capsule</li>\n	<li>PureDIGITAL connection for pristine sound quality up to 24-bit / 96kHz</li>\n	<li>46dB of mic preamp gain, digitally controlled for greater precision</li>\n	<li>Powerful headphone output with Blend feature for zero latency monitoring</li>\n	<li>No configuration required, just plug in and record</li>\n	<li>Made in the U.S.A.*<inline style=\"font-size: 12px;\"></inline></li>\n</ul>\n<br />\n<i><inline style=\"font-size: 12px;\">*Apogee products are built in the U.S.A. using domestic and foreign parts and components.</inline></i><br /><br />\n<h3>Microphone, Preamp and Converter in one small package</h3>\n	Apogee MiC Plus combines a microphone, microphone preamp and A/D and D/A converters into one compact device. Apogee has carefully designed each part of MiC Plus to deliver the highest quality signal possible with the lowest noise – we call this PureDIGITAL.\n <br /> <br />\n<h3>Portable</h3>\nMiC Plus is small enough to fit in your pocket and connects to iOS devices or your laptop, making it ideal for recording on the go. <br /> <br />\n\n<h3>Professional Quality</h3>\nMiC Plus’ professional-quality capsule, high sensitivity and ample gain give it a sound that is similar to a top studio condenser microphone going through a high-end mic preamp. You won’t find a better sounding USB microphone at this price point. <br /> <br />\n\n<h3>Simple</h3>\nWith MiC Plus, there’s no complicated setup. Just connect to your computer or iOS device, select MiC Plus as your audio interface and record in your favorite app. <br /> <br />'),(915,85,0,153,'Apogee MiC+ USB Condenser Microphone'),(916,85,1,153,'Apogee MiC+ USB Condenser Microphone'),(917,76,0,153,''),(918,76,1,153,''),(919,75,0,154,'<h2>Apogee ONE Portable USB Audio Interface for Mac and PC</h2>\n<span style=\"font-size:16px; font-style:italic;\">A 2 IN x 2 OUT Portable USB Audio Interface/Microphone for Mac and PC</span><br /><br />\nApogee ONE is an all-in-one portable, USB audio interface that gives you everything you need to make professional recordings on the go. Connect a microphone, guitar or use ONE’s exceptional built-in omnidirectional microphone to easily capture your music without compromise. ONE even lets you record with a microphone (built-in or external) and guitar simultaneously. Using Apogee’s industry-leading AD/DA conversion and mic preamp technology, ONE produces pristine music, podcast, and voice-over recordings while also delivering studio quality sound to your headphones for precision mixing or hi-fi listening. With an intuitive controller knob and seamless compatibility with Mac OS X, ONE is easy for anyone to use and works great with GarageBand, Logic Pro X, Pro Tools, Ableton or any Core Audio compatible application.<br /><br /><br />\n<h3>Legendary Sound Quality</h3>\n<h4>Why Apogee is the best choice for your studio</h4>\nApogee is an award-winning industry leader in digital recording technology with over 25 years of experience. Preferred by recording pros around the world, Apogee products like Duet, Ensemble and Symphony I/O have been instrumental in creating countless GRAMMY® and OSCAR® winning recordings and have set the industry standard in professional recording for over two decades.\n<br /><br />\n<h3>Apogee One Highlights</h3>\n<ul>\n	<li>2 IN x 2 OUT Audio interface with built-in microphone</li>\n	<li>USB 2.0 connection for Mac with 24-bit/96kHz AD/DA conversion</li>\n	<li>Low latency and seamless compatibility Mac OS X</li>\n	<li>2 Analog Inputs:\n	<ul>\n		<li>Built-in omnidirectional condenser microphone</li>\n		<li>XLR microphone and 1/4” instrument connector on breakout cable</li>\n		<li>2 simultaneous inputs (instrument + built-in or external mic)</li>\n		<li>Mic preamp with up to 62dB of gain</li>\n	</ul>\n	</li>\n	<li>2 Analog Outputs:\n	<ul>\n		<li>1 1/8” stereo output for headphones or powered speakers</li>\n	</ul>\n	</li>\n	<li>Direct monitoring, complete input/output control with Apogee’s Maestro software</li>\n	<li>Compatible with GarageBand, Logic Pro X or any Core Audio Application</li>\n	<li>Die cast aluminum chassis</li>\n	<li>Legendary Apogee sound quality</li>\n	<li>Designed in California – Built in the U.S.A.</li>\n</ul>\n<br />\n<h3>Apogee ONE is the original portable, studio-quality audio interface and microphone for Mac. For more information, call or chat with an RSPE representative today.</h3>\n<br />'),(920,75,1,154,'<h2>Apogee ONE Portable USB Audio Interface for Mac and PC</h2>\n<span style=\"font-size:16px; font-style:italic;\">A 2 IN x 2 OUT Portable USB Audio Interface/Microphone for Mac and PC</span><br /><br />\nApogee ONE is an all-in-one portable, USB audio interface that gives you everything you need to make professional recordings on the go. Connect a microphone, guitar or use ONE’s exceptional built-in omnidirectional microphone to easily capture your music without compromise. ONE even lets you record with a microphone (built-in or external) and guitar simultaneously. Using Apogee’s industry-leading AD/DA conversion and mic preamp technology, ONE produces pristine music, podcast, and voice-over recordings while also delivering studio quality sound to your headphones for precision mixing or hi-fi listening. With an intuitive controller knob and seamless compatibility with Mac OS X, ONE is easy for anyone to use and works great with GarageBand, Logic Pro X, Pro Tools, Ableton or any Core Audio compatible application.<br /><br /><br />\n<h3>Legendary Sound Quality</h3>\n<h4>Why Apogee is the best choice for your studio</h4>\nApogee is an award-winning industry leader in digital recording technology with over 25 years of experience. Preferred by recording pros around the world, Apogee products like Duet, Ensemble and Symphony I/O have been instrumental in creating countless GRAMMY® and OSCAR® winning recordings and have set the industry standard in professional recording for over two decades.