(12889,75,0,2149,'<h2>Yamaha Nuage Fader</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">Where intelligent design and science coexist in perfect harmony. </span><br><br>\n\nPerhaps the most advanced channel strip control surface ever built, Yamaha Nuage Fader pack renders the line between software DAW and physical control surface invisible—essential for any endeavor where technology meets creativity (such as recording). Nuage Fader is a 16-channel fader pack that works in conjunction with the Nuage Master controller, as well as in standalone. It features 16 touch-sensitive 100mm faders that extend +12dB above unity; monitor and transport section; high-resolution OLED displays; and illuminated touch-sensitive controls. All controls, including faders, buttons, and rotary knobs are the product of painstaking ergonimic research and high-quality craftsmanship, giving the Nuage control surface a solid and responsive feel—tailored to suit the needs of the creative professional.<br><br>\n\nNuage Fader offers an unprecedented level of integration with Nuendo software. The size of the Nuage Fader is designed to line up perfectly with Nuendo’s on-screen controls when using standard 24\" flat-screen monitors. (For monitors of different dimension, Neundo channel displays can be resized to line up with faders.) Impressive in both looks and functionality, the Nuage Fader hardware controls become a visual and physical extension of the DAW channel strips displayed onscreen above the Fader controller. <br><br>\n<ul>\n<li>Refined, comprehensively integrated channel strip control surface for DAW operation</li>\n<li>Sixteen touch sensitive 100mm channel faders with extended range to +12dB</li>\n<li>Extensive Console View: a standard 24\" LCD monitor display (not included) provides a seamless visual connection between physical Nuage fader channel strips and Nuendo mix window</li>\n<li>Unique Touch Slider strip quickly shifts Nuendo channels left or right in relation to the Nuage Fader channel strips</li>\n<li>Each channel strip includes two touch sensitive knobs with integral push buttons for direct control of channel parameters</li>\n</ul><br>\n\n<h3>The perfect marriage of hardware and unlimited software options</h3>\nOne of the major issues all makers of control surfaces must contend with are the almost infinite number of parameters available on a software DAW, relative to the limited number of faders and knobs that can fit onto a hardware controller. If Yamaha and Steinberg were to attempt to create a physical replica of the myriad possibilities and parameters of Nuendo, the resultant console would probably require its own zip code—so how did Nuage engineers solve this problem?<br><br>\n\nRather than trying to cover all bases in a cursory fashion, or forcing users to make a career out of software/hardware mapping, Nuage designers made choices based on real-world mixing workflow, with controls defaulting to the most used parameters, such as pan, or compressor threshold and ratio. Nuage also makes use of the extended channel, or “fat channel” mode, commonly found on digital consoles, in which one button-press expands the parameters of the chosen channel (or plug-in) onto hardware controls. <br><br>\n\nNowhere is the problem of assigning parameters to hardware controls felt more profoundly than with third-party plug-ins, which often display all parameters regardless of how often used. For example, “High Frequency Gain” on an EQ plus-in might appear near the bottom of the last page of parameters. Rather than deal with time-consuming XML file mapping, Nuage provides an editor with a graphical user interface allowing you to change the XML files and make sure that the most useful parameters are allocated to hardware controls. In practice this means that the parameters you really need come up on your chosen hardware controls (which happens automatically when using Nuendo’s excellent suite of plug-ins).<br><br>\n\n<h3>Scrolling Touch Slider for quick channel access</h3>\nDealing with high track counts across large-format control surfaces can be more than a little inconvenient, especially when it comes to accessing specific tracks. After all, who wants to commute to opposite sides of a long mixing desk repeatedly? Conversely, if you only have one Nuage Fader, how can you access channels in a 200-track project easily without interrupting the creative flow? Answer: Yamaha has gone all Tony Stark on you with the Touch Slider strip. <br><br>\n\nThe innovative Nuage Touch Slider makes finding and selecting channels easy. Placed along the length of the Fader surface (like the masking-tape scribble strips of old), just slide a finger along the Touch Slider strip to shift Nuendo channels left or right in relation to the Nuage Fader channel strips. Use “flick” gestures to quickly shift a larger range of channels, or use the “Bank Flick” feature to flick channels in groups of eight. There are also customizable channel layouts that bring important channels to the surface a single button press. Plus, stems or master busses can be locked to the surface for access at any time.<br><br>\n\n<h3>Color-matching with Nuendo track icons</h3>\nReading channel names can be difficult if you’re sweeping through multiple channels quickly. To address that issue, channels can be color-coded. For example, if you designate all Foley channels red, simply swipe until you see red on the Fader controller (rather than seeing red when using traditional bank controls trying to reading channel name abbreviations in small fonts whizzing by). To facilitate fast fader flicking (alliteration abounds) Nuage designers took great care in matching OLED display colors with Nuendo. And, to enable you to confirm channel relationships at a glance, Nuendo channel names appear in corresponding Nuage Fader displays. Plus, the colors of the illuminated knobs, and bars below the channel display match the colors of the Nuendo channel-type icons.<br><br>\n\n<h3>Hob-knobbing with Nuage and Nuendo</h3>\nIn addition to a linear fader, each of Nuage Fader’s 16 channel strips include two illuminated rotary encoders, or “knobs” if you will, for a total of 32 knobs per Nuage Fader unit. The knobs are touch-sensitive and also include an integral push button. Normally the two knobs function within their own channel strip. For example if you activate a compressor, each knob will control the two most important functions of the compressor, e.g.: threshold and ratio. In this mode, you have individual control of two most used parameters across 16 channels. However, and here’s where it gets interesting, in the Channel Setting Mode, all 32 knobs can be mapped to just one channel. In this mode you have all the Nuendo racks available, which means you can activate all the dynamics modules and have all controls of all five dynamic modules available on the 32 encoders. There is also a two-channel mode that assigns 16 knobs for each channel. In this mode you can compare two equalizers or two dynamics sections. (As a useful aside, Nuendo now has spectrum analyzers on EQ.)<br><br>\n\nAll this versatility means the Nuage Fader unit will mesh effectively with just about any workflow, and perhaps inspire you to find new ways of working.<br><br>\n\n<h3>Minimal user setup</h3>\nAs you would hope from a highly integrated, modular system, Nuage keeps user set-up to a minimum. For example, Nuendo automatically “knows” when several hardware units are connected and combines them into a workgroup. This is a very important and useful feature if you want to have different setups for different applications. Once Nuendo “sees” a Fader pack connected, it will display the custom mix console on the screen over that Fader pack, providing a one-to-one relationship between each hardware channel and corresponding virtual channel on the Nuendo screen. Metering is also displayed per channel, and can be user-designated to display normal peak metering or a vertical scrolling waveform from the Nuendo project window. (A great feature when editing waveforms from the Nuage work surface instead of using a mouse.)  <br><br>\n\n<h3>Organization for a smooth workflow </h3>\nIn addition to straightforward mixing and parameter tweaking, the Nuage Fader unit has a utility control section that keeps everything neatly organized for easy, confusion-free access. Channel View controls let you to switch between mixer channel displays; Section Control controls allow convenient channel strip section switching; and DAW Select enables you to switch between multiple DAWs connected to the Nuage system.<br><br>\n\n<h3>Total studio environment</h3>\nNuage is a complete system comprising the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Fader-p/ymh-nuage-fdr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Fader controller</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Master-p/ymh-nuage-mstr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Master section</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante network card</a>; a choice of three audio interfaces, including the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Digital-16-p/ymh-nuage-io-d16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-D16</a>, <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-16-p/ymh-nuage-io-a16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A16</a>, and <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-8-Digital-8-p/ymh-nuage-io-8x8.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A8D8</a>; SyncStation; and Nuendo 6 software. If desired, Nuage Master and Fader controllers can be used individually. The largest Nuage system can have three Fader sections and one Master for a total of forty-eight physical faders. <br><br>\n\n<h3>Supercharge your Nuendo postproduction facility with Yamaha Nuage. Call or chat online with an RSPE representative to configure your perfect Nuage system.</h3>'),(12890,75,1,2149,'<h2>Yamaha Nuage Fader</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">Where intelligent design and science coexist in perfect harmony. </span><br><br>\n\nPerhaps the most advanced channel strip control surface ever built, Yamaha Nuage Fader pack renders the line between software DAW and physical control surface invisible—essential for any endeavor where technology meets creativity (such as recording). Nuage Fader is a 16-channel fader pack that works in conjunction with the Nuage Master controller, as well as in standalone. It features 16 touch-sensitive 100mm faders that extend +12dB above unity; monitor and transport section; high-resolution OLED displays; and illuminated touch-sensitive controls. All controls, including faders, buttons, and rotary knobs are the product of painstaking ergonimic research and high-quality craftsmanship, giving the Nuage control surface a solid and responsive feel—tailored to suit the needs of the creative professional.<br><br>\n\nNuage Fader offers an unprecedented level of integration with Nuendo software. The size of the Nuage Fader is designed to line up perfectly with Nuendo’s on-screen controls when using standard 24\" flat-screen monitors. (For monitors of different dimension, Neundo channel displays can be resized to line up with faders.) Impressive in both looks and functionality, the Nuage Fader hardware controls become a visual and physical extension of the DAW channel strips displayed onscreen above the Fader controller. <br><br>\n<ul>\n<li>Refined, comprehensively integrated channel strip control surface for DAW operation</li>\n<li>Sixteen touch sensitive 100mm channel faders with extended range to +12dB</li>\n<li>Extensive Console View: a standard 24\" LCD monitor display (not included) provides a seamless visual connection between physical Nuage fader channel strips and Nuendo mix window</li>\n<li>Unique Touch Slider strip quickly shifts Nuendo channels left or right in relation to the Nuage Fader channel strips</li>\n<li>Each channel strip includes two touch sensitive knobs with integral push buttons for direct control of channel parameters</li>\n</ul><br>\n\n<h3>The perfect marriage of hardware and unlimited software options</h3>\nOne of the major issues all makers of control surfaces must contend with are the almost infinite number of parameters available on a software DAW, relative to the limited number of faders and knobs that can fit onto a hardware controller. If Yamaha and Steinberg were to attempt to create a physical replica of the myriad possibilities and parameters of Nuendo, the resultant console would probably require its own zip code—so how did Nuage engineers solve this problem?<br><br>\n\nRather than trying to cover all bases in a cursory fashion, or forcing users to make a career out of software/hardware mapping, Nuage designers made choices based on real-world mixing workflow, with controls defaulting to the most used parameters, such as pan, or compressor threshold and ratio. Nuage also makes use of the extended channel, or “fat channel” mode, commonly found on digital consoles, in which one button-press expands the parameters of the chosen channel (or plug-in) onto hardware controls. <br><br>\n\nNowhere is the problem of assigning parameters to hardware controls felt more profoundly than with third-party plug-ins, which often display all parameters regardless of how often used. For example, “High Frequency Gain” on an EQ plus-in might appear near the bottom of the last page of parameters. Rather than deal with time-consuming XML file mapping, Nuage provides an editor with a graphical user interface allowing you to change the XML files and make sure that the most useful parameters are allocated to hardware controls. In practice this means that the parameters you really need come up on your chosen hardware controls (which happens automatically when using Nuendo’s excellent suite of plug-ins).<br><br>\n\n<h3>Scrolling Touch Slider for quick channel access</h3>\nDealing with high track counts across large-format control surfaces can be more than a little inconvenient, especially when it comes to accessing specific tracks. After all, who wants to commute to opposite sides of a long mixing desk repeatedly? Conversely, if you only have one Nuage Fader, how can you access channels in a 200-track project easily without interrupting the creative flow? Answer: Yamaha has gone all Tony Stark on you with the Touch Slider strip. <br><br>\n\nThe innovative Nuage Touch Slider makes finding and selecting channels easy. Placed along the length of the Fader surface (like the masking-tape scribble strips of old), just slide a finger along the Touch Slider strip to shift Nuendo channels left or right in relation to the Nuage Fader channel strips. Use “flick” gestures to quickly shift a larger range of channels, or use the “Bank Flick” feature to flick channels in groups of eight. There are also customizable channel layouts that bring important channels to the surface a single button press. Plus, stems or master busses can be locked to the surface for access at any time.<br><br>\n\n<h3>Color-matching with Nuendo track icons</h3>\nReading channel names can be difficult if you’re sweeping through multiple channels quickly. To address that issue, channels can be color-coded. For example, if you designate all Foley channels red, simply swipe until you see red on the Fader controller (rather than seeing red when using traditional bank controls trying to reading channel name abbreviations in small fonts whizzing by). To facilitate fast fader flicking (alliteration abounds) Nuage designers took great care in matching OLED display colors with Nuendo. And, to enable you to confirm channel relationships at a glance, Nuendo channel names appear in corresponding Nuage Fader displays. Plus, the colors of the illuminated knobs, and bars below the channel display match the colors of the Nuendo channel-type icons.<br><br>\n\n<h3>Hob-knobbing with Nuage and Nuendo</h3>\nIn addition to a linear fader, each of Nuage Fader’s 16 channel strips include two illuminated rotary encoders, or “knobs” if you will, for a total of 32 knobs per Nuage Fader unit. The knobs are touch-sensitive and also include an integral push button. Normally the two knobs function within their own channel strip. For example if you activate a compressor, each knob will control the two most important functions of the compressor, e.g.: threshold and ratio. In this mode, you have individual control of two most used parameters across 16 channels. However, and here’s where it gets interesting, in the Channel Setting Mode, all 32 knobs can be mapped to just one channel. In this mode you have all the Nuendo racks available, which means you can activate all the dynamics modules and have all controls of all five dynamic modules available on the 32 encoders. There is also a two-channel mode that assigns 16 knobs for each channel. In this mode you can compare two equalizers or two dynamics sections. (As a useful aside, Nuendo now has spectrum analyzers on EQ.)<br><br>\n\nAll this versatility means the Nuage Fader unit will mesh effectively with just about any workflow, and perhaps inspire you to find new ways of working.<br><br>\n\n<h3>Minimal user setup</h3>\nAs you would hope from a highly integrated, modular system, Nuage keeps user set-up to a minimum. For example, Nuendo automatically “knows” when several hardware units are connected and combines them into a workgroup. This is a very important and useful feature if you want to have different setups for different applications. Once Nuendo “sees” a Fader pack connected, it will display the custom mix console on the screen over that Fader pack, providing a one-to-one relationship between each hardware channel and corresponding virtual channel on the Nuendo screen. Metering is also displayed per channel, and can be user-designated to display normal peak metering or a vertical scrolling waveform from the Nuendo project window. (A great feature when editing waveforms from the Nuage work surface instead of using a mouse.)  <br><br>\n\n<h3>Organization for a smooth workflow </h3>\nIn addition to straightforward mixing and parameter tweaking, the Nuage Fader unit has a utility control section that keeps everything neatly organized for easy, confusion-free access. Channel View controls let you to switch between mixer channel displays; Section Control controls allow convenient channel strip section switching; and DAW Select enables you to switch between multiple DAWs connected to the Nuage system.<br><br>\n\n<h3>Total studio environment</h3>\nNuage is a complete system comprising the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Fader-p/ymh-nuage-fdr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Fader controller</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Master-p/ymh-nuage-mstr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Master section</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante network card</a>; a choice of three audio interfaces, including the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Digital-16-p/ymh-nuage-io-d16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-D16</a>, <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-16-p/ymh-nuage-io-a16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A16</a>, and <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-8-Digital-8-p/ymh-nuage-io-8x8.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A8D8</a>; SyncStation; and Nuendo 6 software. If desired, Nuage Master and Fader controllers can be used individually. The largest Nuage system can have three Fader sections and one Master for a total of forty-eight physical faders. <br><br>\n\n<h3>Supercharge your Nuendo postproduction facility with Yamaha Nuage. Call or chat online with an RSPE representative to configure your perfect Nuage system.</h3>'),(12891,85,0,2149,'Yamaha Nuage Fader'),(12892,85,1,2149,'Yamaha Nuage Fader'),(12893,76,0,2149,''),(12894,76,1,2149,''),(12895,75,0,2150,'<h2>Yamaha Nuage I/O Nio500-A8D8</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">8-channel analog plus 8-channel AES/EBU I/O interface with audiophile-quality sound and 24-bit/192kHz resolution</span><br /><br />\n\nIf you’re looking for a system that gives you high-quality analog audio capture and dedicated effects returns via AES/EBU—the professional way to return effects to a DAW—the Yamaha Nuage Nio500-A8D8 interface gives you the best of both worlds in one audio interface. Nuage I/O Nio500-A8D8 offers eight channels analog I/O and 8 channels of AES/EBU digital I/O in one elegant solution.  Designed with the highest quality components and Yamaha’s superior know-how, these meticulously designed units provide the kind of sound quality you’d expect for feature film postproduction. The Nuage I/O Nio500-A8D8 also features advanced DSP processing for stereo and surround monitoring, 24-bit/192 kHz operation, and JetPLL™ jitter-reduction technology for extremely low jitter and superior resolution. Available in three different configurations, up to eight Nuage I/O units can be or combined for a 128-channel system. <br /><br />\n\n\n<h3>Yamaha Nuage I/O Nio500-A8D8 features:</h3>\n<ul>\n<li>Designed and constructed to bring out the full sonic potential of Nuendo DAW software</li>\n<li>8-channel analog ADA plus 8-channel AES/EBU digital I/O </li>\n<li>Up to 24-bit/192 kHz hardware operation with extremely low jitter and outstanding AD/DA resolution</li>\n<li>True Integrated Monitoring™ reduces monitoring latency to well below the perception threshold</li>\n<li>True Integrated Monitoring works flawlessly with Nuendo Control Room monitoring features, a 32-port monitor bus cascade, and 16x16 monitor matrix</li>\n<li>Up to eight Nuage I/O units can be cascaded and provide a maximum of 128 channels</li>\n</ul><br />\n\n<h3>Yamaha Nuage I/O Nio500-A8D8 features in depth</h3>\nThe front panel of the Nuage I/O Nio500-A8D8 has 16 meters for analog input and output, and 16 meters for AES/EBU input and output. It also has LED indicators for sample rate from 44.1 to 192kHz, clock sources, and sample rate conversion. On the rear panel are Ethernet connectors for Dante accelerator cards, word clock, cascade (for multiple Nuage I/O), and DB-25 connectors for eight channels of analog I/O and eight channels of AES/EBU I/O.<br /><br />\n \nAlong with the Nuage I/O Nio500-A8D8, two other 16-channel models with different I/O configurations are available, including the <a href=\"/web/20131205202227/http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-16-p/ymh-nuage-io-a16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A16</a> with 16 channels of analog I/O; and the <a href=\"/web/20131205202227/http://www.rspeaudio.com/Yamaha-Nuage-I-O-Digital-16-p/ymh-nuage-io-d16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-D16</a> with a combination of 16 channels of analog I/O. The Nuage I/O units connect to computers running Nuendo via the highly expandable <a href=\"/web/20131205202227/http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante digital audio protocol</a>, allowing multiple Nuage I/O units to be flexibly incorporated in a wide variety of system configurations. <br /><br />\n\n<h3>Nuage I/O mastering-grade, audiophile sound quality</h3>\nYamaha’s decades of expertise in sculpturing sound, whether it’s applied to making their renowned concert grand pianos or digital recording gear, is the other essential component in the design of Nuage. The 24-bit/192kHz-hardware operation in the Nuage I/O units ensures that outstanding sonic detail and depth come through without compromise. The Nuage I/O units also feature advanced JetPLL™ jitter reduction technology for extremely low jitter and superior AD/DA resolution. The overall result is simply outstanding sound, no matter how complex the mix, or how much processing is applied. <br /><br />\n\n<h3>Ultra-low latency via True Integrated Monitoring</h3>\nNothing is more frustrating or obstructive to artists and musicians trying to give their all than dealing with latency when trying to lay down tracks in the studio. Expressive performance, not to mention timing, goes out the window when even the slightest amount latency is perceptible during tracking. The Nuage I/O units make latency issues a problem of the past thanks to advanced audio interface DSP hardware and Yamaha’s trademarked True Integrated Monitoring, which reduces monitoring latency to well below the perception threshold of even the most sensitive performer. True Integrated Monitoring works flawlessly with the Nuendo Control Room monitoring, which features a 32-port bus cascade that enables 32 audio busses to be shared between up to eight Nuage I/O devices, plus a 16x16 monitor matrix that provides expandability and easy setup.