\n<br /><br />\n<h3>Apogee One Highlights</h3>\n<ul>\n	<li>2 IN x 2 OUT Audio interface with built-in microphone</li>\n	<li>USB 2.0 connection for Mac with 24-bit/96kHz AD/DA conversion</li>\n	<li>Low latency and seamless compatibility Mac OS X</li>\n	<li>2 Analog Inputs:\n	<ul>\n		<li>Built-in omnidirectional condenser microphone</li>\n		<li>XLR microphone and 1/4” instrument connector on breakout cable</li>\n		<li>2 simultaneous inputs (instrument + built-in or external mic)</li>\n		<li>Mic preamp with up to 62dB of gain</li>\n	</ul>\n	</li>\n	<li>2 Analog Outputs:\n	<ul>\n		<li>1 1/8” stereo output for headphones or powered speakers</li>\n	</ul>\n	</li>\n	<li>Direct monitoring, complete input/output control with Apogee’s Maestro software</li>\n	<li>Compatible with GarageBand, Logic Pro X or any Core Audio Application</li>\n	<li>Die cast aluminum chassis</li>\n	<li>Legendary Apogee sound quality</li>\n	<li>Designed in California – Built in the U.S.A.</li>\n</ul>\n<br />\n<h3>Apogee ONE is the original portable, studio-quality audio interface and microphone for Mac. For more information, call or chat with an RSPE representative today.</h3>\n<br />'),(921,85,0,154,'Apogee ONE USB Audio Interface for Mac and PC'),(922,85,1,154,'Apogee ONE USB Audio Interface for Mac and PC'),(923,76,0,154,''),(924,76,1,154,''),(925,75,0,155,'<h1>Apogee Quartet - 12 In x 8 Out USB Audio Interface and studio control center</h1>\n<span style=\"font-size:16px; font-style:italic;\">The ultimate desktop audio interface and control center for iPad and Mac<br /></span><br />\nApogee Quartet is the ultimate desktop audio interface and studio control center for professional recording on Mac and iPad. Made for the musician, producer and engineer that wants the ultimate sound quality and studio control in a compact desktop form factor, Quartet features legendary Apogee AD/DA conversion, 4 world-class microphone preamps, USB MIDI I/O, ESS Sabre32 DAC technology and monitor controls.<br /><br />\nWith Quartet’s 4 Combo inputs you can connect microphones, guitars, keyboards or line level devices such as external mic preamps or a mixing board. Expand your system with 8 additional inputs via Quartets optical (ADAT/SMUX) digital IN. Quartet also includes 8 analog outputs – 6 1/4” balanced outputs for connection to speakers or outboard equipment and a separate, independently controlled 1/4” stereo headphone output. You can control up to 3 pairs of speakers or set Quartet up for 5.1 surround monitoring.<br /><br />\n<h3>Apogee Quartet Highlights</h3>\n<li>AD/DA conversion for recording up to 192kHz / 24-bit.\n</li>\n<li>4 analog inputs with world-class mic preamps and selectable 48v phantom power for connecting microphones, instruments or line-level devices.</li>\n<li>8 analog outputs – 6 balanced 1/4” outs for speakers or outboard gear, 1/4” stereo headphone output.</li>\n<li>8 digital inputs via 2 optical connections (ADAT/SMUX).                                                                                     </li>\n<li>Monitor control for up to 3 sets of speakers or 5.1 surround.                                                                               </li>\n<li>USB 2.0 High Speed connection to Mac.                                                                                                       </li>\n<li>Direct digital connection with iOS devices (iPhone, iPad and iPod touch. 30-pin cable sold separately).                                     </li>\n<li>Software control of hardware parameters including input selection and low latency monitoring.                                               </li>\n<br />\n<h3>Legendary Sound Quality</h3>\nApogee is an award-winning industry leader in digital recording technology with over 25 years of experience. Preferred by recording pros around the world, Apogee products like Duet, Ensemble and Symphony I/O have been instrumental in creating countless GRAMMY® and OSCAR® winning recordings and have set the industry standard in professional recording for over two decades. Quartet is built solidly on this reputation.\n<br /><br />\n<h3>A difference you will hear</h3>\nFrom the mic preamps to the AD/DA converters and the clocking, Quartet is best-in-class and cutting-edge Apogee technology. With components carefully selected in critical listening tests and a highly efficient circuit design, Quartet was built by Apogee engineers to make a difference you can hear.\n<br /><br />\n<h3>Pristine, next generation AD/DA converters</h3>\nQuartet’s AD/DA converters are designed to deliver the purest recordings and best listening experience possible. Quartet’s efficient circuitry and state-of-the-art components provide a simplified signal path resulting in incredibly transparent recordings.\n<br /><br />\n<h3>Smooth, detailed world-class mic preamps</h3>\nMuch like the AD/DA converters, Quartet’s mic preamps feature the latest components and offer seamless click-free transitions as the gain increases and decreases throughout the incredible range of 0-75dB. This unprecedented feature allows you to dial in the perfect level, either with the controller knob or from within software, while delivering ultra-low noise and smooth, crisp detail. Quartet’s mic pres are suitable for all dynamic, condenser or ribbon microphones, allowing you to capture any sound without compromise.