<br /><br />\n\n<h3>State-of-the-art surround DSP</h3>\nIn today’s postproduction environment, surround-processing capability is essential. Nuage systems incorporate state-of-the-art surround features, including speaker level/delay adjustments and bass management.<br /><br />\n\n<h3>Ultra-low latency and solid reliability with high channel counts</h3>\nThe Dante Accelerator audio interface card is installed in the computer running the Nuendo DAW to provide extra low-latency audio transfer. The card itself has a latency of 150 microseconds. Dante can transmit 128 bi-directional channels of 24-bit/96kHz audio, providing a distinct performance advantage when communicating with Nuage I/O units. The Dante Accelerator card also features a secondary port that can be used to provide redundant connections for failsafe reliability. <br /><br />\n\nThanks to Dante, monitoring latency is near zero for performance-friendly monitoring while recording, even when multiple I/O units are used with cascaded monitor buses. The Nuage development team was adamant about designing near-zero latency into the system to allow artists to deliver their utmost in creativity and performance.<br /><br />\n\nBut latency doesn’t tell the whole Dante story. Because Nuage systems use Dante for system communication, connection between I/O unit and computer can be made via a single standard Ethernet cable. In more complex systems using multiple I/O units, standard network hubs and even existing architecture can be used to configure the network as required. Flexible connectivity also means that a Nuage network can be linked to a live sound console, or included in an audio-sharing installation.<br /><br />\n\n<h3>Total studio environment</h3>\nNuage is a complete system comprising the <a href=\"/web/20131205202227/http://www.rspeaudio.com/Yamaha-Nuage-Fader-p/ymh-nuage-fdr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Fader controller</a>; <a href=\"/web/20131205202227/http://www.rspeaudio.com/Yamaha-Nuage-Master-p/ymh-nuage-mstr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Master section</a>; <a href=\"/web/20131205202227/http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante network card</a>; a choice of three audio interfaces, including the <a href=\"/web/20131205202227/http://www.rspeaudio.com/Yamaha-Nuage-I-O-Digital-16-p/ymh-nuage-io-d16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-D16</a>, <a href=\"/web/20131205202227/http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-16-p/ymh-nuage-io-a16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A16</a>, and <a href=\"/web/20131205202227/http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-8-Digital-8-p/ymh-nuage-io-8x8.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A8D8</a>; SyncStation; and Nuendo 6 software. If desired, Nuage Master and Fader controllers can be used individually. The largest Nuage system can have three Fader sections and one Master for a total of forty-eight physical faders. <br /><br />\n\n<h3>Supercharge your Nuendo postproduction facility with Yamaha Nuage. Call or chat online with an RSPE representative to configure your perfect Nuage system. </h3>'),(12896,75,1,2150,'<h2>Yamaha Nuage I/O Nio500-A8D8</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">8-channel analog plus 8-channel AES/EBU I/O interface with audiophile-quality sound and 24-bit/192kHz resolution</span><br /><br />\n\nIf you’re looking for a system that gives you high-quality analog audio capture and dedicated effects returns via AES/EBU—the professional way to return effects to a DAW—the Yamaha Nuage Nio500-A8D8 interface gives you the best of both worlds in one audio interface. Nuage I/O Nio500-A8D8 offers eight channels analog I/O and 8 channels of AES/EBU digital I/O in one elegant solution.  Designed with the highest quality components and Yamaha’s superior know-how, these meticulously designed units provide the kind of sound quality you’d expect for feature film postproduction. The Nuage I/O Nio500-A8D8 also features advanced DSP processing for stereo and surround monitoring, 24-bit/192 kHz operation, and JetPLL™ jitter-reduction technology for extremely low jitter and superior resolution. Available in three different configurations, up to eight Nuage I/O units can be or combined for a 128-channel system. <br /><br />\n\n\n<h3>Yamaha Nuage I/O Nio500-A8D8 features:</h3>\n<ul>\n<li>Designed and constructed to bring out the full sonic potential of Nuendo DAW software</li>\n<li>8-channel analog ADA plus 8-channel AES/EBU digital I/O </li>\n<li>Up to 24-bit/192 kHz hardware operation with extremely low jitter and outstanding AD/DA resolution</li>\n<li>True Integrated Monitoring™ reduces monitoring latency to well below the perception threshold</li>\n<li>True Integrated Monitoring works flawlessly with Nuendo Control Room monitoring features, a 32-port monitor bus cascade, and 16x16 monitor matrix</li>\n<li>Up to eight Nuage I/O units can be cascaded and provide a maximum of 128 channels</li>\n</ul><br />\n\n<h3>Yamaha Nuage I/O Nio500-A8D8 features in depth</h3>\nThe front panel of the Nuage I/O Nio500-A8D8 has 16 meters for analog input and output, and 16 meters for AES/EBU input and output. It also has LED indicators for sample rate from 44.1 to 192kHz, clock sources, and sample rate conversion. On the rear panel are Ethernet connectors for Dante accelerator cards, word clock, cascade (for multiple Nuage I/O), and DB-25 connectors for eight channels of analog I/O and eight channels of AES/EBU I/O.<br /><br />\n \nAlong with the Nuage I/O Nio500-A8D8, two other 16-channel models with different I/O configurations are available, including the <a href=\"/web/20131205202227/http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-16-p/ymh-nuage-io-a16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A16</a> with 16 channels of analog I/O; and the <a href=\"/web/20131205202227/http://www.rspeaudio.com/Yamaha-Nuage-I-O-Digital-16-p/ymh-nuage-io-d16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-D16</a> with a combination of 16 channels of analog I/O. The Nuage I/O units connect to computers running Nuendo via the highly expandable <a href=\"/web/20131205202227/http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante digital audio protocol</a>, allowing multiple Nuage I/O units to be flexibly incorporated in a wide variety of system configurations. <br /><br />\n\n<h3>Nuage I/O mastering-grade, audiophile sound quality</h3>\nYamaha’s decades of expertise in sculpturing sound, whether it’s applied to making their renowned concert grand pianos or digital recording gear, is the other essential component in the design of Nuage. The 24-bit/192kHz-hardware operation in the Nuage I/O units ensures that outstanding sonic detail and depth come through without compromise. The Nuage I/O units also feature advanced JetPLL™ jitter reduction technology for extremely low jitter and superior AD/DA resolution. The overall result is simply outstanding sound, no matter how complex the mix, or how much processing is applied. <br /><br />\n\n<h3>Ultra-low latency via True Integrated Monitoring</h3>\nNothing is more frustrating or obstructive to artists and musicians trying to give their all than dealing with latency when trying to lay down tracks in the studio. Expressive performance, not to mention timing, goes out the window when even the slightest amount latency is perceptible during tracking. The Nuage I/O units make latency issues a problem of the past thanks to advanced audio interface DSP hardware and Yamaha’s trademarked True Integrated Monitoring, which reduces monitoring latency to well below the perception threshold of even the most sensitive performer. True Integrated Monitoring works flawlessly with the Nuendo Control Room monitoring, which features a 32-port bus cascade that enables 32 audio busses to be shared between up to eight Nuage I/O devices, plus a 16x16 monitor matrix that provides expandability and easy setup.<br /><br />\n\n<h3>State-of-the-art surround DSP</h3>\nIn today’s postproduction environment, surround-processing capability is essential. Nuage systems incorporate state-of-the-art surround features, including speaker level/delay adjustments and bass management.<br /><br />\n\n<h3>Ultra-low latency and solid reliability with high channel counts</h3>\nThe Dante Accelerator audio interface card is installed in the computer running the Nuendo DAW to provide extra low-latency audio transfer. The card itself has a latency of 150 microseconds. Dante can transmit 128 bi-directional channels of 24-bit/96kHz audio, providing a distinct performance advantage when communicating with Nuage I/O units. The Dante Accelerator card also features a secondary port that can be used to provide redundant connections for failsafe reliability. <br /><br />\n\nThanks to Dante, monitoring latency is near zero for performance-friendly monitoring while recording, even when multiple I/O units are used with cascaded monitor buses. The Nuage development team was adamant about designing near-zero latency into the system to allow artists to deliver their utmost in creativity and performance.<br /><br />\n\nBut latency doesn’t tell the whole Dante story. Because Nuage systems use Dante for system communication, connection between I/O unit and computer can be made via a single standard Ethernet cable. In more complex systems using multiple I/O units, standard network hubs and even existing architecture can be used to configure the network as required. Flexible connectivity also means that a Nuage network can be linked to a live sound console, or included in an audio-sharing installation.<br /><br />\n\n<h3>Total studio environment</h3>\nNuage is a complete system comprising the <a href=\"/web/20131205202227/http://www.rspeaudio.com/Yamaha-Nuage-Fader-p/ymh-nuage-fdr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Fader controller</a>; <a href=\"/web/20131205202227/http://www.rspeaudio.com/Yamaha-Nuage-Master-p/ymh-nuage-mstr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Master section</a>; <a href=\"/web/20131205202227/http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante network card</a>; a choice of three audio interfaces, including the <a href=\"/web/20131205202227/http://www.rspeaudio.com/Yamaha-Nuage-I-O-Digital-16-p/ymh-nuage-io-d16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-D16</a>, <a href=\"/web/20131205202227/http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-16-p/ymh-nuage-io-a16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A16</a>, and <a href=\"/web/20131205202227/http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-8-Digital-8-p/ymh-nuage-io-8x8.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A8D8</a>; SyncStation; and Nuendo 6 software. If desired, Nuage Master and Fader controllers can be used individually. The largest Nuage system can have three Fader sections and one Master for a total of forty-eight physical faders. <br /><br />\n\n<h3>Supercharge your Nuendo postproduction facility with Yamaha Nuage. Call or chat online with an RSPE representative to configure your perfect Nuage system. </h3>'),(12897,85,0,2150,'Yamaha Nuage I/O Analog 8 / Digital 8 Audio Interface'),(12898,85,1,2150,'Yamaha Nuage I/O Analog 8 / Digital 8 Audio Interface'),(12899,76,0,2150,''),(12900,76,1,2150,''),(12901,75,0,2151,'<h2>Yamaha Nuage I/O Nio500-A16 </h2>\n\n<span style=\"font-size:16px; font-style:italic;\">16-channel analog AD/DA interface with audiophile-quality sound and 24-bit/192kHz resolution</span><br><br>\n\nUnless you’re just going to edit and mix, you’re going to need high-quality analog to digital recording—that’s where the Yamaha Nuage I/O Nio500-A16 comes in. Designed with the highest quality components and Yamaha’s superior know-how, these meticulously designed units provide the kind of sound quality you’d expect for feature film postproduction. Nuage I/O Nio500-A16 features advanced DSP processing for stereo and surround monitoring, 24-bit/192 kHz operation, and JetPLL™ jitter-reduction technology for extremely low jitter and superior resolution. Available in three different configurations, up to eight Nuage I/O units can be or combined for a 128-channel system.  <br><br>\n\n\n<h3>Yamaha Nuage I/O Nio500-A16 features</h3>\n<ul>\n<li>Designed and constructed to bring out the full sonic potential of Nuendo DAW software</li>\n<li>16-channel analog I/O </li>\n<li>Up to 24-bit/192 kHz hardware operation with extremely low jitter and outstanding AD/DA resolution</li>\n<li>True Integrated Monitoring™ reduces monitoring latency to well below the perception threshold</li>\n<li>True Integrated Monitoring works flawlessly with Nuendo Control Room monitoring features, a 32-port monitor bus cascade, and 16x16 monitor matrix</li>\n<li>Up to eight Nuage I/O units can be cascaded and provide a maximum of 128 channels</li>\n</ul><br>\n\n<h3>Yamaha Nuage I/O Nio500-A16 features in depth</h3>\nThe front panel of the Nuage I/O Nio500-A16 has 16 input meters and 16 output meters, plus LED indicators for sample rate from 44.1 to 192kHz, clock sources and sync. On the rear panel are Ethernet connectors for Dante accelerator  cards, word clock, cascade (for multiple Nuage I/O) and 16-channels of analog I/O via DB-25 connectors. <br><br>\n\nAlong with the Nuage I/O Nio500-A16, two other 16-channel models with different I/O configurations are available, including the <a href=\"/web/20150502003110/http://www.rspeaudio.com/Yamaha-Nuage-I-O-Digital-16-p/ymh-nuage-io-d16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-D16</a> 16 channels of AES/EBU I/O; and the <a href=\"/web/20150502003110/http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-8-Digital-8-p/ymh-nuage-io-8x8.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A8D8</a> with a combination of 8 channels of analog and 8 channels of AES/EBU I/O. The Nuage I/O units connect to computers running Nuendo via the highly expandable <a href=\"/web/20150502003110/http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante digital audio protocol</a>, allowing multiple Nuage I/O units to be flexibly incorporated in a wide variety of system configurations. \n<br><br>\n\n<h3>Nuage I/O mastering-grade, audiophile sound quality</h3>\nYamaha’s decades of expertise in sculpturing sound, whether it’s applied to making their renowned concert grand pianos or digital recording gear, is the other essential component in the design of Nuage. The 24-bit/192kHz-hardware operation in the Nuage I/O units ensures that outstanding sonic detail and depth come through without compromise. The Nuage I/O units also feature advanced JetPLL™ jitter reduction technology for extremely low jitter and superior AD/DA resolution. The overall result is simply outstanding sound, no matter how complex the mix, or how much processing is applied. <br><br>\n\n<h3>Ultra-low latency via True Integrated Monitoring</h3>\nNothing is more frustrating or obstructive to artists and musicians trying to give their all than dealing with latency when trying to lay down tracks in the studio. Expressive performance, not to mention timing, goes out the window when even the slightest amount latency is perceptible during tracking. The Nuage I/O units make latency issues a problem of the past thanks to advanced audio interface DSP hardware and Yamaha’s trademarked True Integrated Monitoring, which reduces monitoring latency to well below the perception threshold of even the most sensitive performer. True Integrated Monitoring works flawlessly with the Nuendo Control Room monitoring, which features a 32-port bus cascade that enables 32 audio busses to be shared between up to eight Nuage I/O devices, plus a 16x16 monitor matrix that provides expandability and easy setup.<br><br>\n\n<h3>State-of-the-art surround DSP</h3>\nIn today’s postproduction environment, surround-processing capability is essential. Nuage systems incorporate state-of-the-art surround features, including speaker level/delay adjustments and bass management.<br><br>\n\n<h3>Ultra-low latency and solid reliability with high channel counts</h3>\nThe Dante Accelerator audio interface card is installed in the computer running the Nuendo DAW to provide extra low-latency audio transfer. The card itself has a latency of 150 microseconds. Dante can transmit 128 bi-directional channels of 24-bit/96kHz audio, providing a distinct performance advantage when communicating with Nuage I/O units. The Dante Accelerator card also features a secondary port that can be used to provide redundant connections for failsafe reliability. <br><br>\n\nThanks to Dante, monitoring latency is near zero for performance-friendly monitoring while recording, even when multiple I/O units are used with cascaded monitor buses. The Nuage development team was adamant about designing near-zero latency into the system to allow artists to deliver their utmost in creativity and performance.<br><br>\n\nBut latency doesn’t tell the whole Dante story. Because Nuage systems use Dante for system communication, connection between I/O unit and computer can be made via a single standard Ethernet cable. In more complex systems using multiple I/O units, standard network hubs and even existing architecture can be used to configure the network as required. Flexible connectivity also means that a Nuage network can be linked to a live sound console, or included in an audio-sharing installation.<br><br>\n\n<h3>Total studio environment</h3>\nNuage is a complete system comprising the <a href=\"/web/20150502003110/http://www.rspeaudio.com/Yamaha-Nuage-Fader-p/ymh-nuage-fdr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Fader controller</a>; <a href=\"/web/20150502003110/http://www.rspeaudio.com/Yamaha-Nuage-Master-p/ymh-nuage-mstr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Master section</a>; <a href=\"/web/20150502003110/http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante network card</a>; a choice of three audio interfaces, including the <a href=\"/web/20150502003110/http://www.rspeaudio.com/Yamaha-Nuage-I-O-Digital-16-p/ymh-nuage-io-d16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-D16</a>, <a href=\"/web/20150502003110/http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-16-p/ymh-nuage-io-a16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A16</a>, and <a href=\"/web/20150502003110/http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-8-Digital-8-p/ymh-nuage-io-8x8.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A8D8</a>; SyncStation; and Nuendo 6 software. If desired, Nuage Master and Fader controllers can be used individually. The largest Nuage system can have three Fader sections and one Master for a total of forty-eight physical faders. <br><br>\n\n<h3>Supercharge your Nuendo postproduction facility with Yamaha Nuage. Call or chat online with an RSPE representative to configure your perfect Nuage system. </h3></span>');
INSERT INTO `catalog_product_entity_text` VALUES (12902,75,1,2151,'<h2>Yamaha Nuage I/O Nio500-A16 </h2>\n\n<span style=\"font-size:16px; font-style:italic;\">16-channel analog AD/DA interface with audiophile-quality sound and 24-bit/192kHz resolution</span><br><br>\n\nUnless you’re just going to edit and mix, you’re going to need high-quality analog to digital recording—that’s where the Yamaha Nuage I/O Nio500-A16 comes in. Designed with the highest quality components and Yamaha’s superior know-how, these meticulously designed units provide the kind of sound quality you’d expect for feature film postproduction. Nuage I/O Nio500-A16 features advanced DSP processing for stereo and surround monitoring, 24-bit/192 kHz operation, and JetPLL™ jitter-reduction technology for extremely low jitter and superior resolution. Available in three different configurations, up to eight Nuage I/O units can be or combined for a 128-channel system.  <br><br>\n\n\n<h3>Yamaha Nuage I/O Nio500-A16 features</h3>\n<ul>\n<li>Designed and constructed to bring out the full sonic potential of Nuendo DAW software</li>\n<li>16-channel analog I/O </li>\n<li>Up to 24-bit/192 kHz hardware operation with extremely low jitter and outstanding AD/DA resolution</li>\n<li>True Integrated Monitoring™ reduces monitoring latency to well below the perception threshold</li>\n<li>True Integrated Monitoring works flawlessly with Nuendo Control Room monitoring features, a 32-port monitor bus cascade, and 16x16 monitor matrix</li>\n<li>Up to eight Nuage I/O units can be cascaded and provide a maximum of 128 channels</li>\n</ul><br>\n\n<h3>Yamaha Nuage I/O Nio500-A16 features in depth</h3>\nThe front panel of the Nuage I/O Nio500-A16 has 16 input meters and 16 output meters, plus LED indicators for sample rate from 44.1 to 192kHz, clock sources and sync. On the rear panel are Ethernet connectors for Dante accelerator  cards, word clock, cascade (for multiple Nuage I/O) and 16-channels of analog I/O via DB-25 connectors. <br><br>\n\nAlong with the Nuage I/O Nio500-A16, two other 16-channel models with different I/O configurations are available, including the <a href=\"/web/20150502003110/http://www.rspeaudio.com/Yamaha-Nuage-I-O-Digital-16-p/ymh-nuage-io-d16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-D16</a> 16 channels of AES/EBU I/O; and the <a href=\"/web/20150502003110/http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-8-Digital-8-p/ymh-nuage-io-8x8.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A8D8</a> with a combination of 8 channels of analog and 8 channels of AES/EBU I/O. The Nuage I/O units connect to computers running Nuendo via the highly expandable <a href=\"/web/20150502003110/http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante digital audio protocol</a>, allowing multiple Nuage I/O units to be flexibly incorporated in a wide variety of system configurations. \n<br><br>\n\n<h3>Nuage I/O mastering-grade, audiophile sound quality</h3>\nYamaha’s decades of expertise in sculpturing sound, whether it’s applied to making their renowned concert grand pianos or digital recording gear, is the other essential component in the design of Nuage. The 24-bit/192kHz-hardware operation in the Nuage I/O units ensures that outstanding sonic detail and depth come through without compromise. The Nuage I/O units also feature advanced JetPLL™ jitter reduction technology for extremely low jitter and superior AD/DA resolution. The overall result is simply outstanding sound, no matter how complex the mix, or how much processing is applied. <br><br>\n\n<h3>Ultra-low latency via True Integrated Monitoring</h3>\nNothing is more frustrating or obstructive to artists and musicians trying to give their all than dealing with latency when trying to lay down tracks in the studio. Expressive performance, not to mention timing, goes out the window when even the slightest amount latency is perceptible during tracking. The Nuage I/O units make latency issues a problem of the past thanks to advanced audio interface DSP hardware and Yamaha’s trademarked True Integrated Monitoring, which reduces monitoring latency to well below the perception threshold of even the most sensitive performer. True Integrated Monitoring works flawlessly with the Nuendo Control Room monitoring, which features a 32-port bus cascade that enables 32 audio busses to be shared between up to eight Nuage I/O devices, plus a 16x16 monitor matrix that provides expandability and easy setup.<br><br>\n\n<h3>State-of-the-art surround DSP</h3>\nIn today’s postproduction environment, surround-processing capability is essential. Nuage systems incorporate state-of-the-art surround features, including speaker level/delay adjustments and bass management.<br><br>\n\n<h3>Ultra-low latency and solid reliability with high channel counts</h3>\nThe Dante Accelerator audio interface card is installed in the computer running the Nuendo DAW to provide extra low-latency audio transfer. The card itself has a latency of 150 microseconds. Dante can transmit 128 bi-directional channels of 24-bit/96kHz audio, providing a distinct performance advantage when communicating with Nuage I/O units. The Dante Accelerator card also features a secondary port that can be used to provide redundant connections for failsafe reliability. <br><br>\n\nThanks to Dante, monitoring latency is near zero for performance-friendly monitoring while recording, even when multiple I/O units are used with cascaded monitor buses. The Nuage development team was adamant about designing near-zero latency into the system to allow artists to deliver their utmost in creativity and performance.<br><br>\n\nBut latency doesn’t tell the whole Dante story. Because Nuage systems use Dante for system communication, connection between I/O unit and computer can be made via a single standard Ethernet cable. In more complex systems using multiple I/O units, standard network hubs and even existing architecture can be used to configure the network as required. Flexible connectivity also means that a Nuage network can be linked to a live sound console, or included in an audio-sharing installation.<br><br>\n\n<h3>Total studio environment</h3>\nNuage is a complete system comprising the <a href=\"/web/20150502003110/http://www.rspeaudio.com/Yamaha-Nuage-Fader-p/ymh-nuage-fdr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Fader controller</a>; <a href=\"/web/20150502003110/http://www.rspeaudio.com/Yamaha-Nuage-Master-p/ymh-nuage-mstr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Master section</a>; <a href=\"/web/20150502003110/http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante network card</a>; a choice of three audio interfaces, including the <a href=\"/web/20150502003110/http://www.rspeaudio.com/Yamaha-Nuage-I-O-Digital-16-p/ymh-nuage-io-d16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-D16</a>, <a href=\"/web/20150502003110/http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-16-p/ymh-nuage-io-a16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A16</a>, and <a href=\"/web/20150502003110/http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-8-Digital-8-p/ymh-nuage-io-8x8.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A8D8</a>; SyncStation; and Nuendo 6 software. If desired, Nuage Master and Fader controllers can be used individually. The largest Nuage system can have three Fader sections and one Master for a total of forty-eight physical faders. <br><br>\n\n<h3>Supercharge your Nuendo postproduction facility with Yamaha Nuage. Call or chat online with an RSPE representative to configure your perfect Nuage system. </h3></span>'),(12903,85,0,2151,'Yamaha Nuage I/O Analog 16'),(12904,85,1,2151,'Yamaha Nuage I/O Analog 16'),(12905,76,0,2151,''),(12906,76,1,2151,''),(12907,75,0,2152,'<h2>Yamaha Nuage I/O Nio500-D16 </h2>\n\n<span style=\"font-size:16px; font-style:italic;\">16-channel AES/EBU I/O interface with audiophile-quality sound and 24-bit/192kHz resolution</span><br /><br />\n\nAES/EBU is the professional’s way to return effects to a DAW, and the Yamaha Nuage Nio500-D16 interface gives you 16 channels of AES, to ensure that the subtleties of effects, such as reverb tails, are not subject to unnecessary passes of ADA conversion. Designed with the highest quality components and Yamaha’s superior know-how, these meticulously designed units provide the kind of sound quality you’d expect for feature film postproduction. Nuage I/O Nio500-D16 features advanced DSP processing for stereo and surround monitoring, 24-bit/192kHz operation, and JetPLL™ jitter-reduction technology for extremely low jitter and superior resolution. Available in three different configurations, up to eight Nuage I/O units can be or combined for a 128-channel system. <br /><br />\n\n\n<h3>Yamaha Nuage I/O Nio500-D16 features</h3>\n<ul>\n<li>Designed and constructed to bring out the full sonic potential of Nuendo DAW software</li>\n<li>16-channel AES/EBU digital I/O </li>\n<li>Up to 24-bit/192 kHz hardware operation with extremely low jitter and outstanding AD/DA resolution</li>\n<li>True Integrated Monitoring™ reduces monitoring latency to well below the perception threshold</li>\n<li>True Integrated Monitoring works flawlessly with Nuendo Control Room monitoring features, a 32-port monitor bus cascade, and 16x16 monitor matrix</li>\n<li>Up to eight Nuage I/O units can be cascaded and provide a maximum of 128 channels</li>\n</ul><br />\n\n<h3>Yamaha Nuage I/O Nio500-D16 features in depth</h3>\nThe front panel of the Nuage I/O Nio500-D16 has 16 input meters and 16 output meters, plus LED indicators for sample rate from 44.1 to 192kHz, clock sources, and sample rate conversion. On the rear panel are Ethernet connectors for Dante accelerator cards, word clock, cascade (for multiple Nuage I/O) and 16-channels of AES/EBU via DB-25 connectors. <br /><br />\n\nAlong with the Nuage I/O Nio500-D16, two other 16-channel models with different I/O configurations are available, including the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-16-p/ymh-nuage-io-a16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A16</a> with 16 channels of analog I/O; and the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-8-Digital-8-p/ymh-nuage-io-8x8.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A8D8</a> with a combination of 8 channels of analog and 8 channels of AES/EBU I/O. The Nuage I/O units connect to computers running Nuendo via the highly expandable <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante digital audio protocol</a>, allowing multiple Nuage I/O units to be flexibly incorporated in a wide variety of system configurations.<br /><br />\n\n<h3>Nuage I/O mastering-grade, audiophile sound quality</h3>\nYamaha’s decades of expertise in sculpturing sound, whether it’s applied to making their renowned concert grand pianos or digital recording gear, is the other essential component in the design of Nuage. The 24-bit/192kHz-hardware operation in the Nuage I/O units ensures that outstanding sonic detail and depth come through without compromise. The Nuage I/O units also feature advanced JetPLL™ jitter reduction technology for extremely low jitter and superior AD/DA resolution. The overall result is simply outstanding sound, no matter how complex the mix, or how much processing is applied. <br /><br />\n\n<h3>Ultra-low latency via True Integrated Monitoring</h3>\nNothing is more frustrating or obstructive to artists and musicians trying to give their all than dealing with latency when trying to lay down tracks in the studio. Expressive performance, not to mention timing, goes out the window when even the slightest amount latency is perceptible during tracking. The Nuage I/O units make latency issues a problem of the past thanks to advanced audio interface DSP hardware and Yamaha’s trademarked True Integrated Monitoring, which reduces monitoring latency to well below the perception threshold of even the most sensitive performer. True Integrated Monitoring works flawlessly with the Nuendo Control Room monitoring, which features a 32-port bus cascade that enables 32 audio busses to be shared between up to eight Nuage I/O devices, plus a 16x16 monitor matrix that provides expandability and easy setup.<br /><br />\n\n<h3>State-of-the-art surround DSP</h3>\nIn today’s postproduction environment, surround-processing capability is essential. Nuage systems incorporate state-of-the-art surround features, including speaker level/delay adjustments and bass management.<br /><br />\n\n<h3>Ultra-low latency and solid reliability with high channel counts</h3>\nThe Dante Accelerator audio interface card is installed in the computer running the Nuendo DAW to provide extra low-latency audio transfer. The card itself has a latency of 150 microseconds. Dante can transmit 128 bi-directional channels of 24-bit/96kHz audio, providing a distinct performance advantage when communicating with Nuage I/O units. The Dante Accelerator card also features a secondary port that can be used to provide redundant connections for failsafe reliability. <br /><br />\n\nThanks to Dante, monitoring latency is near zero for performance-friendly monitoring while recording, even when multiple I/O units are used with cascaded monitor buses. The Nuage development team was adamant about designing near-zero latency into the system to allow artists to deliver their utmost in creativity and performance.<br /><br />\n\nBut latency doesn’t tell the whole Dante story. Because Nuage systems use Dante for system communication, connection between I/O unit and computer can be made via a single standard Ethernet cable. In more complex systems using multiple I/O units, standard network hubs and even existing architecture can be used to configure the network as required. Flexible connectivity also means that a Nuage network can be linked to a live sound console, or included in an audio-sharing installation.<br /><br />\n\n<h3>Total studio environment</h3>\nNuage is a complete system comprising the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Fader-p/ymh-nuage-fdr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Fader controller</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Master-p/ymh-nuage-mstr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Master section</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante network card</a>; a choice of three audio interfaces, including the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Digital-16-p/ymh-nuage-io-d16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-D16</a>, <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-16-p/ymh-nuage-io-a16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A16</a>, and <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-8-Digital-8-p/ymh-nuage-io-8x8.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A8D8</a>; SyncStation; and Nuendo 6 software. If desired, Nuage Master and Fader controllers can be used individually. The largest Nuage system can have three Fader sections and one Master for a total of forty-eight physical faders. <br /><br />\n\n<h3>Supercharge your Nuendo postproduction facility with Yamaha Nuage. Call or chat online with an RSPE representative to configure your perfect Nuage system. </h3>'),(12908,75,1,2152,'<h2>Yamaha Nuage I/O Nio500-D16 </h2>\n\n<span style=\"font-size:16px; font-style:italic;\">16-channel AES/EBU I/O interface with audiophile-quality sound and 24-bit/192kHz resolution</span><br /><br />\n\nAES/EBU is the professional’s way to return effects to a DAW, and the Yamaha Nuage Nio500-D16 interface gives you 16 channels of AES, to ensure that the subtleties of effects, such as reverb tails, are not subject to unnecessary passes of ADA conversion. Designed with the highest quality components and Yamaha’s superior know-how, these meticulously designed units provide the kind of sound quality you’d expect for feature film postproduction. Nuage I/O Nio500-D16 features advanced DSP processing for stereo and surround monitoring, 24-bit/192kHz operation, and JetPLL™ jitter-reduction technology for extremely low jitter and superior resolution. Available in three different configurations, up to eight Nuage I/O units can be or combined for a 128-channel system. <br /><br />\n\n\n<h3>Yamaha Nuage I/O Nio500-D16 features</h3>\n<ul>\n<li>Designed and constructed to bring out the full sonic potential of Nuendo DAW software</li>\n<li>16-channel AES/EBU digital I/O </li>\n<li>Up to 24-bit/192 kHz hardware operation with extremely low jitter and outstanding AD/DA resolution</li>\n<li>True Integrated Monitoring™ reduces monitoring latency to well below the perception threshold</li>\n<li>True Integrated Monitoring works flawlessly with Nuendo Control Room monitoring features, a 32-port monitor bus cascade, and 16x16 monitor matrix</li>\n<li>Up to eight Nuage I/O units can be cascaded and provide a maximum of 128 channels</li>\n</ul><br />\n\n<h3>Yamaha Nuage I/O Nio500-D16 features in depth</h3>\nThe front panel of the Nuage I/O Nio500-D16 has 16 input meters and 16 output meters, plus LED indicators for sample rate from 44.1 to 192kHz, clock sources, and sample rate conversion. On the rear panel are Ethernet connectors for Dante accelerator cards, word clock, cascade (for multiple Nuage I/O) and 16-channels of AES/EBU via DB-25 connectors. <br /><br />\n\nAlong with the Nuage I/O Nio500-D16, two other 16-channel models with different I/O configurations are available, including the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-16-p/ymh-nuage-io-a16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A16</a> with 16 channels of analog I/O; and the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-8-Digital-8-p/ymh-nuage-io-8x8.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A8D8</a> with a combination of 8 channels of analog and 8 channels of AES/EBU I/O. The Nuage I/O units connect to computers running Nuendo via the highly expandable <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante digital audio protocol</a>, allowing multiple Nuage I/O units to be flexibly incorporated in a wide variety of system configurations.<br /><br />\n\n<h3>Nuage I/O mastering-grade, audiophile sound quality</h3>\nYamaha’s decades of expertise in sculpturing sound, whether it’s applied to making their renowned concert grand pianos or digital recording gear, is the other essential component in the design of Nuage. The 24-bit/192kHz-hardware operation in the Nuage I/O units ensures that outstanding sonic detail and depth come through without compromise. The Nuage I/O units also feature advanced JetPLL™ jitter reduction technology for extremely low jitter and superior AD/DA resolution. The overall result is simply outstanding sound, no matter how complex the mix, or how much processing is applied. <br /><br />\n\n<h3>Ultra-low latency via True Integrated Monitoring</h3>\nNothing is more frustrating or obstructive to artists and musicians trying to give their all than dealing with latency when trying to lay down tracks in the studio. Expressive performance, not to mention timing, goes out the window when even the slightest amount latency is perceptible during tracking. The Nuage I/O units make latency issues a problem of the past thanks to advanced audio interface DSP hardware and Yamaha’s trademarked True Integrated Monitoring, which reduces monitoring latency to well below the perception threshold of even the most sensitive performer. True Integrated Monitoring works flawlessly with the Nuendo Control Room monitoring, which features a 32-port bus cascade that enables 32 audio busses to be shared between up to eight Nuage I/O devices, plus a 16x16 monitor matrix that provides expandability and easy setup.<br /><br />\n\n<h3>State-of-the-art surround DSP</h3>\nIn today’s postproduction environment, surround-processing capability is essential. Nuage systems incorporate state-of-the-art surround features, including speaker level/delay adjustments and bass management.<br /><br />\n\n<h3>Ultra-low latency and solid reliability with high channel counts</h3>\nThe Dante Accelerator audio interface card is installed in the computer running the Nuendo DAW to provide extra low-latency audio transfer. The card itself has a latency of 150 microseconds. Dante can transmit 128 bi-directional channels of 24-bit/96kHz audio, providing a distinct performance advantage when communicating with Nuage I/O units. The Dante Accelerator card also features a secondary port that can be used to provide redundant connections for failsafe reliability. <br /><br />\n\nThanks to Dante, monitoring latency is near zero for performance-friendly monitoring while recording, even when multiple I/O units are used with cascaded monitor buses. The Nuage development team was adamant about designing near-zero latency into the system to allow artists to deliver their utmost in creativity and performance.<br /><br />\n\nBut latency doesn’t tell the whole Dante story. Because Nuage systems use Dante for system communication, connection between I/O unit and computer can be made via a single standard Ethernet cable. In more complex systems using multiple I/O units, standard network hubs and even existing architecture can be used to configure the network as required. Flexible connectivity also means that a Nuage network can be linked to a live sound console, or included in an audio-sharing installation.<br /><br />\n\n<h3>Total studio environment</h3>\nNuage is a complete system comprising the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Fader-p/ymh-nuage-fdr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Fader controller</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Master-p/ymh-nuage-mstr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Master section</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante network card</a>; a choice of three audio interfaces, including the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Digital-16-p/ymh-nuage-io-d16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-D16</a>, <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-16-p/ymh-nuage-io-a16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A16</a>, and <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-8-Digital-8-p/ymh-nuage-io-8x8.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A8D8</a>; SyncStation; and Nuendo 6 software. If desired, Nuage Master and Fader controllers can be used individually. The largest Nuage system can have three Fader sections and one Master for a total of forty-eight physical faders. <br /><br />\n\n<h3>Supercharge your Nuendo postproduction facility with Yamaha Nuage. Call or chat online with an RSPE representative to configure your perfect Nuage system. </h3>'),(12909,85,0,2152,'Yamaha Nuage I/O Digital 16 Audio Interface'),(12910,85,1,2152,'Yamaha Nuage I/O Digital 16 Audio Interface'),(12911,76,0,2152,''),(12912,76,1,2152,''),(12913,75,0,2153,'<h2>Yamaha Nuage Master Control Surface</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">Comprehensive control surface master section with touch screen, jog wheel, and user-assignable controls</span><br><br>\n\nThe brains of the outfit, Nuage Master puts all things Nuendo within easy reach. With form and function built from the ground up for the demands of postproduction mixing and editing, Nuage Master is the culmination of countless years of experience from both Yamaha digital systems engineers and post-pro professionals. The Yamaha Nuage Master control surface gives you what you need, where you need it, and doesn’t try to be all things to all engineers by taking up valuable console real estate with arcane features you’ll never use. The “Seargent Friday” of digital control surfaces, Yamaha Nuage Master gives you “just the facts” you need to get the job done effortlessly and elegantly. <br><br>\n\n\n<h3>Yamaha Nuage Master features:</h3>\n<ul>\n<li>Everything needed for fast, efficient Nuendo editing within easy reach</li>\n<li>Responsive touch-screen display plus eight touch-sensitive multi-function knobs provide direct control of EQ, dynamics, plug-in effects, and other parameters</li>\n<li>Precision-machined, high-resolution jog wheel contributes to effortless editing and transport control</li>\n<li>User-assignable section with controls that can be customized to allow direct access to workflow-specific functions and parameters</li>\n<li>Comprehensive control sections including numeric keypad, user-assignable controls, monitor source selection, control room, automation, transport, editing, communication, and general control   </li>\n<li>One Nuage Master unit can be used with from one to three Nuage Fader units, according to the number of physical fader channels required</li>\n</ul><br>\n\n<h3>Multi-function touch-screen display and knobs</h3>\nTo give you ergonomically efficient control of Nuendo, the Nuage Master control surface features a built-in, highly responsive, multi-function touch screen that displays pages for editing parameters in various sections, or pages for editing channel parameters, such as EQ, dynamics, effect sends, inserts, and plug-ins, etc. To the left of the touch screen are talkback mic and DAW select buttons. On the right are six touch-sensitive controls including, Setup, Track List, Channel, Plug-in, Dynamics, and EQ selection. Below Nuage Master’s touch-screen display are eight touch-sensitive, multi-function rotary knobs that control EQ, dynamics, plug-in parameters, and more.<br><br>\n\nWhen used with one or more Nuage Fader units, the display also shows selected fader unit parameters, plus the multi-function knobs work in the same way as those on the fader units, which provides consistent operation with any combination of components.<br><br>\n\n<h3>High-precision jog wheel</h3>\nNuage’s precision jog wheel is machined from solid, high-quality stainless steel. Its weight and feel makes critical editing moves easy, and long editing sessions far more comfortable than standard jog wheels. With a resolution of 1,024 steps per rotation, Nuage’s jog wheel provides unmatched accuracy for controlling forward and reverse playback at up to 8x speed; scrubbing; object and range selection; zoom; fades; and more. <br><br>\n\n<h3>User-assignable section</h3>\nTo accommodate an ever-changing workflow dictated by unique circumstance arising from a given project, or the individual needs and work habits of the engineer, the Nuage Master unit features a User-Assignable Section located above the numeric keypad. The controls of the User-Assignable section can be customized to provide direct access to the functions and parameters needed for the task at hand. For example, functions that need to be performed repeatedly, such as importing audio files, can be assigned for single button-press access.<br><br>\n\n<h3>Comprehensive, easy-access control layout</h3>\nStrategically located just above the jog wheel are several control sections including transport, which can be accessed in conjunction with the jog wheel with a minimum of hand movement. Other sections, along with the user-assignable section mentioned above are monitor source and cue sections, a numeric keypad, automation functions, communication section, and a control room section that gives you direct access to Nuendo Control Room monitoring features. Of special note, along with downmix control, the Control Room Section remains in communication with Nuendo control room regardless of which DAW is selected. There is also a Modifier section that offers buttons used the same way as shift, Ctrl/Command, and Alt/Option found on computer keyboards. The Nuage Master’s General Control section is for file saving, undo, and cursor movement (up, down, left/right). <br><br>\n\nAdditionally, the Nuage Master front panel features two 1/4\" headphone outputs with level control. The rear panel has an RS-232C port for connection to KVM switches to select between multiple DAW applications. When using the DAW Select Section with KVM switches configured in the Nuage Workgroup Manager, the display content, active keyboard, and active mouse will change accordingly. Also on the rear panel are Ethernet port, +4dBu talkback output jack (XLR) that routes signal from the top panel talkback mic, and two XLR (L/R) headphone inputs that route signal to the front-panel 1/4\" headphone output jacks. <br><br>\n\n<h3>Combine Master with up to three Nuage Fader units</h3>\nFor applications that are all editing with little or no mixing, a Nuage Master unit and appropriate I/O may very well be all you need. However, when mixing multiple sources/channels are the order of the day, one Nuage Master unit can be used with up to three Nuage Fader units for a full 48-fader system. <br><br>\n\n<h3>Workspace units for additional efficiency and functionality</h3>\nNuage Workspace units are blank sections in which you can install other studio gear, such as keyboard, surround panner, 19\" rack mount devices, and other custom extras. Two Nuage Workspace units are available: a large model that is the same size as the Nuage fader unit, and a small model that can be added to a Nuage Master unit to match the width of a standard 24\" monitor display. The large workspace has a drawer for a keyboard or storage.<br><br>\n\n<h3>Total studio environment</h3>\nNuage is a complete system comprising the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Fader-p/ymh-nuage-fdr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Fader controller</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Master-p/ymh-nuage-mstr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Master section</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante network card</a>; a choice of three audio interfaces, including the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Digital-16-p/ymh-nuage-io-d16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-D16</a>, <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-16-p/ymh-nuage-io-a16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A16</a>, and <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-8-Digital-8-p/ymh-nuage-io-8x8.