\n<br /><br />\n<h3>Soft Limit for protection from digital overs</h3>\nAn Apogee technology first introduced in 1992 on Apogee’s AD-500 converter, Soft Limit can be heard on countless platinum selling records around the world. Once a technology exclusively reserved for Apogee’s most advanced audio converters, Soft Limit is included in Quartet and can be enabled in Apogee Maestro software.\n<br /><br />\nThis superior analog design prevents the digital clipping that causes distortion by instantaneously rounding off transient peaks before they hit the analog-to-digital converter. Soft Limit allows several more decibels of apparent level to be recorded while subtly providing an analog-like warmth to the sound.<br /><br />\n<h3>ESS Sabre32 DAC Technology</h3>\nESS Sabre32 32-bit Hyperstream DAC with Time Domain Jitter Eliminator offers unequalled dynamic range, ultra low distortion, and unmatched audio clarity free from input jitter.\n<br /><br />\nWhile ESS Sabre32 DAC has been widely recognized and employed in the audiophile community as the next step in converter technology, Apogee is one of the first pro audio manufacturers to employ this DAC in an interface designed for audio and video professionals. ESS Sabre32 DAC technology, as employed in Duet 2, Duet for iPad & Mac, Quartet and Symphony I/O, is one ingredient in the Apogee Engineering Difference. The benefits of the ESS Sabre32 DAC include:<br /><br />\n<strong>32-bit DAC Architecture</strong> – Compared to older 24-bit technology, the Sabre32 DAC’s 32-bit filter processing  results in significantly lower noise and distortion, for a pure listening experience free from artifacts. 32-bit digital attenuation ensures that sonic purity is maintained at any listening level.<br /><br />\nTime Domain Jitter Elimination removes clock inconsistencies from the incoming digital data, so the converted analog output preserves the clarity and soundstage detail of the original recording.<br /><br />\n<h3>Inputs & Outputs</h3>\nAll the I/O You Need\n<br /><br />\n<strong>Analog Inputs</strong><br />\nQuartet is equipped with 4 combination input connectors (XLR and 1/4”) for connecting microphones, guitars and keyboards or your favorite external mic preamps, compressors and EQs.<br /><br />\n<strong>Digital Input</strong><br />\nQuartet also includes 8 channels of digital input via 2 optical connections (ADAT/SMUX) for connecting an additional analog-to-digital converter such as Apogee’s Ensemble.<br /><br />\n<strong>Analog Outputs</strong><br />\nQuartet’s 6 balanced 1/4” TRS outputs offer an impressive range of possibilities. Listen and compare stereo mixes on up to three sets of speakers. Mix your audio or Final Cut video project in 5.1 surround. You can also take Quartet on the road and use all three stereo sets on stage, sending signal to the performer, monitor mixer and front-of-house. Quartet also features a studio-quality 1/4” headphone output allowing you to independently adjust your headphone level separate from the main outputs.<br /><br />\n<strong>Word Clock</strong><br />\nQuartet provides Word Clock OUT for synching an external A/D converter to Apogee’s superior clocking technology.<br /><br />\n<strong>MIDI</strong><br />\nQuartet provides a single USB MIDI connection for your CoreMIDI compatible keyboard, synth, or DJ controller. This eliminates the need for an external MIDI interface and promotes an all-in-one music creation solution where Quartet and Maestro manage all audio and MIDI. On iPad, Quartet’s MIDI connection allows both Quartet and a keyboard or DJ controller to be connected at the same time to the iPad’s single 30-pin dock port.<br /><br />'),(926,75,1,155,'<h1>Apogee Quartet - 12 In x 8 Out USB Audio Interface and studio control center</h1>\n<span style=\"font-size:16px; font-style:italic;\">The ultimate desktop audio interface and control center for iPad and Mac<br /></span><br />\nApogee Quartet is the ultimate desktop audio interface and studio control center for professional recording on Mac and iPad. Made for the musician, producer and engineer that wants the ultimate sound quality and studio control in a compact desktop form factor, Quartet features legendary Apogee AD/DA conversion, 4 world-class microphone preamps, USB MIDI I/O, ESS Sabre32 DAC technology and monitor controls.<br /><br />\nWith Quartet’s 4 Combo inputs you can connect microphones, guitars, keyboards or line level devices such as external mic preamps or a mixing board. Expand your system with 8 additional inputs via Quartets optical (ADAT/SMUX) digital IN. Quartet also includes 8 analog outputs – 6 1/4” balanced outputs for connection to speakers or outboard equipment and a separate, independently controlled 1/4” stereo headphone output. You can control up to 3 pairs of speakers or set Quartet up for 5.1 surround monitoring.<br /><br />\n<h3>Apogee Quartet Highlights</h3>\n<li>AD/DA conversion for recording up to 192kHz / 24-bit.\n</li>\n<li>4 analog inputs with world-class mic preamps and selectable 48v phantom power for connecting microphones, instruments or line-level devices.</li>\n<li>8 analog outputs – 6 balanced 1/4” outs for speakers or outboard gear, 1/4” stereo headphone output.</li>\n<li>8 digital inputs via 2 optical connections (ADAT/SMUX).                                                                                     </li>\n<li>Monitor control for up to 3 sets of speakers or 5.1 surround.                                                                               </li>\n<li>USB 2.0 High Speed connection to Mac.                                                                                                       </li>\n<li>Direct digital connection with iOS devices (iPhone, iPad and iPod touch. 30-pin cable sold separately).                                     </li>\n<li>Software control of hardware parameters including input selection and low latency monitoring.                                               </li>\n<br />\n<h3>Legendary Sound Quality</h3>\nApogee is an award-winning industry leader in digital recording technology with over 25 years of experience. Preferred by recording pros around the world, Apogee products like Duet, Ensemble and Symphony I/O have been instrumental in creating countless GRAMMY® and OSCAR® winning recordings and have set the industry standard in professional recording for over two decades. Quartet is built solidly on this reputation.\n<br /><br />\n<h3>A difference you will hear</h3>\nFrom the mic preamps to the AD/DA converters and the clocking, Quartet is best-in-class and cutting-edge Apogee technology. With components carefully selected in critical listening tests and a highly efficient circuit design, Quartet was built by Apogee engineers to make a difference you can hear.\n<br /><br />\n<h3>Pristine, next generation AD/DA converters</h3>\nQuartet’s AD/DA converters are designed to deliver the purest recordings and best listening experience possible. Quartet’s efficient circuitry and state-of-the-art components provide a simplified signal path resulting in incredibly transparent recordings.\n<br /><br />\n<h3>Smooth, detailed world-class mic preamps</h3>\nMuch like the AD/DA converters, Quartet’s mic preamps feature the latest components and offer seamless click-free transitions as the gain increases and decreases throughout the incredible range of 0-75dB. This unprecedented feature allows you to dial in the perfect level, either with the controller knob or from within software, while delivering ultra-low noise and smooth, crisp detail. Quartet’s mic pres are suitable for all dynamic, condenser or ribbon microphones, allowing you to capture any sound without compromise.\n<br /><br />\n<h3>Soft Limit for protection from digital overs</h3>\nAn Apogee technology first introduced in 1992 on Apogee’s AD-500 converter, Soft Limit can be heard on countless platinum selling records around the world. Once a technology exclusively reserved for Apogee’s most advanced audio converters, Soft Limit is included in Quartet and can be enabled in Apogee Maestro software.\n<br /><br />\nThis superior analog design prevents the digital clipping that causes distortion by instantaneously rounding off transient peaks before they hit the analog-to-digital converter. Soft Limit allows several more decibels of apparent level to be recorded while subtly providing an analog-like warmth to the sound.<br /><br />\n<h3>ESS Sabre32 DAC Technology</h3>\nESS Sabre32 32-bit Hyperstream DAC with Time Domain Jitter Eliminator offers unequalled dynamic range, ultra low distortion, and unmatched audio clarity free from input jitter.\n<br /><br />\nWhile ESS Sabre32 DAC has been widely recognized and employed in the audiophile community as the next step in converter technology, Apogee is one of the first pro audio manufacturers to employ this DAC in an interface designed for audio and video professionals. ESS Sabre32 DAC technology, as employed in Duet 2, Duet for iPad & Mac, Quartet and Symphony I/O, is one ingredient in the Apogee Engineering Difference. The benefits of the ESS Sabre32 DAC include:<br /><br />\n<strong>32-bit DAC Architecture</strong> – Compared to older 24-bit technology, the Sabre32 DAC’s 32-bit filter processing  results in significantly lower noise and distortion, for a pure listening experience free from artifacts. 32-bit digital attenuation ensures that sonic purity is maintained at any listening level.<br /><br />\nTime Domain Jitter Elimination removes clock inconsistencies from the incoming digital data, so the converted analog output preserves the clarity and soundstage detail of the original recording.<br /><br />\n<h3>Inputs & Outputs</h3>\nAll the I/O You Need\n<br /><br />\n<strong>Analog Inputs</strong><br />\nQuartet is equipped with 4 combination input connectors (XLR and 1/4”) for connecting microphones, guitars and keyboards or your favorite external mic preamps, compressors and EQs.<br /><br />\n<strong>Digital Input</strong><br />\nQuartet also includes 8 channels of digital input via 2 optical connections (ADAT/SMUX) for connecting an additional analog-to-digital converter such as Apogee’s Ensemble.<br /><br />\n<strong>Analog Outputs</strong><br />\nQuartet’s 6 balanced 1/4” TRS outputs offer an impressive range of possibilities. Listen and compare stereo mixes on up to three sets of speakers. Mix your audio or Final Cut video project in 5.1 surround. You can also take Quartet on the road and use all three stereo sets on stage, sending signal to the performer, monitor mixer and front-of-house. Quartet also features a studio-quality 1/4” headphone output allowing you to independently adjust your headphone level separate from the main outputs.<br /><br />\n<strong>Word Clock</strong><br />\nQuartet provides Word Clock OUT for synching an external A/D converter to Apogee’s superior clocking technology.<br /><br />\n<strong>MIDI</strong><br />\nQuartet provides a single USB MIDI connection for your CoreMIDI compatible keyboard, synth, or DJ controller. This eliminates the need for an external MIDI interface and promotes an all-in-one music creation solution where Quartet and Maestro manage all audio and MIDI. On iPad, Quartet’s MIDI connection allows both Quartet and a keyboard or DJ controller to be connected at the same time to the iPad’s single 30-pin dock port.