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A8D8</a>; SyncStation; and Nuendo 6 software. If desired, Nuage Master and Fader controllers can be used individually. The largest Nuage system can have three Fader sections and one Master for a total of forty-eight physical faders. <br><br>\n\n<h3>Supercharge your Nuendo postproduction facility with Yamaha Nuage. Call or chat online with an RSPE representative to configure your perfect Nuage system. </h3>'),(12914,75,1,2153,'<h2>Yamaha Nuage Master Control Surface</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">Comprehensive control surface master section with touch screen, jog wheel, and user-assignable controls</span><br><br>\n\nThe brains of the outfit, Nuage Master puts all things Nuendo within easy reach. With form and function built from the ground up for the demands of postproduction mixing and editing, Nuage Master is the culmination of countless years of experience from both Yamaha digital systems engineers and post-pro professionals. The Yamaha Nuage Master control surface gives you what you need, where you need it, and doesn’t try to be all things to all engineers by taking up valuable console real estate with arcane features you’ll never use. The “Seargent Friday” of digital control surfaces, Yamaha Nuage Master gives you “just the facts” you need to get the job done effortlessly and elegantly. <br><br>\n\n\n<h3>Yamaha Nuage Master features:</h3>\n<ul>\n<li>Everything needed for fast, efficient Nuendo editing within easy reach</li>\n<li>Responsive touch-screen display plus eight touch-sensitive multi-function knobs provide direct control of EQ, dynamics, plug-in effects, and other parameters</li>\n<li>Precision-machined, high-resolution jog wheel contributes to effortless editing and transport control</li>\n<li>User-assignable section with controls that can be customized to allow direct access to workflow-specific functions and parameters</li>\n<li>Comprehensive control sections including numeric keypad, user-assignable controls, monitor source selection, control room, automation, transport, editing, communication, and general control   </li>\n<li>One Nuage Master unit can be used with from one to three Nuage Fader units, according to the number of physical fader channels required</li>\n</ul><br>\n\n<h3>Multi-function touch-screen display and knobs</h3>\nTo give you ergonomically efficient control of Nuendo, the Nuage Master control surface features a built-in, highly responsive, multi-function touch screen that displays pages for editing parameters in various sections, or pages for editing channel parameters, such as EQ, dynamics, effect sends, inserts, and plug-ins, etc. To the left of the touch screen are talkback mic and DAW select buttons. On the right are six touch-sensitive controls including, Setup, Track List, Channel, Plug-in, Dynamics, and EQ selection. Below Nuage Master’s touch-screen display are eight touch-sensitive, multi-function rotary knobs that control EQ, dynamics, plug-in parameters, and more.<br><br>\n\nWhen used with one or more Nuage Fader units, the display also shows selected fader unit parameters, plus the multi-function knobs work in the same way as those on the fader units, which provides consistent operation with any combination of components.<br><br>\n\n<h3>High-precision jog wheel</h3>\nNuage’s precision jog wheel is machined from solid, high-quality stainless steel. Its weight and feel makes critical editing moves easy, and long editing sessions far more comfortable than standard jog wheels. With a resolution of 1,024 steps per rotation, Nuage’s jog wheel provides unmatched accuracy for controlling forward and reverse playback at up to 8x speed; scrubbing; object and range selection; zoom; fades; and more. <br><br>\n\n<h3>User-assignable section</h3>\nTo accommodate an ever-changing workflow dictated by unique circumstance arising from a given project, or the individual needs and work habits of the engineer, the Nuage Master unit features a User-Assignable Section located above the numeric keypad. The controls of the User-Assignable section can be customized to provide direct access to the functions and parameters needed for the task at hand. For example, functions that need to be performed repeatedly, such as importing audio files, can be assigned for single button-press access.<br><br>\n\n<h3>Comprehensive, easy-access control layout</h3>\nStrategically located just above the jog wheel are several control sections including transport, which can be accessed in conjunction with the jog wheel with a minimum of hand movement. Other sections, along with the user-assignable section mentioned above are monitor source and cue sections, a numeric keypad, automation functions, communication section, and a control room section that gives you direct access to Nuendo Control Room monitoring features. Of special note, along with downmix control, the Control Room Section remains in communication with Nuendo control room regardless of which DAW is selected. There is also a Modifier section that offers buttons used the same way as shift, Ctrl/Command, and Alt/Option found on computer keyboards. The Nuage Master’s General Control section is for file saving, undo, and cursor movement (up, down, left/right). <br><br>\n\nAdditionally, the Nuage Master front panel features two 1/4\" headphone outputs with level control. The rear panel has an RS-232C port for connection to KVM switches to select between multiple DAW applications. When using the DAW Select Section with KVM switches configured in the Nuage Workgroup Manager, the display content, active keyboard, and active mouse will change accordingly. Also on the rear panel are Ethernet port, +4dBu talkback output jack (XLR) that routes signal from the top panel talkback mic, and two XLR (L/R) headphone inputs that route signal to the front-panel 1/4\" headphone output jacks. <br><br>\n\n<h3>Combine Master with up to three Nuage Fader units</h3>\nFor applications that are all editing with little or no mixing, a Nuage Master unit and appropriate I/O may very well be all you need. However, when mixing multiple sources/channels are the order of the day, one Nuage Master unit can be used with up to three Nuage Fader units for a full 48-fader system. <br><br>\n\n<h3>Workspace units for additional efficiency and functionality</h3>\nNuage Workspace units are blank sections in which you can install other studio gear, such as keyboard, surround panner, 19\" rack mount devices, and other custom extras. Two Nuage Workspace units are available: a large model that is the same size as the Nuage fader unit, and a small model that can be added to a Nuage Master unit to match the width of a standard 24\" monitor display. The large workspace has a drawer for a keyboard or storage.<br><br>\n\n<h3>Total studio environment</h3>\nNuage is a complete system comprising the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Fader-p/ymh-nuage-fdr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Fader controller</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Master-p/ymh-nuage-mstr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Master section</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante network card</a>; a choice of three audio interfaces, including the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Digital-16-p/ymh-nuage-io-d16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-D16</a>, <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-16-p/ymh-nuage-io-a16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A16</a>, and <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-8-Digital-8-p/ymh-nuage-io-8x8.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A8D8</a>; SyncStation; and Nuendo 6 software. If desired, Nuage Master and Fader controllers can be used individually. The largest Nuage system can have three Fader sections and one Master for a total of forty-eight physical faders. <br><br>\n\n<h3>Supercharge your Nuendo postproduction facility with Yamaha Nuage. Call or chat online with an RSPE representative to configure your perfect Nuage system. </h3>'),(12915,85,0,2153,'Yamaha Nuage Master'),(12916,85,1,2153,'Yamaha Nuage Master'),(12917,76,0,2153,''),(12918,76,1,2153,''),(12919,75,0,2154,'<h2>Yamaha Nuage Nws500-LG Large Workspace Unit</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">Added functionality, convenience, and a streamlined, productive working environment</span><br /><br />\n\nWorkspace units for additional efficiency and functionality\nNuage Workspace units are blank sections in which you can install other studio gear, such as keyboard, surround panner, 19\" rack mount devices, and other custom extras. The Nuage Workspace Units come in two sizes, large and small. The Nuage Nws500-LG Large Workspace Unit is the same size as the Nuage Fader unit, and matches the size of a 24\" monitor, so you can either use it with computer keyboard and mouse to control a project window view in Nuendo, or some other software application; for storage; or as a producer’s desk. <br /><br />\n\nThe Nuage <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Workspace-Small-p/ymh-nuage-wrk-sml.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nws500-SM Workspace Unit</a> can be added to a Nuage Master unit to match the width of a standard 24\" monitor display.<br /><br />\n\n\n<h3>Yamaha Nuage Nws500-LG Large Workspace features:</h3>\n<ul>\n<li>Dimensions and design are a perfect match for the Nuage Fader units</li>\n<li>Add a keyboard, surround panner, 19\" rackmount devices, and other custom extras while maintaining overall workflow and visual unity</li>\n<li>The large model is the same size as the Nuage fader unit to match the width of a standard 24\" monitor display</li>\n</ul><br />\nTwo Nuage Workspace units are available: a large model that is the same size as the Nuage fader unit, and a small model that can be added to a Nuage Master unit to match the width of a standard 24\" monitor display. The large workspace has a drawer for a keyboard or storage.<br /><br />\n\nThe center section of the large workspace unit is a blank section that can accommodate other studio gear, for example, a Sound Devices CL-9 in the center section of the large workspace to control a 788T recorder. The cover features a hole that accommodates the cable of a keyboard or mouse, when they are placed on the panel. Or, you can remove the cover, place the keyboard and mouse inside, and run the cable through the bottom of the Workspace unit. <br /><br />\n\nThe rack size conforms to EIA specifications. There is 60mm (2.4\") depth of storage space at the upper side. <br /><br />\n\nThe Large Workspace can accommodate keyboards of up to 18\"L x 5.4\"W  (460 x 138mm), with front and rear heights of up to 29mm and 38mm (1.14\" – 1.5\") respectively. <br /><br />\n\n<h3>Yamaha Nuage Nws500-SM Small Workspace Unit</h3>\nThe center section of the Small Workspace unit is a blank section that can accommodate a mouse, or surround panner, such as the JL Cooper MCS-Panner. When combined with a Nuage Master and an Nws500-LG Large Workspace unit, you can add two additional 24\" monitor screens to your Nuage console, and dedicate them to project window or other software applications, while the monitors above the Nuage Fader units can be dedicated to mix windows. <br /><br />\n\nThe dimensions of the Nws500-SM Small Workspace unit’s center section are 10.6\" deep by 7.1\" wide (270.1mm x 180.6 mm)<br /><br />\n\n<h3>Total studio environment</h3>\nYamaha Nuage is a complete system comprising the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Fader-p/ymh-nuage-fdr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Fader controller</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Master-p/ymh-nuage-mstr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Master section</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante network card</a>; a choice of three audio interfaces, including the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Digital-16-p/ymh-nuage-io-d16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-D16</a>, <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-16-p/ymh-nuage-io-a16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A16</a>, and <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-8-Digital-8-p/ymh-nuage-io-8x8.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A8D8</a>; SyncStation; and Nuendo 6 software. If desired, Nuage Master and Fader controllers can be used individually. The largest Nuage system can have three Fader sections and one Master for a total of forty-eight physical faders. <br /><br />\n\n<h3>Streamline your Yamaha Nuage control surface with the Nws500-LG Large Workspace Unit. Call or chat online with an RSPE representative to configure your perfect Nuage system. </h3>'),(12920,75,1,2154,'<h2>Yamaha Nuage Nws500-LG Large Workspace Unit</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">Added functionality, convenience, and a streamlined, productive working environment</span><br /><br />\n\nWorkspace units for additional efficiency and functionality\nNuage Workspace units are blank sections in which you can install other studio gear, such as keyboard, surround panner, 19\" rack mount devices, and other custom extras. The Nuage Workspace Units come in two sizes, large and small. The Nuage Nws500-LG Large Workspace Unit is the same size as the Nuage Fader unit, and matches the size of a 24\" monitor, so you can either use it with computer keyboard and mouse to control a project window view in Nuendo, or some other software application; for storage; or as a producer’s desk. <br /><br />\n\nThe Nuage <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Workspace-Small-p/ymh-nuage-wrk-sml.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nws500-SM Workspace Unit</a> can be added to a Nuage Master unit to match the width of a standard 24\" monitor display.<br /><br />\n\n\n<h3>Yamaha Nuage Nws500-LG Large Workspace features:</h3>\n<ul>\n<li>Dimensions and design are a perfect match for the Nuage Fader units</li>\n<li>Add a keyboard, surround panner, 19\" rackmount devices, and other custom extras while maintaining overall workflow and visual unity</li>\n<li>The large model is the same size as the Nuage fader unit to match the width of a standard 24\" monitor display</li>\n</ul><br />\nTwo Nuage Workspace units are available: a large model that is the same size as the Nuage fader unit, and a small model that can be added to a Nuage Master unit to match the width of a standard 24\" monitor display. The large workspace has a drawer for a keyboard or storage.<br /><br />\n\nThe center section of the large workspace unit is a blank section that can accommodate other studio gear, for example, a Sound Devices CL-9 in the center section of the large workspace to control a 788T recorder. The cover features a hole that accommodates the cable of a keyboard or mouse, when they are placed on the panel. Or, you can remove the cover, place the keyboard and mouse inside, and run the cable through the bottom of the Workspace unit. <br /><br />\n\nThe rack size conforms to EIA specifications. There is 60mm (2.4\") depth of storage space at the upper side. <br /><br />\n\nThe Large Workspace can accommodate keyboards of up to 18\"L x 5.4\"W  (460 x 138mm), with front and rear heights of up to 29mm and 38mm (1.14\" – 1.5\") respectively. <br /><br />\n\n<h3>Yamaha Nuage Nws500-SM Small Workspace Unit</h3>\nThe center section of the Small Workspace unit is a blank section that can accommodate a mouse, or surround panner, such as the JL Cooper MCS-Panner. When combined with a Nuage Master and an Nws500-LG Large Workspace unit, you can add two additional 24\" monitor screens to your Nuage console, and dedicate them to project window or other software applications, while the monitors above the Nuage Fader units can be dedicated to mix windows. <br /><br />\n\nThe dimensions of the Nws500-SM Small Workspace unit’s center section are 10.6\" deep by 7.1\" wide (270.1mm x 180.6 mm)<br /><br />\n\n<h3>Total studio environment</h3>\nYamaha Nuage is a complete system comprising the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Fader-p/ymh-nuage-fdr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Fader controller</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Master-p/ymh-nuage-mstr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Master section</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante network card</a>; a choice of three audio interfaces, including the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Digital-16-p/ymh-nuage-io-d16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-D16</a>, <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-16-p/ymh-nuage-io-a16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A16</a>, and <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-8-Digital-8-p/ymh-nuage-io-8x8.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A8D8</a>; SyncStation; and Nuendo 6 software. If desired, Nuage Master and Fader controllers can be used individually. The largest Nuage system can have three Fader sections and one Master for a total of forty-eight physical faders. <br /><br />\n\n<h3>Streamline your Yamaha Nuage control surface with the Nws500-LG Large Workspace Unit. Call or chat online with an RSPE representative to configure your perfect Nuage system. </h3>'),(12921,85,0,2154,'Yamaha Nuage Workspace Large'),(12922,85,1,2154,'Yamaha Nuage Workspace Large'),(12923,76,0,2154,''),(12924,76,1,2154,''),(12925,75,0,2155,'<h2>Yamaha Nuage Nws500-SM Small Workspace Unit</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">Added functionality, convenience, and a streamlined, productive working environment</span><br /><br />\n\n<h3>Workspace units for additional efficiency and functionality</h3>\nNuage Workspace units are blank sections in which you can install other studio gear, such as keyboard, surround panner, 19\" rack mount devices, and other custom extras. The Nuage Workspace Units come in two sizes, large and small. The Nuage Nws500-SM Workspace Unit can be added to a Nuage Master unit to match the width of a standard 24\" monitor display. <br /><br />\n\nThe <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Workspace-Large-p/ymh-nuage-wrk-lrg.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nws500-LG Large Workspace Unit</a> is the same size as the Nuage Fader unit, and matches the size of a 24\" monitor, so you can either use it with computer keyboard and mouse to control a project window view in Nuendo, or some other software application; for storage; or as a producer’s desk.<br /><br />\n\n\n<h3>Yamaha Nuage Nws500-SM Small Workspace features:</h3>\n<ul>\n<li>Dimensions and design are a perfect match for the Nuage Master units </li>\n<li>Add a surround panner, mouse, or other custom extras while maintaining overall workflow and visual unity</li>\n<li>The Nws500-SM Small Workspace can be added to a Nuage Master unit to match the width of a standard 24\" monitor display</li>\n</ul><br />\nTwo Nuage Workspace units are available: a large model that is the same size as the Nuage fader unit, and a small model that can be added to a Nuage Master unit to match the width of a standard 24\" monitor display. The large workspace has a drawer for a keyboard or storage.<br /><br />\n\nThe center section of the Small Workspace unit is a blank section that can accommodate a mouse, or surround panner, such as the JL Cooper MCS-Panner. When combined with a Nuage Master and an Nws500-LG Large Workspace unit, you can add two additional 24\" monitor screens to your Nuage console, and dedicate them to project window or other software applications, while the monitors above the Nuage Fader units can be dedicated to mix windows. <br /><br />\n\nThe dimensions of the Nws500-SM Small Workspace unit’s center section are 10.6\" deep by 7.1\" wide (270.1mm x 180.6 mm) <br /><br />\n\n<h3>Yamaha Nuage Nws500-LG Large Workspace Unit</h3>\nWhile the Nws500-SM Small Workspace fills out the master section, the Large Workspace unit can accommodate other studio gear, for example, a Sound Devices CL-9 in the center section of the large workspace to control a 788T recorder. The cover features a hole that accommodates the cable of a keyboard or mouse, when they are placed on the panel. Or, you can remove the cover, place the keyboard and mouse inside, and run the cable through the bottom of the Workspace unit. <br /><br />\n\nThe rack size conforms to EIA specifications. There is 60mm (2.4\") depth of storage space at the upper side. <br /><br />\n\nThe Large Workspace can accommodate keyboards of up to 18\"L x 5.4\"W  (460 x 138mm), with front and rear heights of up to 29mm and 38mm (1.14\" – 1.5\") respectively. <br /><br />\n\n<h3>Total studio environment</h3>\nYamaha Nuage is a complete system comprising the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Fader-p/ymh-nuage-fdr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Fader controller</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Master-p/ymh-nuage-mstr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Master section</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante network card</a>; a choice of three audio interfaces, including the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Digital-16-p/ymh-nuage-io-d16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-D16</a>, <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-16-p/ymh-nuage-io-a16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A16</a>, and <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-8-Digital-8-p/ymh-nuage-io-8x8.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A8D8</a>; SyncStation; and Nuendo 6 software. If desired, Nuage Master and Fader controllers can be used individually. The largest Nuage system can have three Fader sections and one Master for a total of forty-eight physical faders. <br /><br />\n\n<h3>Add an Nws500-SM to your Nuage Master Section to accommodate another 24\" monitor for increased visual feedback and console continuity. Call or chat online with an RSPE representative to configure your perfect Nuage system.   </h3>'),(12926,75,1,2155,'<h2>Yamaha Nuage Nws500-SM Small Workspace Unit</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">Added functionality, convenience, and a streamlined, productive working environment</span><br /><br />\n\n<h3>Workspace units for additional efficiency and functionality</h3>\nNuage Workspace units are blank sections in which you can install other studio gear, such as keyboard, surround panner, 19\" rack mount devices, and other custom extras. The Nuage Workspace Units come in two sizes, large and small. The Nuage Nws500-SM Workspace Unit can be added to a Nuage Master unit to match the width of a standard 24\" monitor display. <br /><br />\n\nThe <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Workspace-Large-p/ymh-nuage-wrk-lrg.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nws500-LG Large Workspace Unit</a> is the same size as the Nuage Fader unit, and matches the size of a 24\" monitor, so you can either use it with computer keyboard and mouse to control a project window view in Nuendo, or some other software application; for storage; or as a producer’s desk.<br /><br />\n\n\n<h3>Yamaha Nuage Nws500-SM Small Workspace features:</h3>\n<ul>\n<li>Dimensions and design are a perfect match for the Nuage Master units </li>\n<li>Add a surround panner, mouse, or other custom extras while maintaining overall workflow and visual unity</li>\n<li>The Nws500-SM Small Workspace can be added to a Nuage Master unit to match the width of a standard 24\" monitor display</li>\n</ul><br />\nTwo Nuage Workspace units are available: a large model that is the same size as the Nuage fader unit, and a small model that can be added to a Nuage Master unit to match the width of a standard 24\" monitor display. The large workspace has a drawer for a keyboard or storage.<br /><br />\n\nThe center section of the Small Workspace unit is a blank section that can accommodate a mouse, or surround panner, such as the JL Cooper MCS-Panner. When combined with a Nuage Master and an Nws500-LG Large Workspace unit, you can add two additional 24\" monitor screens to your Nuage console, and dedicate them to project window or other software applications, while the monitors above the Nuage Fader units can be dedicated to mix windows. <br /><br />\n\nThe dimensions of the Nws500-SM Small Workspace unit’s center section are 10.6\" deep by 7.1\" wide (270.1mm x 180.6 mm) <br /><br />\n\n<h3>Yamaha Nuage Nws500-LG Large Workspace Unit</h3>\nWhile the Nws500-SM Small Workspace fills out the master section, the Large Workspace unit can accommodate other studio gear, for example, a Sound Devices CL-9 in the center section of the large workspace to control a 788T recorder. The cover features a hole that accommodates the cable of a keyboard or mouse, when they are placed on the panel. Or, you can remove the cover, place the keyboard and mouse inside, and run the cable through the bottom of the Workspace unit. <br /><br />\n\nThe rack size conforms to EIA specifications. There is 60mm (2.4\") depth of storage space at the upper side. <br /><br />\n\nThe Large Workspace can accommodate keyboards of up to 18\"L x 5.4\"W  (460 x 138mm), with front and rear heights of up to 29mm and 38mm (1.14\" – 1.5\") respectively. <br /><br />\n\n<h3>Total studio environment</h3>\nYamaha Nuage is a complete system comprising the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Fader-p/ymh-nuage-fdr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Fader controller</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Master-p/ymh-nuage-mstr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Master section</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante network card</a>; a choice of three audio interfaces, including the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Digital-16-p/ymh-nuage-io-d16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-D16</a>, <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-16-p/ymh-nuage-io-a16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A16</a>, and <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-8-Digital-8-p/ymh-nuage-io-8x8.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A8D8</a>; SyncStation; and Nuendo 6 software. If desired, Nuage Master and Fader controllers can be used individually. The largest Nuage system can have three Fader sections and one Master for a total of forty-eight physical faders. <br /><br />\n\n<h3>Add an Nws500-SM to your Nuage Master Section to accommodate another 24\" monitor for increased visual feedback and console continuity. Call or chat online with an RSPE representative to configure your perfect Nuage system.   </h3>'),(12927,85,0,2155,'Yamaha Nuage Workspace Small'),(12928,85,1,2155,'Yamaha Nuage Workspace Small'),(12929,76,0,2155,''),(12930,76,1,2155,''),(12931,75,0,2156,'<h2>Yamaha STAGEPAS 1K Portable PA System</h2><div><p style=\"box-sizing: border-box; margin-bottom: 15px; color: rgb(41, 40, 40); font-family: cf-gibson, Helvetica, Arial, sans-serif; font-size: 18px; letter-spacing: normal; line-height: 27px; background-color: rgb(255, 255, 255);\">Yamaha\'s compact STAGEPAS 1K all-in-one PA system includes a powered 12\" subwoofer with a 1000-watt Class D amplifier and a built-in 5-channel mixer, a line-array speaker stack with ten 1-1/2\" high-frequency drivers, and two spacers used to adjust the height of the line array, along with a sturdy bag that holds everything. The system is incredibly easy to set up and use, no technical training needed! </p></div>\n<h3>STAGEPAS 600i Features:</h3>\n<ul>\n	<li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">compact portable PA system</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">includes line-array module with ten 1-1/2\" speakers and 12\" subwoofer</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">built-in Class D amplifier (1000 watts peak power)<ul style=\"box-sizing: border-box; margin-top: 0px; margin-bottom: 0px;\"><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">190 watts peak for line array drivers</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">810 watts peak for 12\" sub</li></ul></li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">5-channel mixer<ul style=\"box-sizing: border-box; margin-top: 0px; margin-bottom: 0px;\"><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">3 mic inputs accommodate 1/4\" and XLR connectors</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">ch 1: mic/line</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">ch 2-3: mic/line, Hi-Z switch</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">1/8\" stereo line level input on front panel connects to portable audio devices</li></ul></li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">2 line-level 1/4\" input jacks allow mono or stereo input</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">XLR LINK input/output lets you connect a second STAGEPAS 1K system<ul style=\"box-sizing: border-box; margin-top: 0px; margin-bottom: 0px;\"><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">selectable stereo or mono performance</li></ul></li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">SPX digital reverb available on ch 1-3 (hall, plate, room, echo)</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">Mode knob controls global EQ boost/cut</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">Bluetooth allows wireless streaming from your smartphone or portable music device</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">control system remotely from smartphone via Yamaha\'s STAGEPAS Editor app</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">specifications:<ul style=\"box-sizing: border-box; margin-top: 0px; margin-bottom: 0px;\"><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">maximum SPL: 119 dB</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">frequency response: 37-20,000 Hz</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">coverage: 130° (horizontal), 30° (vertical)</li></ul></li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">dimensions:<ul style=\"box-sizing: border-box; margin-top: 0px; margin-bottom: 0px;\"><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">line array speaker: 2-5/8\"W x 23\"H x 3-3/8\"D</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">spacer (each): 2-5/8\"W x 21-7/8\"H x 3-3/8\"D</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">subwoofer: 13\"W x 21-5/8\"H x 3-3/8\"D</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">total system (assembled): 13\"W x 78-1/2\"H x 16-3/8\"D</li></ul></li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">weight:<ul style=\"box-sizing: border-box; margin-top: 0px; margin-bottom: 0px;\"><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">line array speaker : 4 lbs.</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">spacer (each) : 1-5/16 lbs.</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">subwoofer : 44 lbs.</li></ul></li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">complete system (assembled): 50-3/4 lbs.</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">warranty: 1 year</li>\n</ul>\n<br />\n<h3 style=\"box-sizing: border-box; margin-top: 1rem; margin-bottom: 1rem; font-family: cf-gibson, Helvetica, Arial, sans-serif; line-height: 1.2; font-size: 1.5rem; color: rgb(41, 40, 40); background-color: rgb(255, 255, 255);\">Ins and outs</h3><h3><p style=\"box-sizing: border-box; margin-bottom: 15px; font-size: 18px; line-height: 27px; letter-spacing: normal; font-family: cf-gibson, Helvetica, Arial, sans-serif; color: rgb(41, 40, 40); background-color: rgb(255, 255, 255);\">The STAGEPAS 1K\'s versatile mixer inputs connect a variety of sound sources to the system. Three mono channels with combo input jacks provide XLR and 1/4\" connections, while Hi-Z switches on channels 2 and 3 let you connect electric instruments to the mixer without using a direct box. A stereo channel with dual 1/4\" jacks allows you to connect devices with stereo outputs.</p></h3><h3 style=\"box-sizing: border-box; margin-top: 1rem; margin-bottom: 1rem; font-family: cf-gibson, Helvetica, Arial, sans-serif; line-height: 1.2; font-size: 1.5rem; color: rgb(41, 40, 40); background-color: rgb(255, 255, 255);\">Bluetooth streaming</h3><h3><p style=\"box-sizing: border-box; margin-bottom: 15px; font-size: 18px; line-height: 27px; letter-spacing: normal; font-family: cf-gibson, Helvetica, Arial, sans-serif; color: rgb(41, 40, 40); background-color: rgb(255, 255, 255);\">In addition to the mixer\'s line- and microphone-level inputs, you can also stream audio from your smartphone to the STAGEPAS 1K via Bluetooth® and control the system from your phone using Yamaha\'s free STAGEPAS Editor app (available for Android and iOS). When streaming audio via Bluetooth, the signal is automatically routed to the stereo channel.</p></h3><h3 style=\"box-sizing: border-box; margin-top: 1rem; margin-bottom: 1rem; font-family: cf-gibson, Helvetica, Arial, sans-serif; line-height: 1.2; font-size: 1.5rem; color: rgb(41, 40, 40); background-color: rgb(255, 255, 255);\">Connect a second STAGEPAS 1K</h3><h3><p style=\"box-sizing: border-box; margin-bottom: 15px; font-size: 18px; line-height: 27px; letter-spacing: normal; font-family: cf-gibson, Helvetica, Arial, sans-serif; color: rgb(41, 40, 40); background-color: rgb(255, 255, 255);\">The system provides XLR LINK input and outputs jacks which allow you to connect to a second STAGEPAS 1K system for stereo or mono output. The LINK output also serves as a line out for connection to a powered speaker. An XLR MONITOR output provides a separate signal for driving a powered monitor speaker, and also allows you to connect to a recording device or mixing board.</p></h3><h3 style=\"box-sizing: border-box; margin-top: 1rem; margin-bottom: 1rem; font-family: cf-gibson, Helvetica, Arial, sans-serif; line-height: 1.2; font-size: 1.5rem; color: rgb(41, 40, 40); background-color: rgb(255, 255, 255);\">Dial in your sound</h3><h3><p style=\"box-sizing: border-box; margin-bottom: 15px; font-size: 18px; line-height: 27px; letter-spacing: normal; font-family: cf-gibson, Helvetica, Arial, sans-serif; color: rgb(41, 40, 40); background-color: rgb(255, 255, 255);\">One knob controls the onboard SPX digital reverb, letting you choose between four kinds of reverb and echo and select the appropriate decay time. Separate EQ knobs let you individually adjust each channel\'s tone settings You also get a single-knob Mode control over the output which selects between three preset EQ/compression settings, making it easy to get the right sound for speech, performance, or DJ applications.</p><p style=\"box-sizing: border-box; margin-bottom: 15px; font-size: 18px; line-height: 27px; letter-spacing: normal; font-family: cf-gibson, Helvetica, Arial, sans-serif; color: rgb(41, 40, 40); background-color: rgb(255, 255, 255);\">With innovative design, simple setup, and Yamaha\'s years of expertise, the STAGEPAS 1K system is your key to great portable sound.</p></h3>'),(12932,75,1,2156,'<h2>Yamaha STAGEPAS 1K Portable PA System</h2><div><p style=\"box-sizing: border-box; margin-bottom: 15px; color: rgb(41, 40, 40); font-family: cf-gibson, Helvetica, Arial, sans-serif; font-size: 18px; letter-spacing: normal; line-height: 27px; background-color: rgb(255, 255, 255);\">Yamaha\'s compact STAGEPAS 1K all-in-one PA system includes a powered 12\" subwoofer with a 1000-watt Class D amplifier and a built-in 5-channel mixer, a line-array speaker stack with ten 1-1/2\" high-frequency drivers, and two spacers used to adjust the height of the line array, along with a sturdy bag that holds everything. The system is incredibly easy to set up and use, no technical training needed! </p></div>\n<h3>STAGEPAS 600i Features:</h3>\n<ul>\n	<li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">compact portable PA system</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">includes line-array module with ten 1-1/2\" speakers and 12\" subwoofer</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">built-in Class D amplifier (1000 watts peak power)<ul style=\"box-sizing: border-box; margin-top: 0px; margin-bottom: 0px;\"><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">190 watts peak for line array drivers</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">810 watts peak for 12\" sub</li></ul></li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">5-channel mixer<ul style=\"box-sizing: border-box; margin-top: 0px; margin-bottom: 0px;\"><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">3 mic inputs accommodate 1/4\" and XLR connectors</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">ch 1: mic/line</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">ch 2-3: mic/line, Hi-Z switch</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">1/8\" stereo line level input on front panel connects to portable audio devices</li></ul></li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">2 line-level 1/4\" input jacks allow mono or stereo input</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">XLR LINK input/output lets you connect a second STAGEPAS 1K system<ul style=\"box-sizing: border-box; margin-top: 0px; margin-bottom: 0px;\"><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">selectable stereo or mono performance</li></ul></li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">SPX digital reverb available on ch 1-3 (hall, plate, room, echo)</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">Mode knob controls global EQ boost/cut</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">Bluetooth allows wireless streaming from your smartphone or portable music device</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">control system remotely from smartphone via Yamaha\'s STAGEPAS Editor app</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">specifications:<ul style=\"box-sizing: border-box; margin-top: 0px; margin-bottom: 0px;\"><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">maximum SPL: 119 dB</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">frequency response: 37-20,000 Hz</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">coverage: 130° (horizontal), 30° (vertical)</li></ul></li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">dimensions:<ul style=\"box-sizing: border-box; margin-top: 0px; margin-bottom: 0px;\"><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">line array speaker: 2-5/8\"W x 23\"H x 3-3/8\"D</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">spacer (each): 2-5/8\"W x 21-7/8\"H x 3-3/8\"D</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">subwoofer: 13\"W x 21-5/8\"H x 3-3/8\"D</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">total system (assembled): 13\"W x 78-1/2\"H x 16-3/8\"D</li></ul></li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">weight:<ul style=\"box-sizing: border-box; margin-top: 0px; margin-bottom: 0px;\"><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">line array speaker : 4 lbs.</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">spacer (each) : 1-5/16 lbs.</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">subwoofer : 44 lbs.</li></ul></li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">complete system (assembled): 50-3/4 lbs.</li><li style=\"box-sizing: border-box; padding-top: 0.25rem; padding-bottom: 0.25rem;\">warranty: 1 year</li>\n</ul>\n<br />\n<h3 style=\"box-sizing: border-box; margin-top: 1rem; margin-bottom: 1rem; font-family: cf-gibson, Helvetica, Arial, sans-serif; line-height: 1.2; font-size: 1.5rem; color: rgb(41, 40, 40); background-color: rgb(255, 255, 255);\">Ins and outs</h3><h3><p style=\"box-sizing: border-box; margin-bottom: 15px; font-size: 18px; line-height: 27px; letter-spacing: normal; font-family: cf-gibson, Helvetica, Arial, sans-serif; color: rgb(41, 40, 40); background-color: rgb(255, 255, 255);\">The STAGEPAS 1K\'s versatile mixer inputs connect a variety of sound sources to the system. Three mono channels with combo input jacks provide XLR and 1/4\" connections, while Hi-Z switches on channels 2 and 3 let you connect electric instruments to the mixer without using a direct box. A stereo channel with dual 1/4\" jacks allows you to connect devices with stereo outputs.</p></h3><h3 style=\"box-sizing: border-box; margin-top: 1rem; margin-bottom: 1rem; font-family: cf-gibson, Helvetica, Arial, sans-serif; line-height: 1.2; font-size: 1.5rem; color: rgb(41, 40, 40); background-color: rgb(255, 255, 255);\">Bluetooth streaming</h3><h3><p style=\"box-sizing: border-box; margin-bottom: 15px; font-size: 18px; line-height: 27px; letter-spacing: normal; font-family: cf-gibson, Helvetica, Arial, sans-serif; color: rgb(41, 40, 40); background-color: rgb(255, 255, 255);\">In addition to the mixer\'s line- and microphone-level inputs, you can also stream audio from your smartphone to the STAGEPAS 1K via Bluetooth® and control the system from your phone using Yamaha\'s free STAGEPAS Editor app (available for Android and iOS). When streaming audio via Bluetooth, the signal is automatically routed to the stereo channel.</p></h3><h3 style=\"box-sizing: border-box; margin-top: 1rem; margin-bottom: 1rem; font-family: cf-gibson, Helvetica, Arial, sans-serif; line-height: 1.2; font-size: 1.5rem; color: rgb(41, 40, 40); background-color: rgb(255, 255, 255);\">Connect a second STAGEPAS 1K</h3><h3><p style=\"box-sizing: border-box; margin-bottom: 15px; font-size: 18px; line-height: 27px; letter-spacing: normal; font-family: cf-gibson, Helvetica, Arial, sans-serif; color: rgb(41, 40, 40); background-color: rgb(255, 255, 255);\">The system provides XLR LINK input and outputs jacks which allow you to connect to a second STAGEPAS 1K system for stereo or mono output. The LINK output also serves as a line out for connection to a powered speaker. An XLR MONITOR output provides a separate signal for driving a powered monitor speaker, and also allows you to connect to a recording device or mixing board.</p></h3><h3 style=\"box-sizing: border-box; margin-top: 1rem; margin-bottom: 1rem; font-family: cf-gibson, Helvetica, Arial, sans-serif; line-height: 1.2; font-size: 1.5rem; color: rgb(41, 40, 40); background-color: rgb(255, 255, 255);\">Dial in your sound</h3><h3><p style=\"box-sizing: border-box; margin-bottom: 15px; font-size: 18px; line-height: 27px; letter-spacing: normal; font-family: cf-gibson, Helvetica, Arial, sans-serif; color: rgb(41, 40, 40); background-color: rgb(255, 255, 255);\">One knob controls the onboard SPX digital reverb, letting you choose between four kinds of reverb and echo and select the appropriate decay time. Separate EQ knobs let you individually adjust each channel\'s tone settings You also get a single-knob Mode control over the output which selects between three preset EQ/compression settings, making it easy to get the right sound for speech, performance, or DJ applications.</p><p style=\"box-sizing: border-box; margin-bottom: 15px; font-size: 18px; line-height: 27px; letter-spacing: normal; font-family: cf-gibson, Helvetica, Arial, sans-serif; color: rgb(41, 40, 40); background-color: rgb(255, 255, 255);\">With innovative design, simple setup, and Yamaha\'s years of expertise, the STAGEPAS 1K system is your key to great portable sound.</p></h3>'),(12933,85,0,2156,'Yamaha STAGEPAS 1K'),(12934,85,1,2156,'Yamaha STAGEPAS 1K'),(12935,76,0,2156,''),(12936,76,1,2156,''),(12937,75,0,2157,'<h2>Yamaha STAGEPAS 400i Portable PA System</h2>\nThe Yamaha STAGEPAS 400i Portable PA System is a 400-watt, portable PA system with 8-channel powered mixer, two 8\" speakers, iPod/iPhone USB connection, SPX digital reverbs, an onboard feedback suppressor and versatile EQ.\n<br /><br />\n\n<h3>STAGEPAS 400i Features:</h3>\n<ul>\n<li>400W (200W + 200W) power output                                                          </li>\n<li>Newly designed high quality speakers (LF:8\" woofer/ HF:1\" voice coil compression driver) </li>\n<li>Detachable 8-channel mixer (4 mono mic/line + 4 mono / 2 stereo line)                    </li>\n<li>iPod/ iPhone USB connection                                                              </li>\n<li>One-knob master EQ™ with virtual bass boost                                              </li>\n<li>High resolution SPX digital reverbs (4 types, parameter control)                         </li>\n<li>Onboard feedback suppressor                                                              </li>\n<li>Great-sounding 2-band channel EQ                                                         </li>\n<li>Switchable stereo/ mono inputs                                                           </li>\n<li>Hi-Z (high impedance) inputs                                                             </li>\n<li>Phantom power                                                                            </li>\n<li>Monitor and Subwoofer outputs                                                            </li>\n<li>Optional reverb footswitch                                                                </li>\n</ul>\n<br />\n<h3>Yamaha Stagepas Line</h3>\nThe new STAGEPAS features two sleek, lightweight speakers and a detachable powered mixer, along with one pair of speaker cables and a power cord, giving you a complete, extremely portable sound solution that can be set up quickly and easily in a variety of configurations and environments. By combining new high-efficiency amplifiers, newly designed speakers, and high performance DSP, the new STAGEPAS delivers a significant increase in power output (400W for the 400i and 680W for the 600i) as well as substantial improvements in sound quality and reliability. Complementing the boost in performance, the addition of iPod/ iPhone connectivity, SPX digital reverbs, an onboard feedback suppressor and more versatile EQ, has improved functionality and ease of use considerably, allowing STAGEPAS to meet the demands of a much wider range of applications and users. <br /><br />\n\n<h3>The Ultimate All-in-One Portable PA System</h3>\nThe new STAGEPAS 400i and 600i are complete, all-in-one sound solutions that are extremely portable and easy to set up, allowing users to instantly add high quality sound reinforcement to virtually any environment.<br /><br />\n\n<h3>New Mixer Features for a Streamlined Set-up</h3>\nThe new STAGEPAS was designed to offer high quality sound, simply and quickly to let you do what you do best. Whether you\'re giving a speech or playing a gig, STAGEPAS is equipped with intelligent new features that provide simple, intuitive control of optimized settings, making it easy to dial in your perfect sound in a matter of seconds.<br /><br />\n\n<h3>A Flexible Mixer with Improved Functionality</h3>\nEquipped with 10 channels or 8 channels respectively, the STAGEPAS 600i and 400i offer versatile connectivity, comprehensive channel functions, and seamless expandability that meet the growing demands of a wider range of applications and environments.<br /><br />\n\n<h3>Higher Power Output, Higher Sound Quality, Higher Reliability</h3>\nBy combining new high-efficiency amplifiers, newly designed speakers and high performance DSP, the new STAGEPAS delivers a significant increase in power output, with substantial improvements in sound quality and reliability.<br /><br />'),(12938,75,1,2157,'<h2>Yamaha STAGEPAS 400i Portable PA System</h2>\nThe Yamaha STAGEPAS 400i Portable PA System is a 400-watt, portable PA system with 8-channel powered mixer, two 8\" speakers, iPod/iPhone USB connection, SPX digital reverbs, an onboard feedback suppressor and versatile EQ.\n<br /><br />\n\n<h3>STAGEPAS 400i Features:</h3>\n<ul>\n<li>400W (200W + 200W) power output                                                          </li>\n<li>Newly designed high quality speakers (LF:8\" woofer/ HF:1\" voice coil compression driver) </li>\n<li>Detachable 8-channel mixer (4 mono mic/line + 4 mono / 2 stereo line)                    </li>\n<li>iPod/ iPhone USB connection                                                              </li>\n<li>One-knob master EQ™ with virtual bass boost                                              </li>\n<li>High resolution SPX digital reverbs (4 types, parameter control)                         </li>\n<li>Onboard feedback suppressor                                                              </li>\n<li>Great-sounding 2-band channel EQ                                                         </li>\n<li>Switchable stereo/ mono inputs                                                           </li>\n<li>Hi-Z (high impedance) inputs                                                             </li>\n<li>Phantom power                                                                            </li>\n<li>Monitor and Subwoofer outputs                                                            </li>\n<li>Optional reverb footswitch                                                                </li>\n</ul>\n<br />\n<h3>Yamaha Stagepas Line</h3>\nThe new STAGEPAS features two sleek, lightweight speakers and a detachable powered mixer, along with one pair of speaker cables and a power cord, giving you a complete, extremely portable sound solution that can be set up quickly and easily in a variety of configurations and environments. By combining new high-efficiency amplifiers, newly designed speakers, and high performance DSP, the new STAGEPAS delivers a significant increase in power output (400W for the 400i and 680W for the 600i) as well as substantial improvements in sound quality and reliability. Complementing the boost in performance, the addition of iPod/ iPhone connectivity, SPX digital reverbs, an onboard feedback suppressor and more versatile EQ, has improved functionality and ease of use considerably, allowing STAGEPAS to meet the demands of a much wider range of applications and users. <br /><br />\n\n<h3>The Ultimate All-in-One Portable PA System</h3>\nThe new STAGEPAS 400i and 600i are complete, all-in-one sound solutions that are extremely portable and easy to set up, allowing users to instantly add high quality sound reinforcement to virtually any environment.