<br /><br />'),(927,85,0,155,'Apogee Quartet - 12 In x 8 Out USB Audio Interface and studio control center'),(928,85,1,155,'Apogee Quartet - 12 In x 8 Out USB Audio Interface and studio control center'),(929,76,0,155,''),(930,76,1,155,''),(931,75,0,156,'<h2>Apogee Symphony I/O Mk II HD 8X8 + 8MP Pro Tools HD Audio Interface</h2>\n<span style=\"font-size: 16px; font-style: italic;\">Professional-grade audio interface with renowned Apogee conversion, designed for use with Pro Tools HD systems.</span><br /><br />\n<div class=\"flex_column av_one_half  flex_column_div av-zero-column-padding first  avia-builder-el-4  el_after_av_one_full  el_before_av_one_half  column-top-margin\" style=\"border-radius:0px; \"><section class=\"av_textblock_section\" itemscope=\"itemscope\" itemtype=\"https://schema.org/CreativeWork\"><div class=\"avia_textblock \" itemprop=\"text\"><p>Symphony\n I/O Mk II HD is designed for the Pro Tools HD user who needs a \nmulti-channel audio interface with the best sound quality at an \nincredible cost per channel value. Whether using a Mac or PC based \nstudio, Symphony I/O Mk II HD can connect directly to your Pro Tools \nHDX, Pro Tools HD Native or Pro Tools Core/Accel systems.</p>\n<p>Symphony I/O Mk II HD can be utilized alongside or in place of Avid® \nor Digidesign® interfaces for Pro Tools HD. In fact, each I/O module \ninstalled in Symphony I/O Mk II HD appears and functions in Pro Tools HD\n the same if it were a separate Avid HD I/O interface, so set up is easy\n and you can take advantage of important Pro Tools features such as \nsample-accurate delay compensation.</p>\n<p>A single Symphony I/O Mk II HD unit can have up to 32 simultaneous \nanalog I/O, so you can have more channels with less rack gear.  Need \neven more channels?  You can utilize multiple units simultaneously, with\n one Symphony I/O Mk II HD per every Pro Tools HD port in your system. \nCalibrating your I/O is easy with Symphony I/O Mk II HD’s front panel \ntouchscreen.</p></div></section></div><br />\n<h3>Apogee Symphony I/O Mk II HD Features:</h3>\n<ul><li>Best performance of any multi-channel Pro Tools HD interface</li><li>Best cost per channel value of any Pro Tools HD interface solution</li><li>Connects directly to any Pro Tools HD system (Mac or PC)</li><li>Emulates Avid HD I/O interface, including sample-accurate delay compensation</li><li>Connect multiple units in a single system (1 unit per HD port)</li><li>Easy I/O calibration with front panel touchscreen</li></ul>\n<br />\n<h3>Apogee Symphony I/O Mk II <span style=\"background-color: initial;\">8X8 + 8MP Key Features:</span></h3>\n<ul>\n	<li><span style=\"background-color: initial;\">Up to 32 channels of modular analog I/O with optional 8 mic preamps</span></li>\n	<li>Best per-channel value of any interface in its category</li>\n	<li>Choice of Thunderbolt, Pro Tools® HD (Mac/PC) or Waves SoundGrid® connectivity*</li>\n	<li>Ultra-low latency performance</li>\n	<li>Intuitive touchscreen display and front panel control</li>\n	<li>Option card slot for future platform flexibility</li>\n	<li>Designed in California, Built in the U.S.A.</li>\n</ul>\n<br /><div style=\"float: left; width: 50%;\"><h3>INPUTS</h3>\n<ul><li>Analog Inputs\n<ul><li>8 built-in mic preamps</li><li>Digitally controlled, 85dB microphone preamps</li><li><span>4 Hi-Z 1/4” instrument inputs capable of handling high level instruments</span></li><li>Selectable 48v phantom power, Soft Limit and phase invert</li><li><span>8 balanced inputs on 1 DSUB 25-pin connector</span></li></ul>\n</li><li>Inserts\n<ul><li>8 balanced software assignable analog insert points</li><li>Return 1-8 on 1 DSUB 25-pin connector</li></ul>\n</li><li><span>Digital Inputs</span>\n<ul><li>*AES-EBU IN: 8 inputs on 1 DSUB 25-pin connector</li><li>*Optical IN: Supports ADAT, SMUX & S/PDIF\n<ul><li>ADAT: 8 channels 44.1-48 kHz on 1 Toslink connector</li><li>SMUX: 8 channels 88.2-96 kHz on 2 Toslink connectors</li><li>S/PDIF: 2 channels, up to 96 kHz on 1 Toslink connector</li></ul>\n</li><li><span>Coax IN: 2 channels of S/PDIF, up to 192 kHz on 1 RCA connector</span></li></ul>\n</li></ul>\n</div><br /><h3><strong>OUTPUTS</strong></h3>\n<ul><li>Analog Outputs\n<ul><li>8 balanced outputs on 1 DSUB 25-pin connector</li></ul>\n</li><li>Inserts\n<ul><li>8 balanced software assignable analog insert points</li><li>Send 1-8 on 1 DSUB 25-pin connector</li></ul>\n</li><li><span>Digital Outputs</span>\n<ul><li>*AES-EBU OUT: 8 outputs on 1 DSUB 25-pin connector</li><li>*Optical OUT: Supports ADAT, SMUX & S/PDIF\n<ul><li>ADAT: 8 channels 44.1-48 kHz on 1 Toslink connector</li><li>SMUX: 8 channels 88.2-96 kHz on 2 Toslink connectors</li><li>S/PDIF: 2 channels, up to 96 kHz on 1 Toslink connector</li></ul>\n</li><li><span>Coax OUT: 2 channels of S/PDIF, up to 192 kHz on 1 RCA connector</span></li></ul>\n</li></ul>\n<h3>The Apogee Symphony I/O family </h3>\nApogee’s Symphony I/O Mk II offers four base configurations that provide a suitable solution plus expansion capabilities for home studio, project studio, commercial recording studio, or scoring stage. \n<br /><br />\n<h3>Apogee Symphony I/O Mk II Base configurations:</h3>\n1. \n<a href=\"http://www.rspeaudio.com/Apogee-Symphony-I-O-Mk-II-2x6-p/apo-sioc-mkii-a2x6.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">Symphony I/O 2x6 Mk II</a><br />2. <a href=\"http://www.rspeaudio.com/Apogee-Symphony-I-O-Mk-II-8x8-p/apo-sioc-mkii-a8x8.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">Symphony I/O 8x8 Mk II</a> <br />3. <a href=\"http://www.rspeaudio.com/Apogee-Symphony-I-O-Mk-II-16X16-p/apo-sioc-mkii-a16x16.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">Symphony I/O 16x16 Mk II</a> <br />4. <a href=\"http://www.rspeaudio.com/Apogee-Symphony-I-O-8X8-8MP-p/apo-sioc-mkii-a8x8-a8mp.