<br /><br />\n\n<h3>New Mixer Features for a Streamlined Set-up</h3>\nThe new STAGEPAS was designed to offer high quality sound, simply and quickly to let you do what you do best. Whether you\'re giving a speech or playing a gig, STAGEPAS is equipped with intelligent new features that provide simple, intuitive control of optimized settings, making it easy to dial in your perfect sound in a matter of seconds.<br /><br />\n\n<h3>A Flexible Mixer with Improved Functionality</h3>\nEquipped with 10 channels or 8 channels respectively, the STAGEPAS 600i and 400i offer versatile connectivity, comprehensive channel functions, and seamless expandability that meet the growing demands of a wider range of applications and environments.<br /><br />\n\n<h3>Higher Power Output, Higher Sound Quality, Higher Reliability</h3>\nBy combining new high-efficiency amplifiers, newly designed speakers and high performance DSP, the new STAGEPAS delivers a significant increase in power output, with substantial improvements in sound quality and reliability.<br /><br />'),(12939,85,0,2157,'Yamaha STAGEPAS 400i Portable PA System'),(12940,85,1,2157,'Yamaha STAGEPAS 400i Portable PA System'),(12941,76,0,2157,''),(12942,76,1,2157,''),(12943,75,0,2158,'<h2>Yamaha STAGEPAS 600i Portable PA System</h2>The Yamaha STAGEPAS 600i Portable PA System is a 680-watt, portable PA system with 10-channel powered mixer, two 10\" speakers, iPod/iPhone USB connection, SPX digital reverbs, an onboard feedback suppressor and versatile EQ.<br /><br />\n<h3>STAGEPAS 600i Features:</h3>\n<ul>\n	<li>680W (340W + 340W) power output                                                            </li>\n	<li>Newly designed high quality speakers (LF:10\" woofer/ HF:1.4\" voice coil compression driver)</li>\n	<li>Detachable 10-channel mixer (4 mono mic/line + 6 mono / 3 stereo line)                     </li>\n	<li>iPod/ iPhone USB connection                                                                </li>\n	<li>One-knob master EQ™ with virtual bass boost                                                </li>\n	<li>High resolution SPX digital reverbs (4 types, parameter control)                           </li>\n	<li>Onboard feedback suppressor                                                                </li>\n	<li>Great-sounding 3-band channel EQ                                                           </li>\n	<li>Switchable stereo/ mono inputs                                                             </li>\n	<li>Hi-Z (high impedance) inputs                                                               </li>\n	<li>Phantom power                                                                              </li>\n	<li>Monitor and Subwoofer outputs                                                              </li>\n	<li>Optional reverb footswitch                                                                 </li>\n</ul>\n<br />\n<h3>Yamaha STAGEPAS Line</h3>\nThe new STAGEPAS features two sleek, lightweight speakers and a detachable powered mixer, along with one pair of speaker cables and a power cord, giving you a complete, extremely portable sound solution that can be set up quickly and easily in a variety of configurations and environments. By combining new high-efficiency amplifiers, newly designed speakers, and high performance DSP, the new STAGEPAS delivers a significant increase in power output (400W for the 400i and 680W for the 600i) as well as substantial improvements in sound quality and reliability. Complementing the boost in performance, the addition of iPod/ iPhone connectivity, SPX digital reverbs, an onboard feedback suppressor and more versatile EQ, has improved functionality and ease of use considerably, allowing STAGEPAS to meet the demands of a much wider range of applications and users. \n<br /><br />\n<h3>The Ultimate All-in-One Portable PA System</h3>\nThe new STAGEPAS 400i and 600i are complete, all-in-one sound solutions that are extremely portable and easy to set up, allowing users to instantly add high quality sound reinforcement to virtually any environment.\n<br /><br />\n<h3>New Mixer Features for a Streamlined Set-up</h3>\nThe new STAGEPAS was designed to offer high quality sound, simply and quickly to let you do what you do best. Whether you\'re giving a speech or playing a gig, STAGEPAS is equipped with intelligent new features that provide simple, intuitive control of optimized settings, making it easy to dial in your perfect sound in a matter of seconds.\n<br /><br />\n<h3>A Flexible Mixer with Improved Functionality</h3>\nEquipped with 10 channels or 8 channels respectively, the STAGEPAS 600i and 400i offer versatile connectivity, comprehensive channel functions, and seamless expandability that meet the growing demands of a wider range of applications and environments.\n<br /><br />\n<h3>Higher Power Output, Higher Sound Quality, Higher Reliability</h3>\nBy combining new high-efficiency amplifiers, newly designed speakers and high performance DSP, the new STAGEPAS delivers a significant increase in power output, with substantial improvements in sound quality and reliability.\n<br /><br />'),(12944,75,1,2158,'<h2>Yamaha STAGEPAS 600i Portable PA System</h2>The Yamaha STAGEPAS 600i Portable PA System is a 680-watt, portable PA system with 10-channel powered mixer, two 10\" speakers, iPod/iPhone USB connection, SPX digital reverbs, an onboard feedback suppressor and versatile EQ.<br /><br />\n<h3>STAGEPAS 600i Features:</h3>\n<ul>\n	<li>680W (340W + 340W) power output                                                            </li>\n	<li>Newly designed high quality speakers (LF:10\" woofer/ HF:1.4\" voice coil compression driver)</li>\n	<li>Detachable 10-channel mixer (4 mono mic/line + 6 mono / 3 stereo line)                     </li>\n	<li>iPod/ iPhone USB connection                                                                </li>\n	<li>One-knob master EQ™ with virtual bass boost                                                </li>\n	<li>High resolution SPX digital reverbs (4 types, parameter control)                           </li>\n	<li>Onboard feedback suppressor                                                                </li>\n	<li>Great-sounding 3-band channel EQ                                                           </li>\n	<li>Switchable stereo/ mono inputs                                                             </li>\n	<li>Hi-Z (high impedance) inputs                                                               </li>\n	<li>Phantom power                                                                              </li>\n	<li>Monitor and Subwoofer outputs                                                              </li>\n	<li>Optional reverb footswitch                                                                 </li>\n</ul>\n<br />\n<h3>Yamaha STAGEPAS Line</h3>\nThe new STAGEPAS features two sleek, lightweight speakers and a detachable powered mixer, along with one pair of speaker cables and a power cord, giving you a complete, extremely portable sound solution that can be set up quickly and easily in a variety of configurations and environments. By combining new high-efficiency amplifiers, newly designed speakers, and high performance DSP, the new STAGEPAS delivers a significant increase in power output (400W for the 400i and 680W for the 600i) as well as substantial improvements in sound quality and reliability. Complementing the boost in performance, the addition of iPod/ iPhone connectivity, SPX digital reverbs, an onboard feedback suppressor and more versatile EQ, has improved functionality and ease of use considerably, allowing STAGEPAS to meet the demands of a much wider range of applications and users. \n<br /><br />\n<h3>The Ultimate All-in-One Portable PA System</h3>\nThe new STAGEPAS 400i and 600i are complete, all-in-one sound solutions that are extremely portable and easy to set up, allowing users to instantly add high quality sound reinforcement to virtually any environment.\n<br /><br />\n<h3>New Mixer Features for a Streamlined Set-up</h3>\nThe new STAGEPAS was designed to offer high quality sound, simply and quickly to let you do what you do best. Whether you\'re giving a speech or playing a gig, STAGEPAS is equipped with intelligent new features that provide simple, intuitive control of optimized settings, making it easy to dial in your perfect sound in a matter of seconds.\n<br /><br />\n<h3>A Flexible Mixer with Improved Functionality</h3>\nEquipped with 10 channels or 8 channels respectively, the STAGEPAS 600i and 400i offer versatile connectivity, comprehensive channel functions, and seamless expandability that meet the growing demands of a wider range of applications and environments.\n<br /><br />\n<h3>Higher Power Output, Higher Sound Quality, Higher Reliability</h3>\nBy combining new high-efficiency amplifiers, newly designed speakers and high performance DSP, the new STAGEPAS delivers a significant increase in power output, with substantial improvements in sound quality and reliability.\n<br /><br />'),(12945,85,0,2158,'Yamaha STAGEPAS 600i Portable PA System'),(12946,85,1,2158,'Yamaha STAGEPAS 600i Portable PA System'),(12947,76,0,2158,''),(12948,76,1,2158,''),(12949,75,0,2159,'<h2>Yamaha TF1 17 Fader Digital Mixing Console <span style=\"background-color: initial;\">(16 Channels + 1 Master)</span><span style=\"background-color: initial;\"> </span></h2>\n\nThe smallest of the TF line, the Yamaha TF1 is a compact, portable, and even rack mountable 17 Fader (16 Channels + 1 Master) Digital Mixing Console. The TF1 offers impressive capability and versatility for smaller systems, such as smaller studios or venues and portable rigs. <br /><br />\n\n<h3>TF1 Key Features</h3>\n<ul>\n<li>17 motor faders (16 channels + 1 master)                                                                     </li>\n<li>40 input mixing channels (32 mono + 2 stereo + 2 return)                                                     </li>\n<li>20 AUX buses (8 mono + 6 stereo) + stereo + sub • 8 DCA groups with Roll-out                                 </li>\n<li>16 analog XLR/TRS combo mic/line inputs + 2 analog RCA pin stereo line inputs                                </li>\n<li>16 analog XLR outputs • 34 x 34 digital record/playback channels via USB 2.0 + 2 x 2 via a USB storage device</li>\n<li>1 expansion slot for NY64-D audio interface card                                                             </li>\n</ul><br />\n\n<h3>Yamaha TF Digital Mixing Consoles</h3>\nYamaha digital consoles have always been designed with input from leading engineers worldwide to ensure that the most efficient, intuitive operation is achieved. The highly regarded Selected Channel and Centralogic™ interfaces attest to the success of that approach. The TF series combines Yamaha know-how with new input from the field and the latest touch-screen technology to deliver an evolved experience in console operation. Smooth setup and operation, practical presets and scenes, refined design, and software applications that integrate seamlessly with the entire system: these elements comprise TouchFlow Operation, a new concept in console interfaces that offers unprecedented comfort and convenience in small consoles, for a wide range of users and applications.<br /><br />\n\n<h2>Intuitive User Interface Optimized for Touch Panel Operation</h2>\nIn developing the TF series Yamaha engineers built from their existing base of acclaimed high-end mixer interfaces, adding intuitive control in an interface optimized for the type of touch panel control that has become a familiar feature in a wide range of applications. Allowing most operations to be carried out via the touch panel alone, the innovative TF series interface will quickly become second nature to a broad spectrum of users. Whether you have experience with Yamaha digital consoles, work with other digital consoles, operate analog consoles, or have never operated a mixer before, TF consoles will lead you to the desired results quickly and effortlessly through a smooth, efficient workflow. The availability of physical controls surrounding the touch panel further enhances control versatility and precision.<br /><br />\n\n\n<h3>Touch Operation for Intimate Control</h3>\nRefined for the smoothest possible operation via touch-panel control, the TF user interface offers a smooth workflow that can be an advantage in any mixing situation. The display content has been specifically designed for easy, direct accessibility, with a layout that promotes the most natural, efficient mixing. Touch panel operation is as easy as shaping the sound with your fingertips.<br /><br />\n\n<h3>Touch & Turn Knob Offers Extra Control Precision</h3>\nWhen you need extra precision for a fine EQ or other adjustment, the physical Touch & Turn knob is always available right beside the touch panel. There are also four User Defined Knobs below the panel that can be assigned to control compressor threshold, EQ gain, or other parameters you need fast, direct access to while mixing. The knobs always affect the currently selected channel.<br /><br />\n\n<h3>Traditional Overview and Selected Channel Interfaces</h3>\nLike the CL series consoles, operation is based around Overview and Selected Channel windows. The overview display shows the parameters for eight channels at a time, while the Touch & Turn knob provides direct access to gain, 1-knob EQ™, 1-knob COMP™, gate threshold, effect send level, pan, and other parameters. Touch the highlighted parameter a second time to switch to the Selected Channel display when you need access to detailed parameters for finer control.<br /><br />\n\n<h2>New features for Smooth Setup and Operation</h2>\nEffective gain, compressor, and EQ setup requires a considerable degree of skill and experience. Even veteran engineers need to spend time on these important basic settings. In addition to their intuitive user interfaces, TF consoles include a number of features that contribute to faster, smoother setup of these essential parameters.<br /><br />\n\n<h3>1-Knob Comp™ & 1-knob EQ™: one Knob to Dial in the Ideal Sound</h3>\nAn experienced engineer can do a lot with a compressor: bring a guitar to life, add punch to bass, tighten up a snare, and make vocals ride clearly on the mix. The 1-knob COMP can do all of this quickly and easily, without the need to juggle multiple parameters to achieve the desired effect. Originally introduced in Yamaha analog mixers, the 1-knob COMP quickly became a popular and valued feature. It has now been further refined in a digital version that adds new setup ease and efficiency to the TF consoles.The same concept has been applied in a new 1-knob EQ feature that provides notably improved speed and smooth operation. 1-knob EQ has been painstakingly fine-tuned by Yamaha R&D staff in cooperation with distinguished sound engineers, to ensure that you can achieve outstanding results with minimum effort in the shortest possible time. A Vocal Mode makes it easier than ever to achieve a clear, well defined vocal sound, while an Intensity Mode offers 1-knob “intensity” control over EQ curves you either select from the presets or create from scratch.But there’s more: the 1-knob COMP and 1-knob EQ are provided on the output channels too, so you can quickly achieve overall output compression or EQ that ideally matches the room and audience size. The output 1-knob EQ has a Loudness Mode in place of the Vocal Mode, effectively increasing the sound pressure level while maintaining optimum sound as you rotate the knob.Both the 1-knob COMP and 1-knob EQ provide quick access to the full compressor and EQ displays, so you can fine tune settings as required.<br /><br />\n\n<h3>Gainfinder™ Supports Precision Gain Setup</h3>\nGain is the first adjustment the input signal sees, and the way it is set up influences how subsequent parameters will affect the signal. Yamaha has developed a way to make fast, accurate setup of this important basic parameter easier than ever. The new GainFinder feature facilitates optimum gain setup for individual input signals so that ideal overall operation and signal quality is achieved. The user only has to set channel gain so that the central green indicator in the level meter remains lit for the longest possible time. Of course the level meters also perform their traditional function, so standard gain setup procedure can be followed if preferred.<br /><br />\n\n<h2>Practical Presets and Scenes - Shortcuts to great sound</h2>\nThe familiar Yamaha scene memory that stores mix settings for instant recall when needed is included as always. There’s also a range of channel presets that have been created in cooperation with leading microphone manufacturers and eminent sound engineers, providing starting points that take you a long way towards achieving great sound.The channel presets cover parameters such as HA gain, EQ, dynamics, and much more, right down to details like channel name and color. Less time needs to be spent on basic setup so that more time is available for refining the mix and communicating with the performers.<br /><br />\n\n<h3>Quickpro Presets™ Provide Instant Access to pro Sound Setups</h3>\nWorking with microphone manufacturers such as Audio-Technica, Sennheiser and Shure as well as respected engineers, and evaluating a large number of microphones, musical instruments, speaker systems, and in-ear monitors, the Yamaha R&D team focused on creating a range of shortcuts to great sound that would be effective in a wide variety of live-sound situations. Armed with these practical presets even the novice engineer can get very close to the ideal sound, while experienced engineers will appreciate the significant time savings they can provide starting points for further adjustments.The QuickPro Presets can be searched by instrument type and recalled quickly and easily. The presets include HA gain, EQ, Comp and other settings, right down to the channel name and color. The 1-knob EQ and 1-knob COMP can be used with QuickPro Presets, providing a super streamlined way to tweak the sound.The output channel preset library includes parameter sets optimized for Yamaha powered speakers, with several variations to match different environments and room sizes. Presets are provided for in-ear monitors too. All of these can be used as is when time is tight, but they are also great starting points for manual fine tuning. Setups created from the presets or from scratch can be saved as additional presets too.<br /><br />\n\n<h3>Two Scene Memory Banks</h3>\nThe scene memory features banks A and B, each capable of holding up to 100 scenes.That’s a total of 200 scenes that can be set up and instantly recalled whenever needed.A number of scenes are pre-programmed to give users a head start: scenes with the 1-knob COMP and 1-knob EQ controls engaged for the easiest possible operation, and scenes with the 1-knob features disabled for experienced engineers who might want to follow an established procedure. The banks are great for organizing different types of scenes: one for scenes categorized by music type, and the other by event type, for example.<br /><br />\n\n<h2>Design for Superior Visibility and Quick Operation</h2>\nThe TF series hardware is packed with features that contribute to superior operability and convenience. Faders, knobs, and buttons with outstanding fit and feel work seamlessly with state-of-the-art display technology, including high-visibility channel name and color displays. The touch panel itself offers an ideal blend of comprehensive visual feedback and fast response.The physical layout of these components brings everything together in a system that offers surprisingly efficient workflow.<br /><br />\n\n<h3>Panel Layout Maximizes Workflow Efficiency</h3>\n	Careful analysis of the workflows favored by a large number of engineers has led to a highly efficient panel layout. Rather than simply providing a long list of advanced features, the TF consoles present meaningful features in the most logical and accessible way through an overall design that maximizes visibility and operability.<br /><br />\n\n\n<h3>Comprehensive Fader Bank Section</h3>\nTwo INPUT banks and one OUTPUT bank are provided, and the GROUP bank can be selected by pressing both the INPUT bank buttons simultaneously. The GROUP bank allows the levels of multiple channels to be controlled from a single DCA fader. There’s also a CUSTOM fader bank where you can assign any input, output, and DCA group to any fader.	<br /><br />\n\n\n<h3>DCA Roll-out Enhances Group Control</h3>\nWhen the GROUP fader bank is selected, all faders other than DCA masters 1 through 8 function as Roll-out faders. Selecting one of the DCA groups instantly “rolls out” the input channels belonging to that group to the Roll-out faders. This useful function makes it easy to adjust the level and other parameters of individual channels while using the eight DCA faders for overall mixing.	<br /><br />\n\n\n<h3>Channel Name and Color</h3>\nA display panel located above each channel fader shows the assigned channel name or ID, the port name, and the current fader setting. Phantom power status as well as gate and comp operation can also be displayed. A color bar that shows the assigned channel color makes visual navigation a breeze, and prevents confusion when fader banks are changed or scenes are recalled.	<br /><br />\n\n\n<h3>Faders Provide a Clear View of all Inputs</h3>\nThe TF5 has 33 motor faders, the TF3 has 25, and the TF1 has 17.All rear-panel inputs have individual faders so their status can be verified at a glance and they can be directly and immediately accessed for control.	<br /><br />\n\n\n<h3>Sends on Fader Section</h3>\nThe SENDS ON FADER buttons instantly bring the specified AUX or FX bus levels up on the faders for easy verification and adjustment. When a SENDS ON FADER button is engaged the MASTER fader acts as the master for the corresponding bus, so AUX levels can be checked and controlled without having to switch fader banks.	<br /><br />\n\n\n<h3>Advanced Design Promotes Smooth, Comfortable Operation</h3>\nThe upper section of the panel is designed to double as a rest for an iPad, set list, score, memos, and/or other small items. The panel consists of three angled sections that give the operator maximum visibility and access.	\n<br /><br />\n\n<h3>Other Features for Efficient Workflow</h3>\n<ul>\n<li><strong>USER DEFINED KNOBS section:</strong> Frequently used parameters such as compressor threshold and EQ gain, for example, can be assigned for direct, instant access when needed.                    </li>\n<li><strong>USER DEFINED KEYS section:</strong> Assign mixer settings that you use often to these six buttons for instant access, such as direct one-touch recall of specified scenes.                        </li>\n<li><strong>MUTE section:</strong> Multiple inputs or effects can be muted with a single operation.                                                                                                           </li>\n<li><strong>FX section:</strong> A dedicated channel offers easy effect ON/OFF switching, cue monitor ON/OFF switching, level adjustment, and effect parameter editing.                                       </li>\n<li><strong>ST IN section:</strong> In addition to allowing digital playback from an iPad or iPhone or recording/playback with a USB device, you have fingertip control of BGM playback and other audio files.</li>\n</ul><br />\n\n<h2>A Natural Sound Foundation With Extra Creative Freedom</h2>\nFaithful reproduction of the on-stage sound is the foundation, then creativity can take over.Yamaha’s unswerving approach to live sound reinforcement is alive and well in the TF series.The input stage of any console has a notable effect on its sonic character.The TF consoles feature acclaimed D-PRE™ microphone preamplifiers that not only deliver outstanding quality, but are recallable as well. Circuitry and individual components have been reassessed and redesigned where necessary to achieve extraordinarily pure, natural sound. That solid sonic foundation is backed up by an updated selection of high-performance processors and effects. Input and output channel processors such as EQ, gates, and compressors are complemented by eight processors that provide a broad spectrum of creative capabilities.