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">Symphony I/O 8x8 + 8MP Mk II</a> <br /><br />\n<h2>Apogee Symphony I/O Mk II 8X8 + 8MP unique features in depth</h2>\n<h3>Apogee Sound Quality</h3>\nWhile the phrase, “Apogee’s legendary sound quality” certainly applies, there’s no need to trot out that old cliché. Everyone who’s been making records for the last two decades knows about Apogee sound. They also knew that Apogee converters had a slight coloration, one that many found pleasing, but certain applications demand the ultimate in transparency. The advantage of transparent recording is that you’re not locked into a specific coloration, which can turn a unit into a one-trick pony. And should you desire, you can always add color later—your choice of color. To create its next-generation converters, Apogee focused its 25 years of award winning design experience to create its best-sounding and most transparent converters to date. \n<br /><br />\n<h3>Mk II Sound Quality–New 8×8 and 16×16 Modules</h3>\nSymphony I/O Mk II includes the most refined analog-to-digital converter Apogee has ever designed. The analog stage uses the same fully differential op-amps as found in the original Symphony I/O, but now in a circuit precisely streamlined to provide the most transparent path to the A/D stage possible. A Dual Sum A/D stage – where two conversion stages are summed for each analog channel – offers the lowest distortion and greatest dynamic range of any A/D converter Apogee has ever designed – you get digital recordings that are true to your analog inspiration.  \n<br /><br />\nSymphony I/O MK II’s D/A section has been optimized with a more powerful, robust analog output driver. This newly designed high current, low impedance circuit is capable of driving virtually any input with absolutely no decrease in performance, regardless of the load presented by the connected gear. This becomes especially important when connecting vintage gear with difficult load impedances and elevated operating levels, sometime over long cables – Symphony I/O MK II maintains fidelity and punch.  <br /><br />\n<h3>Input and Output Flexibility</h3>\nTired of outgrowing your gear or discovering that your needs for expandability have diverged from your original plan—and finding yourself cobbling together a complicated, cumbersome system? Those days too, are gone because Apogee Symphony I/O can grow with you. Starting with your base configuration of choice (2x6, 8x8, 16x16, or 8x8 with 8 mic preamps), Symphony I/O can easily expand as your studio grows via two rear-panel module slots, which offer the capacity for up to 32 inputs and outputs of A/D-D/A conversion per unit. Currently, Apogee offers five* I/O modules plus the 8 Mic Pre** eight-channel preamp module. \n<br /><br />Symphony’s I/O modules are designed to future-proof your investment in flagship Apogee sound quality. If you own an original Symphony I/O, the Symphony I/O Mk II chassis can increase the longevity of your system by offering backwards compatibility with first generation 2×6, 8×8, 16×16 and 8 channel mic preamp I/O modules.<br /><br />\n<h3>Apogee Symphony I/O expansion options: </h3>\n1. <a href=\"http://www.rspeaudio.com/Apogee-Symphony-I-O-Module-2x6-p/apo-a2x6.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">2x6 Analog I/O + 8x8 Optical + AES I/O Module</a><br />2. <a href=\"http://www.rspeaudio.com/Apogee-Symphony-I-O-Module-8x8-8x8-p/apo-a8x8-mk2.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">8x8 Analog I/O + 8x8 AES/Optical I/O Mk II</a><br />3. <a href=\"http://www.rspeaudio.com/Apogee-Symphony-16x16-Analog-MKII-p/apo-a16x16-mk2.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">16x16 Analog I/O Mk II</a><br />4. <a href=\"http://www.rspeaudio.com/Apogee-Symphony-I-O-Module-16A-IN-and-16O-OUT-p/apo-sym-16ain-16optout.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">16 Analog in + 16 Optical out</a><br />5. <a href=\"http://www.rspeaudio.com/Apogee-Symphony-I-O-Module-8-Mic-Pre-Amp-p/apo-a8mp.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">8 Mic Preamp – 8-channel microphone preamp</a><br />\n<br />\n*The 2x6 card is only available in base configuration<br />\n** Symphony I/O 2x6 base is not compatible with the 8 Mic Pre card <br /><br />\n<h3>Apogee Symphony I/O front panel touch screen</h3>\n<div>\n	All of Symphony I/O Mk II’s essential input and output settings can be accessed from the front panel touchscreen. Change your input selection, monitoring levels, mic pre gain or calibrate your Symphony I/O Mk II to match the levels of the other analog gear in your system. \n	<span style=\"background-color: initial;\">A high-resolution TFT display delivers all the visual feedback critical for recording and monitoring. Without looking at your computer, Symphony I/O Mk II lets you see metering for up to 64 channels of I/O, 32 IN x 32 OUT – signal levels, polarity, muting, phantom power and Soft Limit.</span>\n</div>\n<br />\n<h3>Apogee Symphony I/O rear panel</h3>\nThe rear panel of the Symphony I/O is where the modular magic happens. It has two module slots and is capable of up to 32 channels of I/O in various combinations (depending on module choice), plus PCI, USB 2.0, and Ethernet (for future connectivity). The base unit also features word clock connectors and termination, plus a quiet, high-performance, digitally controlled fan for cool running.\n<br /><br />\n<h3>Apogee Symphony I/O’s stellar conversion, world-class preamps, and user scalability make a great choice for any studio. For more information, talk to an RSPE representative.