<br /><br />\n\n\n<h3>Recallable D-pre™ Microphone Preamplifiers</h3>\nThe TF series consoles feature new recallable versions of Yamaha’s acclaimed D-PRE microphone preamplifier. The preamplifiers, or head amplifiers in any console play a significant role in defining the sound of the final mix, so Yamaha engineers spared no effort in developing and refining the D-PRE design to ensure that every nuance and subtlety of the original signal is effectively captured. The circuit is based on a discrete inverted Darlington pair configuration that achieves clean, precise amplification with consistently low noise and distortion at all signal levels. While some microphone preamps are built specifically to impart a unique character of their own, the D-PRE preamplifier has been painstakingly designed with a flat, wide frequency response that retains the tone and nuance of the original sound so that the essence of the performer’s art is captured intact.	<br /><br />\n\n\n\n<h3>Powerful Processors and Effects</h3>\nIn addition to EQ and two dynamics processors on each channel, the TF consoles offer eight powerful processors for wide-ranging sonic control. The globally accessible FX 1 and 2 feature the same type of SPX processors that have become standards in recording and live sound applications, offering 17 programs ranging from reverb and delay through modulation effects such as flanger and chorus to 3-band multiband compression. The panel EDIT key opens the effect parameter display where detailed parameters such as reverb time and delay feedback can be adjusted as required.The remaining six processors are available in the AUX 9/10~19/20 master channels.All effects other than reverb are provided.* Multiband compression is ideal for in-ear monitor level control, delay can be used for speaker alignment, and much more. And since these AUX buses can be sent to the main stereo bus, the effects can be used to supplement the available input channel processing when FX 1 and 2 aren’t quite enough.The AUX 1~8 buses and main output channels include the same 4-band parametric EQ as provided on the input channels, plus 31-band Flex12 GEQ. Both types of EQ are invaluable for optimizing speaker response and eliminating feedback.* Reverb is available for AUX 9/10 and 11/12.<br /><br />\n\n\n\n<h3>Supercharge your studio or live rig with the Yamaha TF1 Digital Mixing Console. Call or chat online with an RSPE representative for more information</h3>'),(12950,75,1,2159,'<h2>Yamaha TF1 17 Fader Digital Mixing Console <span style=\"background-color: initial;\">(16 Channels + 1 Master)</span><span style=\"background-color: initial;\"> </span></h2>\n\nThe smallest of the TF line, the Yamaha TF1 is a compact, portable, and even rack mountable 17 Fader (16 Channels + 1 Master) Digital Mixing Console. The TF1 offers impressive capability and versatility for smaller systems, such as smaller studios or venues and portable rigs. <br /><br />\n\n<h3>TF1 Key Features</h3>\n<ul>\n<li>17 motor faders (16 channels + 1 master)                                                                     </li>\n<li>40 input mixing channels (32 mono + 2 stereo + 2 return)                                                     </li>\n<li>20 AUX buses (8 mono + 6 stereo) + stereo + sub • 8 DCA groups with Roll-out                                 </li>\n<li>16 analog XLR/TRS combo mic/line inputs + 2 analog RCA pin stereo line inputs                                </li>\n<li>16 analog XLR outputs • 34 x 34 digital record/playback channels via USB 2.0 + 2 x 2 via a USB storage device</li>\n<li>1 expansion slot for NY64-D audio interface card                                                             </li>\n</ul><br />\n\n<h3>Yamaha TF Digital Mixing Consoles</h3>\nYamaha digital consoles have always been designed with input from leading engineers worldwide to ensure that the most efficient, intuitive operation is achieved. The highly regarded Selected Channel and Centralogic™ interfaces attest to the success of that approach. The TF series combines Yamaha know-how with new input from the field and the latest touch-screen technology to deliver an evolved experience in console operation. Smooth setup and operation, practical presets and scenes, refined design, and software applications that integrate seamlessly with the entire system: these elements comprise TouchFlow Operation, a new concept in console interfaces that offers unprecedented comfort and convenience in small consoles, for a wide range of users and applications.<br /><br />\n\n<h2>Intuitive User Interface Optimized for Touch Panel Operation</h2>\nIn developing the TF series Yamaha engineers built from their existing base of acclaimed high-end mixer interfaces, adding intuitive control in an interface optimized for the type of touch panel control that has become a familiar feature in a wide range of applications. Allowing most operations to be carried out via the touch panel alone, the innovative TF series interface will quickly become second nature to a broad spectrum of users. Whether you have experience with Yamaha digital consoles, work with other digital consoles, operate analog consoles, or have never operated a mixer before, TF consoles will lead you to the desired results quickly and effortlessly through a smooth, efficient workflow. The availability of physical controls surrounding the touch panel further enhances control versatility and precision.<br /><br />\n\n\n<h3>Touch Operation for Intimate Control</h3>\nRefined for the smoothest possible operation via touch-panel control, the TF user interface offers a smooth workflow that can be an advantage in any mixing situation. The display content has been specifically designed for easy, direct accessibility, with a layout that promotes the most natural, efficient mixing. Touch panel operation is as easy as shaping the sound with your fingertips.<br /><br />\n\n<h3>Touch & Turn Knob Offers Extra Control Precision</h3>\nWhen you need extra precision for a fine EQ or other adjustment, the physical Touch & Turn knob is always available right beside the touch panel. There are also four User Defined Knobs below the panel that can be assigned to control compressor threshold, EQ gain, or other parameters you need fast, direct access to while mixing. The knobs always affect the currently selected channel.<br /><br />\n\n<h3>Traditional Overview and Selected Channel Interfaces</h3>\nLike the CL series consoles, operation is based around Overview and Selected Channel windows. The overview display shows the parameters for eight channels at a time, while the Touch & Turn knob provides direct access to gain, 1-knob EQ™, 1-knob COMP™, gate threshold, effect send level, pan, and other parameters. Touch the highlighted parameter a second time to switch to the Selected Channel display when you need access to detailed parameters for finer control.<br /><br />\n\n<h2>New features for Smooth Setup and Operation</h2>\nEffective gain, compressor, and EQ setup requires a considerable degree of skill and experience. Even veteran engineers need to spend time on these important basic settings. In addition to their intuitive user interfaces, TF consoles include a number of features that contribute to faster, smoother setup of these essential parameters.<br /><br />\n\n<h3>1-Knob Comp™ & 1-knob EQ™: one Knob to Dial in the Ideal Sound</h3>\nAn experienced engineer can do a lot with a compressor: bring a guitar to life, add punch to bass, tighten up a snare, and make vocals ride clearly on the mix. The 1-knob COMP can do all of this quickly and easily, without the need to juggle multiple parameters to achieve the desired effect. Originally introduced in Yamaha analog mixers, the 1-knob COMP quickly became a popular and valued feature. It has now been further refined in a digital version that adds new setup ease and efficiency to the TF consoles.The same concept has been applied in a new 1-knob EQ feature that provides notably improved speed and smooth operation. 1-knob EQ has been painstakingly fine-tuned by Yamaha R&D staff in cooperation with distinguished sound engineers, to ensure that you can achieve outstanding results with minimum effort in the shortest possible time. A Vocal Mode makes it easier than ever to achieve a clear, well defined vocal sound, while an Intensity Mode offers 1-knob “intensity” control over EQ curves you either select from the presets or create from scratch.But there’s more: the 1-knob COMP and 1-knob EQ are provided on the output channels too, so you can quickly achieve overall output compression or EQ that ideally matches the room and audience size. The output 1-knob EQ has a Loudness Mode in place of the Vocal Mode, effectively increasing the sound pressure level while maintaining optimum sound as you rotate the knob.Both the 1-knob COMP and 1-knob EQ provide quick access to the full compressor and EQ displays, so you can fine tune settings as required.<br /><br />\n\n<h3>Gainfinder™ Supports Precision Gain Setup</h3>\nGain is the first adjustment the input signal sees, and the way it is set up influences how subsequent parameters will affect the signal. Yamaha has developed a way to make fast, accurate setup of this important basic parameter easier than ever. The new GainFinder feature facilitates optimum gain setup for individual input signals so that ideal overall operation and signal quality is achieved. The user only has to set channel gain so that the central green indicator in the level meter remains lit for the longest possible time. Of course the level meters also perform their traditional function, so standard gain setup procedure can be followed if preferred.<br /><br />\n\n<h2>Practical Presets and Scenes - Shortcuts to great sound</h2>\nThe familiar Yamaha scene memory that stores mix settings for instant recall when needed is included as always. There’s also a range of channel presets that have been created in cooperation with leading microphone manufacturers and eminent sound engineers, providing starting points that take you a long way towards achieving great sound.The channel presets cover parameters such as HA gain, EQ, dynamics, and much more, right down to details like channel name and color. Less time needs to be spent on basic setup so that more time is available for refining the mix and communicating with the performers.<br /><br />\n\n<h3>Quickpro Presets™ Provide Instant Access to pro Sound Setups</h3>\nWorking with microphone manufacturers such as Audio-Technica, Sennheiser and Shure as well as respected engineers, and evaluating a large number of microphones, musical instruments, speaker systems, and in-ear monitors, the Yamaha R&D team focused on creating a range of shortcuts to great sound that would be effective in a wide variety of live-sound situations. Armed with these practical presets even the novice engineer can get very close to the ideal sound, while experienced engineers will appreciate the significant time savings they can provide starting points for further adjustments.The QuickPro Presets can be searched by instrument type and recalled quickly and easily. The presets include HA gain, EQ, Comp and other settings, right down to the channel name and color. The 1-knob EQ and 1-knob COMP can be used with QuickPro Presets, providing a super streamlined way to tweak the sound.The output channel preset library includes parameter sets optimized for Yamaha powered speakers, with several variations to match different environments and room sizes. Presets are provided for in-ear monitors too. All of these can be used as is when time is tight, but they are also great starting points for manual fine tuning. Setups created from the presets or from scratch can be saved as additional presets too.<br /><br />\n\n<h3>Two Scene Memory Banks</h3>\nThe scene memory features banks A and B, each capable of holding up to 100 scenes.That’s a total of 200 scenes that can be set up and instantly recalled whenever needed.A number of scenes are pre-programmed to give users a head start: scenes with the 1-knob COMP and 1-knob EQ controls engaged for the easiest possible operation, and scenes with the 1-knob features disabled for experienced engineers who might want to follow an established procedure. The banks are great for organizing different types of scenes: one for scenes categorized by music type, and the other by event type, for example.<br /><br />\n\n<h2>Design for Superior Visibility and Quick Operation</h2>\nThe TF series hardware is packed with features that contribute to superior operability and convenience. Faders, knobs, and buttons with outstanding fit and feel work seamlessly with state-of-the-art display technology, including high-visibility channel name and color displays. The touch panel itself offers an ideal blend of comprehensive visual feedback and fast response.The physical layout of these components brings everything together in a system that offers surprisingly efficient workflow.<br /><br />\n\n<h3>Panel Layout Maximizes Workflow Efficiency</h3>\n	Careful analysis of the workflows favored by a large number of engineers has led to a highly efficient panel layout. Rather than simply providing a long list of advanced features, the TF consoles present meaningful features in the most logical and accessible way through an overall design that maximizes visibility and operability.<br /><br />\n\n\n<h3>Comprehensive Fader Bank Section</h3>\nTwo INPUT banks and one OUTPUT bank are provided, and the GROUP bank can be selected by pressing both the INPUT bank buttons simultaneously. The GROUP bank allows the levels of multiple channels to be controlled from a single DCA fader. There’s also a CUSTOM fader bank where you can assign any input, output, and DCA group to any fader.	<br /><br />\n\n\n<h3>DCA Roll-out Enhances Group Control</h3>\nWhen the GROUP fader bank is selected, all faders other than DCA masters 1 through 8 function as Roll-out faders. Selecting one of the DCA groups instantly “rolls out” the input channels belonging to that group to the Roll-out faders. This useful function makes it easy to adjust the level and other parameters of individual channels while using the eight DCA faders for overall mixing.	<br /><br />\n\n\n<h3>Channel Name and Color</h3>\nA display panel located above each channel fader shows the assigned channel name or ID, the port name, and the current fader setting. Phantom power status as well as gate and comp operation can also be displayed. A color bar that shows the assigned channel color makes visual navigation a breeze, and prevents confusion when fader banks are changed or scenes are recalled.	<br /><br />\n\n\n<h3>Faders Provide a Clear View of all Inputs</h3>\nThe TF5 has 33 motor faders, the TF3 has 25, and the TF1 has 17.All rear-panel inputs have individual faders so their status can be verified at a glance and they can be directly and immediately accessed for control.	<br /><br />\n\n\n<h3>Sends on Fader Section</h3>\nThe SENDS ON FADER buttons instantly bring the specified AUX or FX bus levels up on the faders for easy verification and adjustment. When a SENDS ON FADER button is engaged the MASTER fader acts as the master for the corresponding bus, so AUX levels can be checked and controlled without having to switch fader banks.	<br /><br />\n\n\n<h3>Advanced Design Promotes Smooth, Comfortable Operation</h3>\nThe upper section of the panel is designed to double as a rest for an iPad, set list, score, memos, and/or other small items. The panel consists of three angled sections that give the operator maximum visibility and access.	\n<br /><br />\n\n<h3>Other Features for Efficient Workflow</h3>\n<ul>\n<li><strong>USER DEFINED KNOBS section:</strong> Frequently used parameters such as compressor threshold and EQ gain, for example, can be assigned for direct, instant access when needed.                    </li>\n<li><strong>USER DEFINED KEYS section:</strong> Assign mixer settings that you use often to these six buttons for instant access, such as direct one-touch recall of specified scenes.                        </li>\n<li><strong>MUTE section:</strong> Multiple inputs or effects can be muted with a single operation.                                                                                                           </li>\n<li><strong>FX section:</strong> A dedicated channel offers easy effect ON/OFF switching, cue monitor ON/OFF switching, level adjustment, and effect parameter editing.                                       </li>\n<li><strong>ST IN section:</strong> In addition to allowing digital playback from an iPad or iPhone or recording/playback with a USB device, you have fingertip control of BGM playback and other audio files.</li>\n</ul><br />\n\n<h2>A Natural Sound Foundation With Extra Creative Freedom</h2>\nFaithful reproduction of the on-stage sound is the foundation, then creativity can take over.Yamaha’s unswerving approach to live sound reinforcement is alive and well in the TF series.The input stage of any console has a notable effect on its sonic character.The TF consoles feature acclaimed D-PRE™ microphone preamplifiers that not only deliver outstanding quality, but are recallable as well. Circuitry and individual components have been reassessed and redesigned where necessary to achieve extraordinarily pure, natural sound. That solid sonic foundation is backed up by an updated selection of high-performance processors and effects. Input and output channel processors such as EQ, gates, and compressors are complemented by eight processors that provide a broad spectrum of creative capabilities.<br /><br />\n\n\n<h3>Recallable D-pre™ Microphone Preamplifiers</h3>\nThe TF series consoles feature new recallable versions of Yamaha’s acclaimed D-PRE microphone preamplifier. The preamplifiers, or head amplifiers in any console play a significant role in defining the sound of the final mix, so Yamaha engineers spared no effort in developing and refining the D-PRE design to ensure that every nuance and subtlety of the original signal is effectively captured. The circuit is based on a discrete inverted Darlington pair configuration that achieves clean, precise amplification with consistently low noise and distortion at all signal levels. While some microphone preamps are built specifically to impart a unique character of their own, the D-PRE preamplifier has been painstakingly designed with a flat, wide frequency response that retains the tone and nuance of the original sound so that the essence of the performer’s art is captured intact.	<br /><br />\n\n\n\n<h3>Powerful Processors and Effects</h3>\nIn addition to EQ and two dynamics processors on each channel, the TF consoles offer eight powerful processors for wide-ranging sonic control. The globally accessible FX 1 and 2 feature the same type of SPX processors that have become standards in recording and live sound applications, offering 17 programs ranging from reverb and delay through modulation effects such as flanger and chorus to 3-band multiband compression. The panel EDIT key opens the effect parameter display where detailed parameters such as reverb time and delay feedback can be adjusted as required.The remaining six processors are available in the AUX 9/10~19/20 master channels.All effects other than reverb are provided.* Multiband compression is ideal for in-ear monitor level control, delay can be used for speaker alignment, and much more. And since these AUX buses can be sent to the main stereo bus, the effects can be used to supplement the available input channel processing when FX 1 and 2 aren’t quite enough.The AUX 1~8 buses and main output channels include the same 4-band parametric EQ as provided on the input channels, plus 31-band Flex12 GEQ. Both types of EQ are invaluable for optimizing speaker response and eliminating feedback.* Reverb is available for AUX 9/10 and 11/12.<br /><br />\n\n\n\n<h3>Supercharge your studio or live rig with the Yamaha TF1 Digital Mixing Console. Call or chat online with an RSPE representative for more information</h3>'),(12951,85,0,2159,'Yamaha TF1 Digital Mixing Console'),(12952,85,1,2159,'Yamaha TF1 Digital Mixing Console'),(12953,76,0,2159,''),(12954,76,1,2159,''),(12955,75,0,2160,'<h2>Yamaha TF3 25 Fader Digital Mixing Console <span style=\"background-color: initial;\">(24 Channels + 1 Master)</span><span style=\"background-color: initial;\"> </span></h2>\n\nThe Yamaha TF3 is a 25 fader (24 Channels + 1 Master) Digital Mixing Console that provides Ample input capacity and hands-on control in a compact console that can handle a wide range of applications. Perfect for mid sized studios or live venues, the TF3 features intuitive control and a compact design that can handle almost every mixing scenarios.<br /><br />\n\n<h3>TF3 Key Features</h3>\n<ul>\n<li><span style=\"background-color: initial;\">25 motor faders (24 channels + 1 master)</span></li><li>48 input mixing channels (40 mono + 2 stereo + 2 return)</li><li>20 Aux (8 mono + 6 stereo) + Stereo + Sub buses</li><li>8 DCA groups with Roll-out</li><li>24 analog XLR/TRS combo mic/line inputs + 2 analog RCA pin stereo line inputs</li><li>16 analog XLR outputs</li><li>34 x 34 digital record/playback channels via USB 2.0 + 2 x 2 via a USB storage device</li><li>1 expansion slot for NY64-D audio interface card</li>\n</ul><br />\n\n<h3>Yamaha TF Digital Mixing Consoles</h3>\nYamaha digital consoles have always been designed with input from leading engineers worldwide to ensure that the most efficient, intuitive operation is achieved. The highly regarded Selected Channel and Centralogic™ interfaces attest to the success of that approach. The TF series combines Yamaha know-how with new input from the field and the latest touch-screen technology to deliver an evolved experience in console operation. Smooth setup and operation, practical presets and scenes, refined design, and software applications that integrate seamlessly with the entire system: these elements comprise TouchFlow Operation, a new concept in console interfaces that offers unprecedented comfort and convenience in small consoles, for a wide range of users and applications.<br /><br />\n\n<h2>Intuitive User Interface Optimized for Touch Panel Operation</h2>\nIn developing the TF series Yamaha engineers built from their existing base of acclaimed high-end mixer interfaces, adding intuitive control in an interface optimized for the type of touch panel control that has become a familiar feature in a wide range of applications. Allowing most operations to be carried out via the touch panel alone, the innovative TF series interface will quickly become second nature to a broad spectrum of users. Whether you have experience with Yamaha digital consoles, work with other digital consoles, operate analog consoles, or have never operated a mixer before, TF consoles will lead you to the desired results quickly and effortlessly through a smooth, efficient workflow. The availability of physical controls surrounding the touch panel further enhances control versatility and precision.<br /><br />\n\n\n<h3>Touch Operation for Intimate Control</h3>\nRefined for the smoothest possible operation via touch-panel control, the TF user interface offers a smooth workflow that can be an advantage in any mixing situation. The display content has been specifically designed for easy, direct accessibility, with a layout that promotes the most natural, efficient mixing. Touch panel operation is as easy as shaping the sound with your fingertips.<br /><br />\n\n<h3>Touch & Turn Knob Offers Extra Control Precision</h3>\nWhen you need extra precision for a fine EQ or other adjustment, the physical Touch & Turn knob is always available right beside the touch panel. There are also four User Defined Knobs below the panel that can be assigned to control compressor threshold, EQ gain, or other parameters you need fast, direct access to while mixing. The knobs always affect the currently selected channel.<br /><br />\n\n<h3>Traditional Overview and Selected Channel Interfaces</h3>\nLike the CL series consoles, operation is based around Overview and Selected Channel windows. The overview display shows the parameters for eight channels at a time, while the Touch & Turn knob provides direct access to gain, 1-knob EQ™, 1-knob COMP™, gate threshold, effect send level, pan, and other parameters. Touch the highlighted parameter a second time to switch to the Selected Channel display when you need access to detailed parameters for finer control.