</h3>'),(932,75,1,156,'<h2>Apogee Symphony I/O Mk II HD 8X8 + 8MP Pro Tools HD Audio Interface</h2>\n<span style=\"font-size: 16px; font-style: italic;\">Professional-grade audio interface with renowned Apogee conversion, designed for use with Pro Tools HD systems.</span><br /><br />\n<div class=\"flex_column av_one_half  flex_column_div av-zero-column-padding first  avia-builder-el-4  el_after_av_one_full  el_before_av_one_half  column-top-margin\" style=\"border-radius:0px; \"><section class=\"av_textblock_section\" itemscope=\"itemscope\" itemtype=\"https://schema.org/CreativeWork\"><div class=\"avia_textblock \" itemprop=\"text\"><p>Symphony\n I/O Mk II HD is designed for the Pro Tools HD user who needs a \nmulti-channel audio interface with the best sound quality at an \nincredible cost per channel value. Whether using a Mac or PC based \nstudio, Symphony I/O Mk II HD can connect directly to your Pro Tools \nHDX, Pro Tools HD Native or Pro Tools Core/Accel systems.</p>\n<p>Symphony I/O Mk II HD can be utilized alongside or in place of Avid® \nor Digidesign® interfaces for Pro Tools HD. In fact, each I/O module \ninstalled in Symphony I/O Mk II HD appears and functions in Pro Tools HD\n the same if it were a separate Avid HD I/O interface, so set up is easy\n and you can take advantage of important Pro Tools features such as \nsample-accurate delay compensation.</p>\n<p>A single Symphony I/O Mk II HD unit can have up to 32 simultaneous \nanalog I/O, so you can have more channels with less rack gear.  Need \neven more channels?  You can utilize multiple units simultaneously, with\n one Symphony I/O Mk II HD per every Pro Tools HD port in your system. \nCalibrating your I/O is easy with Symphony I/O Mk II HD’s front panel \ntouchscreen.</p></div></section></div><br />\n<h3>Apogee Symphony I/O Mk II HD Features:</h3>\n<ul><li>Best performance of any multi-channel Pro Tools HD interface</li><li>Best cost per channel value of any Pro Tools HD interface solution</li><li>Connects directly to any Pro Tools HD system (Mac or PC)</li><li>Emulates Avid HD I/O interface, including sample-accurate delay compensation</li><li>Connect multiple units in a single system (1 unit per HD port)</li><li>Easy I/O calibration with front panel touchscreen</li></ul>\n<br />\n<h3>Apogee Symphony I/O Mk II <span style=\"background-color: initial;\">8X8 + 8MP Key Features:</span></h3>\n<ul>\n	<li><span style=\"background-color: initial;\">Up to 32 channels of modular analog I/O with optional 8 mic preamps</span></li>\n	<li>Best per-channel value of any interface in its category</li>\n	<li>Choice of Thunderbolt, Pro Tools® HD (Mac/PC) or Waves SoundGrid® connectivity*</li>\n	<li>Ultra-low latency performance</li>\n	<li>Intuitive touchscreen display and front panel control</li>\n	<li>Option card slot for future platform flexibility</li>\n	<li>Designed in California, Built in the U.S.A.</li>\n</ul>\n<br /><div style=\"float: left; width: 50%;\"><h3>INPUTS</h3>\n<ul><li>Analog Inputs\n<ul><li>8 built-in mic preamps</li><li>Digitally controlled, 85dB microphone preamps</li><li><span>4 Hi-Z 1/4” instrument inputs capable of handling high level instruments</span></li><li>Selectable 48v phantom power, Soft Limit and phase invert</li><li><span>8 balanced inputs on 1 DSUB 25-pin connector</span></li></ul>\n</li><li>Inserts\n<ul><li>8 balanced software assignable analog insert points</li><li>Return 1-8 on 1 DSUB 25-pin connector</li></ul>\n</li><li><span>Digital Inputs</span>\n<ul><li>*AES-EBU IN: 8 inputs on 1 DSUB 25-pin connector</li><li>*Optical IN: Supports ADAT, SMUX & S/PDIF\n<ul><li>ADAT: 8 channels 44.1-48 kHz on 1 Toslink connector</li><li>SMUX: 8 channels 88.2-96 kHz on 2 Toslink connectors</li><li>S/PDIF: 2 channels, up to 96 kHz on 1 Toslink connector</li></ul>\n</li><li><span>Coax IN: 2 channels of S/PDIF, up to 192 kHz on 1 RCA connector</span></li></ul>\n</li></ul>\n</div><br /><h3><strong>OUTPUTS</strong></h3>\n<ul><li>Analog Outputs\n<ul><li>8 balanced outputs on 1 DSUB 25-pin connector</li></ul>\n</li><li>Inserts\n<ul><li>8 balanced software assignable analog insert points</li><li>Send 1-8 on 1 DSUB 25-pin connector</li></ul>\n</li><li><span>Digital Outputs</span>\n<ul><li>*AES-EBU OUT: 8 outputs on 1 DSUB 25-pin connector</li><li>*Optical OUT: Supports ADAT, SMUX & S/PDIF\n<ul><li>ADAT: 8 channels 44.1-48 kHz on 1 Toslink connector</li><li>SMUX: 8 channels 88.2-96 kHz on 2 Toslink connectors</li><li>S/PDIF: 2 channels, up to 96 kHz on 1 Toslink connector</li></ul>\n</li><li><span>Coax OUT: 2 channels of S/PDIF, up to 192 kHz on 1 RCA connector</span></li></ul>\n</li></ul>\n<h3>The Apogee Symphony I/O family </h3>\nApogee’s Symphony I/O Mk II offers four base configurations that provide a suitable solution plus expansion capabilities for home studio, project studio, commercial recording studio, or scoring stage. \n<br /><br />\n<h3>Apogee Symphony I/O Mk II Base configurations:</h3>\n1. \n<a href=\"http://www.rspeaudio.com/Apogee-Symphony-I-O-Mk-II-2x6-p/apo-sioc-mkii-a2x6.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">Symphony I/O 2x6 Mk II</a><br />2. <a href=\"http://www.rspeaudio.com/Apogee-Symphony-I-O-Mk-II-8x8-p/apo-sioc-mkii-a8x8.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">Symphony I/O 8x8 Mk II</a> <br />3. <a href=\"http://www.rspeaudio.com/Apogee-Symphony-I-O-Mk-II-16X16-p/apo-sioc-mkii-a16x16.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">Symphony I/O 16x16 Mk II</a> <br />4. <a href=\"http://www.rspeaudio.com/Apogee-Symphony-I-O-8X8-8MP-p/apo-sioc-mkii-a8x8-a8mp.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">Symphony I/O 8x8 + 8MP Mk II</a> <br /><br />\n<h2>Apogee Symphony I/O Mk II 8X8 + 8MP unique features in depth</h2>\n<h3>Apogee Sound Quality</h3>\nWhile the phrase, “Apogee’s legendary sound quality” certainly applies, there’s no need to trot out that old cliché. Everyone who’s been making records for the last two decades knows about Apogee sound. They also knew that Apogee converters had a slight coloration, one that many found pleasing, but certain applications demand the ultimate in transparency. The advantage of transparent recording is that you’re not locked into a specific coloration, which can turn a unit into a one-trick pony. And should you desire, you can always add color later—your choice of color. To create its next-generation converters, Apogee focused its 25 years of award winning design experience to create its best-sounding and most transparent converters to date. \n<br /><br />\n<h3>Mk II Sound Quality–New 8×8 and 16×16 Modules</h3>\nSymphony I/O Mk II includes the most refined analog-to-digital converter Apogee has ever designed. The analog stage uses the same fully differential op-amps as found in the original Symphony I/O, but now in a circuit precisely streamlined to provide the most transparent path to the A/D stage possible. A Dual Sum A/D stage – where two conversion stages are summed for each analog channel – offers the lowest distortion and greatest dynamic range of any A/D converter Apogee has ever designed – you get digital recordings that are true to your analog inspiration.  \n<br /><br />\nSymphony I/O MK II’s D/A section has been optimized with a more powerful, robust analog output driver. This newly designed high current, low impedance circuit is capable of driving virtually any input with absolutely no decrease in performance, regardless of the load presented by the connected gear. This becomes especially important when connecting vintage gear with difficult load impedances and elevated operating levels, sometime over long cables – Symphony I/O MK II maintains fidelity and punch.  <br /><br />\n<h3>Input and Output Flexibility</h3>\nTired of outgrowing your gear or discovering that your needs for expandability have diverged from your original plan—and finding yourself cobbling together a complicated, cumbersome system? Those days too, are gone because Apogee Symphony I/O can grow with you. Starting with your base configuration of choice (2x6, 8x8, 16x16, or 8x8 with 8 mic preamps), Symphony I/O can easily expand as your studio grows via two rear-panel module slots, which offer the capacity for up to 32 inputs and outputs of A/D-D/A conversion per unit. Currently, Apogee offers five* I/O modules plus the 8 Mic Pre** eight-channel preamp module. \n<br /><br />Symphony’s I/O modules are designed to future-proof your investment in flagship Apogee sound quality. If you own an original Symphony I/O, the Symphony I/O Mk II chassis can increase the longevity of your system by offering backwards compatibility with first generation 2×6, 8×8, 16×16 and 8 channel mic preamp I/O modules.<br /><br />\n<h3>Apogee Symphony I/O expansion options: </h3>\n1. <a href=\"http://www.rspeaudio.com/Apogee-Symphony-I-O-Module-2x6-p/apo-a2x6.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">2x6 Analog I/O + 8x8 Optical + AES I/O Module</a><br />2. <a href=\"http://www.rspeaudio.com/Apogee-Symphony-I-O-Module-8x8-8x8-p/apo-a8x8-mk2.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">8x8 Analog I/O + 8x8 AES/Optical I/O Mk II</a><br />3. <a href=\"http://www.rspeaudio.com/Apogee-Symphony-16x16-Analog-MKII-p/apo-a16x16-mk2.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">16x16 Analog I/O Mk II</a><br />4. <a href=\"http://www.rspeaudio.com/Apogee-Symphony-I-O-Module-16A-IN-and-16O-OUT-p/apo-sym-16ain-16optout.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">16 Analog in + 16 Optical out</a><br />5. <a href=\"http://www.rspeaudio.com/Apogee-Symphony-I-O-Module-8-Mic-Pre-Amp-p/apo-a8mp.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">8 Mic Preamp – 8-channel microphone preamp</a><br />\n<br />\n*The 2x6 card is only available in base configuration<br />\n** Symphony I/O 2x6 base is not compatible with the 8 Mic Pre card <br /><br />\n<h3>Apogee Symphony I/O front panel touch screen</h3>\n<div>\n	All of Symphony I/O Mk II’s essential input and output settings can be accessed from the front panel touchscreen. Change your input selection, monitoring levels, mic pre gain or calibrate your Symphony I/O Mk II to match the levels of the other analog gear in your system. \n	<span style=\"background-color: initial;\">A high-resolution TFT display delivers all the visual feedback critical for recording and monitoring. Without looking at your computer, Symphony I/O Mk II lets you see metering for up to 64 channels of I/O, 32 IN x 32 OUT – signal levels, polarity, muting, phantom power and Soft Limit.</span>\n</div>\n<br />\n<h3>Apogee Symphony I/O rear panel</h3>\nThe rear panel of the Symphony I/O is where the modular magic happens. It has two module slots and is capable of up to 32 channels of I/O in various combinations (depending on module choice), plus PCI, USB 2.0, and Ethernet (for future connectivity). The base unit also features word clock connectors and termination, plus a quiet, high-performance, digitally controlled fan for cool running.\n<br /><br />\n<h3>Apogee Symphony I/O’s stellar conversion, world-class preamps, and user scalability make a great choice for any studio. For more information, talk to an RSPE representative.</h3>'),(933,85,0,156,'Apogee Symphony I/O Mk II HD 8X8 + 8MP Pro Tools HD Interface'),(934,85,1,156,'Apogee Symphony I/O Mk II HD 8X8 + 8MP Pro Tools HD Interface'),(935,76,0,156,''),(936,76,1,156,''),