<br /><br />\n\n<h2>New features for Smooth Setup and Operation</h2>\nEffective gain, compressor, and EQ setup requires a considerable degree of skill and experience. Even veteran engineers need to spend time on these important basic settings. In addition to their intuitive user interfaces, TF consoles include a number of features that contribute to faster, smoother setup of these essential parameters.<br /><br />\n\n<h3>1-Knob Comp™ & 1-knob EQ™: one Knob to Dial in the Ideal Sound</h3>\nAn experienced engineer can do a lot with a compressor: bring a guitar to life, add punch to bass, tighten up a snare, and make vocals ride clearly on the mix. The 1-knob COMP can do all of this quickly and easily, without the need to juggle multiple parameters to achieve the desired effect. Originally introduced in Yamaha analog mixers, the 1-knob COMP quickly became a popular and valued feature. It has now been further refined in a digital version that adds new setup ease and efficiency to the TF consoles.The same concept has been applied in a new 1-knob EQ feature that provides notably improved speed and smooth operation. 1-knob EQ has been painstakingly fine-tuned by Yamaha R&D staff in cooperation with distinguished sound engineers, to ensure that you can achieve outstanding results with minimum effort in the shortest possible time. A Vocal Mode makes it easier than ever to achieve a clear, well defined vocal sound, while an Intensity Mode offers 1-knob “intensity” control over EQ curves you either select from the presets or create from scratch.But there’s more: the 1-knob COMP and 1-knob EQ are provided on the output channels too, so you can quickly achieve overall output compression or EQ that ideally matches the room and audience size. The output 1-knob EQ has a Loudness Mode in place of the Vocal Mode, effectively increasing the sound pressure level while maintaining optimum sound as you rotate the knob.Both the 1-knob COMP and 1-knob EQ provide quick access to the full compressor and EQ displays, so you can fine tune settings as required.<br /><br />\n\n<h3>Gainfinder™ Supports Precision Gain Setup</h3>\nGain is the first adjustment the input signal sees, and the way it is set up influences how subsequent parameters will affect the signal. Yamaha has developed a way to make fast, accurate setup of this important basic parameter easier than ever. The new GainFinder feature facilitates optimum gain setup for individual input signals so that ideal overall operation and signal quality is achieved. The user only has to set channel gain so that the central green indicator in the level meter remains lit for the longest possible time. Of course the level meters also perform their traditional function, so standard gain setup procedure can be followed if preferred.<br /><br />\n\n<h2>Practical Presets and Scenes - Shortcuts to great sound</h2>\nThe familiar Yamaha scene memory that stores mix settings for instant recall when needed is included as always. There’s also a range of channel presets that have been created in cooperation with leading microphone manufacturers and eminent sound engineers, providing starting points that take you a long way towards achieving great sound.The channel presets cover parameters such as HA gain, EQ, dynamics, and much more, right down to details like channel name and color. Less time needs to be spent on basic setup so that more time is available for refining the mix and communicating with the performers.<br /><br />\n\n<h3>Quickpro Presets™ Provide Instant Access to pro Sound Setups</h3>\nWorking with microphone manufacturers such as Audio-Technica, Sennheiser and Shure as well as respected engineers, and evaluating a large number of microphones, musical instruments, speaker systems, and in-ear monitors, the Yamaha R&D team focused on creating a range of shortcuts to great sound that would be effective in a wide variety of live-sound situations. Armed with these practical presets even the novice engineer can get very close to the ideal sound, while experienced engineers will appreciate the significant time savings they can provide starting points for further adjustments.The QuickPro Presets can be searched by instrument type and recalled quickly and easily. The presets include HA gain, EQ, Comp and other settings, right down to the channel name and color. The 1-knob EQ and 1-knob COMP can be used with QuickPro Presets, providing a super streamlined way to tweak the sound.The output channel preset library includes parameter sets optimized for Yamaha powered speakers, with several variations to match different environments and room sizes. Presets are provided for in-ear monitors too. All of these can be used as is when time is tight, but they are also great starting points for manual fine tuning. Setups created from the presets or from scratch can be saved as additional presets too.<br /><br />\n\n<h3>Two Scene Memory Banks</h3>\nThe scene memory features banks A and B, each capable of holding up to 100 scenes.That’s a total of 200 scenes that can be set up and instantly recalled whenever needed.A number of scenes are pre-programmed to give users a head start: scenes with the 1-knob COMP and 1-knob EQ controls engaged for the easiest possible operation, and scenes with the 1-knob features disabled for experienced engineers who might want to follow an established procedure. The banks are great for organizing different types of scenes: one for scenes categorized by music type, and the other by event type, for example.<br /><br />\n\n<h2>Design for Superior Visibility and Quick Operation</h2>\nThe TF series hardware is packed with features that contribute to superior operability and convenience. Faders, knobs, and buttons with outstanding fit and feel work seamlessly with state-of-the-art display technology, including high-visibility channel name and color displays. The touch panel itself offers an ideal blend of comprehensive visual feedback and fast response.The physical layout of these components brings everything together in a system that offers surprisingly efficient workflow.<br /><br />\n\n<h3>Panel Layout Maximizes Workflow Efficiency</h3>\n	Careful analysis of the workflows favored by a large number of engineers has led to a highly efficient panel layout. Rather than simply providing a long list of advanced features, the TF consoles present meaningful features in the most logical and accessible way through an overall design that maximizes visibility and operability.<br /><br />\n\n\n<h3>Comprehensive Fader Bank Section</h3>\nTwo INPUT banks and one OUTPUT bank are provided, and the GROUP bank can be selected by pressing both the INPUT bank buttons simultaneously. The GROUP bank allows the levels of multiple channels to be controlled from a single DCA fader. There’s also a CUSTOM fader bank where you can assign any input, output, and DCA group to any fader.	<br /><br />\n\n\n<h3>DCA Roll-out Enhances Group Control</h3>\nWhen the GROUP fader bank is selected, all faders other than DCA masters 1 through 8 function as Roll-out faders. Selecting one of the DCA groups instantly “rolls out” the input channels belonging to that group to the Roll-out faders. This useful function makes it easy to adjust the level and other parameters of individual channels while using the eight DCA faders for overall mixing.	<br /><br />\n\n\n<h3>Channel Name and Color</h3>\nA display panel located above each channel fader shows the assigned channel name or ID, the port name, and the current fader setting. Phantom power status as well as gate and comp operation can also be displayed. A color bar that shows the assigned channel color makes visual navigation a breeze, and prevents confusion when fader banks are changed or scenes are recalled.	<br /><br />\n\n\n<h3>Faders Provide a Clear View of all Inputs</h3>\nThe TF5 has 33 motor faders, the TF3 has 25, and the TF1 has 17.All rear-panel inputs have individual faders so their status can be verified at a glance and they can be directly and immediately accessed for control.	<br /><br />\n\n\n<h3>Sends on Fader Section</h3>\nThe SENDS ON FADER buttons instantly bring the specified AUX or FX bus levels up on the faders for easy verification and adjustment. When a SENDS ON FADER button is engaged the MASTER fader acts as the master for the corresponding bus, so AUX levels can be checked and controlled without having to switch fader banks.	<br /><br />\n\n\n<h3>Advanced Design Promotes Smooth, Comfortable Operation</h3>\nThe upper section of the panel is designed to double as a rest for an iPad, set list, score, memos, and/or other small items. The panel consists of three angled sections that give the operator maximum visibility and access.	\n<br /><br />\n\n<h3>Other Features for Efficient Workflow</h3>\n<ul>\n<li><strong>USER DEFINED KNOBS section:</strong> Frequently used parameters such as compressor threshold and EQ gain, for example, can be assigned for direct, instant access when needed.                    </li>\n<li><strong>USER DEFINED KEYS section:</strong> Assign mixer settings that you use often to these six buttons for instant access, such as direct one-touch recall of specified scenes.                        </li>\n<li><strong>MUTE section:</strong> Multiple inputs or effects can be muted with a single operation.                                                                                                           </li>\n<li><strong>FX section:</strong> A dedicated channel offers easy effect ON/OFF switching, cue monitor ON/OFF switching, level adjustment, and effect parameter editing.                                       </li>\n<li><strong>ST IN section:</strong> In addition to allowing digital playback from an iPad or iPhone or recording/playback with a USB device, you have fingertip control of BGM playback and other audio files.</li>\n</ul><br />\n\n<h2>A Natural Sound Foundation With Extra Creative Freedom</h2>\nFaithful reproduction of the on-stage sound is the foundation, then creativity can take over.Yamaha’s unswerving approach to live sound reinforcement is alive and well in the TF series.The input stage of any console has a notable effect on its sonic character.The TF consoles feature acclaimed D-PRE™ microphone preamplifiers that not only deliver outstanding quality, but are recallable as well. Circuitry and individual components have been reassessed and redesigned where necessary to achieve extraordinarily pure, natural sound. That solid sonic foundation is backed up by an updated selection of high-performance processors and effects. Input and output channel processors such as EQ, gates, and compressors are complemented by eight processors that provide a broad spectrum of creative capabilities.<br /><br />\n\n\n<h3>Recallable D-pre™ Microphone Preamplifiers</h3>\nThe TF series consoles feature new recallable versions of Yamaha’s acclaimed D-PRE microphone preamplifier. The preamplifiers, or head amplifiers in any console play a significant role in defining the sound of the final mix, so Yamaha engineers spared no effort in developing and refining the D-PRE design to ensure that every nuance and subtlety of the original signal is effectively captured. The circuit is based on a discrete inverted Darlington pair configuration that achieves clean, precise amplification with consistently low noise and distortion at all signal levels. While some microphone preamps are built specifically to impart a unique character of their own, the D-PRE preamplifier has been painstakingly designed with a flat, wide frequency response that retains the tone and nuance of the original sound so that the essence of the performer’s art is captured intact.	<br /><br />\n\n\n\n<h3>Powerful Processors and Effects</h3>\nIn addition to EQ and two dynamics processors on each channel, the TF consoles offer eight powerful processors for wide-ranging sonic control. The globally accessible FX 1 and 2 feature the same type of SPX processors that have become standards in recording and live sound applications, offering 17 programs ranging from reverb and delay through modulation effects such as flanger and chorus to 3-band multiband compression. The panel EDIT key opens the effect parameter display where detailed parameters such as reverb time and delay feedback can be adjusted as required.The remaining six processors are available in the AUX 9/10~19/20 master channels.All effects other than reverb are provided.* Multiband compression is ideal for in-ear monitor level control, delay can be used for speaker alignment, and much more. And since these AUX buses can be sent to the main stereo bus, the effects can be used to supplement the available input channel processing when FX 1 and 2 aren’t quite enough.The AUX 1~8 buses and main output channels include the same 4-band parametric EQ as provided on the input channels, plus 31-band Flex12 GEQ. Both types of EQ are invaluable for optimizing speaker response and eliminating feedback.* Reverb is available for AUX 9/10 and 11/12.<br /><br />\n\n\n\n<h3>Supercharge your<span style=\"background-color: initial;\"> studio or live rig</span><span style=\"background-color: initial;\"> with the Yamaha TF3 Digital Mixing Console. Call or chat online with an RSPE representative for more information</span></h3>'),(12956,75,1,2160,'<h2>Yamaha TF3 25 Fader Digital Mixing Console <span style=\"background-color: initial;\">(24 Channels + 1 Master)</span><span style=\"background-color: initial;\"> </span></h2>\n\nThe Yamaha TF3 is a 25 fader (24 Channels + 1 Master) Digital Mixing Console that provides Ample input capacity and hands-on control in a compact console that can handle a wide range of applications. Perfect for mid sized studios or live venues, the TF3 features intuitive control and a compact design that can handle almost every mixing scenarios.<br /><br />\n\n<h3>TF3 Key Features</h3>\n<ul>\n<li><span style=\"background-color: initial;\">25 motor faders (24 channels + 1 master)</span></li><li>48 input mixing channels (40 mono + 2 stereo + 2 return)</li><li>20 Aux (8 mono + 6 stereo) + Stereo + Sub buses</li><li>8 DCA groups with Roll-out</li><li>24 analog XLR/TRS combo mic/line inputs + 2 analog RCA pin stereo line inputs</li><li>16 analog XLR outputs</li><li>34 x 34 digital record/playback channels via USB 2.0 + 2 x 2 via a USB storage device</li><li>1 expansion slot for NY64-D audio interface card</li>\n</ul><br />\n\n<h3>Yamaha TF Digital Mixing Consoles</h3>\nYamaha digital consoles have always been designed with input from leading engineers worldwide to ensure that the most efficient, intuitive operation is achieved. The highly regarded Selected Channel and Centralogic™ interfaces attest to the success of that approach. The TF series combines Yamaha know-how with new input from the field and the latest touch-screen technology to deliver an evolved experience in console operation. Smooth setup and operation, practical presets and scenes, refined design, and software applications that integrate seamlessly with the entire system: these elements comprise TouchFlow Operation, a new concept in console interfaces that offers unprecedented comfort and convenience in small consoles, for a wide range of users and applications.<br /><br />\n\n<h2>Intuitive User Interface Optimized for Touch Panel Operation</h2>\nIn developing the TF series Yamaha engineers built from their existing base of acclaimed high-end mixer interfaces, adding intuitive control in an interface optimized for the type of touch panel control that has become a familiar feature in a wide range of applications. Allowing most operations to be carried out via the touch panel alone, the innovative TF series interface will quickly become second nature to a broad spectrum of users. Whether you have experience with Yamaha digital consoles, work with other digital consoles, operate analog consoles, or have never operated a mixer before, TF consoles will lead you to the desired results quickly and effortlessly through a smooth, efficient workflow. The availability of physical controls surrounding the touch panel further enhances control versatility and precision.<br /><br />\n\n\n<h3>Touch Operation for Intimate Control</h3>\nRefined for the smoothest possible operation via touch-panel control, the TF user interface offers a smooth workflow that can be an advantage in any mixing situation. The display content has been specifically designed for easy, direct accessibility, with a layout that promotes the most natural, efficient mixing. Touch panel operation is as easy as shaping the sound with your fingertips.<br /><br />\n\n<h3>Touch & Turn Knob Offers Extra Control Precision</h3>\nWhen you need extra precision for a fine EQ or other adjustment, the physical Touch & Turn knob is always available right beside the touch panel. There are also four User Defined Knobs below the panel that can be assigned to control compressor threshold, EQ gain, or other parameters you need fast, direct access to while mixing. The knobs always affect the currently selected channel.<br /><br />\n\n<h3>Traditional Overview and Selected Channel Interfaces</h3>\nLike the CL series consoles, operation is based around Overview and Selected Channel windows. The overview display shows the parameters for eight channels at a time, while the Touch & Turn knob provides direct access to gain, 1-knob EQ™, 1-knob COMP™, gate threshold, effect send level, pan, and other parameters. Touch the highlighted parameter a second time to switch to the Selected Channel display when you need access to detailed parameters for finer control.<br /><br />\n\n<h2>New features for Smooth Setup and Operation</h2>\nEffective gain, compressor, and EQ setup requires a considerable degree of skill and experience. Even veteran engineers need to spend time on these important basic settings. In addition to their intuitive user interfaces, TF consoles include a number of features that contribute to faster, smoother setup of these essential parameters.<br /><br />\n\n<h3>1-Knob Comp™ & 1-knob EQ™: one Knob to Dial in the Ideal Sound</h3>\nAn experienced engineer can do a lot with a compressor: bring a guitar to life, add punch to bass, tighten up a snare, and make vocals ride clearly on the mix. The 1-knob COMP can do all of this quickly and easily, without the need to juggle multiple parameters to achieve the desired effect. Originally introduced in Yamaha analog mixers, the 1-knob COMP quickly became a popular and valued feature. It has now been further refined in a digital version that adds new setup ease and efficiency to the TF consoles.The same concept has been applied in a new 1-knob EQ feature that provides notably improved speed and smooth operation. 1-knob EQ has been painstakingly fine-tuned by Yamaha R&D staff in cooperation with distinguished sound engineers, to ensure that you can achieve outstanding results with minimum effort in the shortest possible time. A Vocal Mode makes it easier than ever to achieve a clear, well defined vocal sound, while an Intensity Mode offers 1-knob “intensity” control over EQ curves you either select from the presets or create from scratch.But there’s more: the 1-knob COMP and 1-knob EQ are provided on the output channels too, so you can quickly achieve overall output compression or EQ that ideally matches the room and audience size. The output 1-knob EQ has a Loudness Mode in place of the Vocal Mode, effectively increasing the sound pressure level while maintaining optimum sound as you rotate the knob.Both the 1-knob COMP and 1-knob EQ provide quick access to the full compressor and EQ displays, so you can fine tune settings as required.<br /><br />\n\n<h3>Gainfinder™ Supports Precision Gain Setup</h3>\nGain is the first adjustment the input signal sees, and the way it is set up influences how subsequent parameters will affect the signal. Yamaha has developed a way to make fast, accurate setup of this important basic parameter easier than ever. The new GainFinder feature facilitates optimum gain setup for individual input signals so that ideal overall operation and signal quality is achieved. The user only has to set channel gain so that the central green indicator in the level meter remains lit for the longest possible time. Of course the level meters also perform their traditional function, so standard gain setup procedure can be followed if preferred.<br /><br />\n\n<h2>Practical Presets and Scenes - Shortcuts to great sound</h2>\nThe familiar Yamaha scene memory that stores mix settings for instant recall when needed is included as always. There’s also a range of channel presets that have been created in cooperation with leading microphone manufacturers and eminent sound engineers, providing starting points that take you a long way towards achieving great sound.The channel presets cover parameters such as HA gain, EQ, dynamics, and much more, right down to details like channel name and color. Less time needs to be spent on basic setup so that more time is available for refining the mix and communicating with the performers.<br /><br />\n\n<h3>Quickpro Presets™ Provide Instant Access to pro Sound Setups</h3>\nWorking with microphone manufacturers such as Audio-Technica, Sennheiser and Shure as well as respected engineers, and evaluating a large number of microphones, musical instruments, speaker systems, and in-ear monitors, the Yamaha R&D team focused on creating a range of shortcuts to great sound that would be effective in a wide variety of live-sound situations. Armed with these practical presets even the novice engineer can get very close to the ideal sound, while experienced engineers will appreciate the significant time savings they can provide starting points for further adjustments.The QuickPro Presets can be searched by instrument type and recalled quickly and easily. The presets include HA gain, EQ, Comp and other settings, right down to the channel name and color. The 1-knob EQ and 1-knob COMP can be used with QuickPro Presets, providing a super streamlined way to tweak the sound.The output channel preset library includes parameter sets optimized for Yamaha powered speakers, with several variations to match different environments and room sizes. Presets are provided for in-ear monitors too. All of these can be used as is when time is tight, but they are also great starting points for manual fine tuning. Setups created from the presets or from scratch can be saved as additional presets too.<br /><br />\n\n<h3>Two Scene Memory Banks</h3>\nThe scene memory features banks A and B, each capable of holding up to 100 scenes.That’s a total of 200 scenes that can be set up and instantly recalled whenever needed.A number of scenes are pre-programmed to give users a head start: scenes with the 1-knob COMP and 1-knob EQ controls engaged for the easiest possible operation, and scenes with the 1-knob features disabled for experienced engineers who might want to follow an established procedure. The banks are great for organizing different types of scenes: one for scenes categorized by music type, and the other by event type, for example.<br /><br />\n\n<h2>Design for Superior Visibility and Quick Operation</h2>\nThe TF series hardware is packed with features that contribute to superior operability and convenience. Faders, knobs, and buttons with outstanding fit and feel work seamlessly with state-of-the-art display technology, including high-visibility channel name and color displays. The touch panel itself offers an ideal blend of comprehensive visual feedback and fast response.The physical layout of these components brings everything together in a system that offers surprisingly efficient workflow.<br /><br />\n\n<h3>Panel Layout Maximizes Workflow Efficiency</h3>\n	Careful analysis of the workflows favored by a large number of engineers has led to a highly efficient panel layout. Rather than simply providing a long list of advanced features, the TF consoles present meaningful features in the most logical and accessible way through an overall design that maximizes visibility and operability.<br /><br />\n\n\n<h3>Comprehensive Fader Bank Section</h3>\nTwo INPUT banks and one OUTPUT bank are provided, and the GROUP bank can be selected by pressing both the INPUT bank buttons simultaneously. The GROUP bank allows the levels of multiple channels to be controlled from a single DCA fader. There’s also a CUSTOM fader bank where you can assign any input, output, and DCA group to any fader.	<br /><br />\n\n\n<h3>DCA Roll-out Enhances Group Control</h3>\nWhen the GROUP fader bank is selected, all faders other than DCA masters 1 through 8 function as Roll-out faders. Selecting one of the DCA groups instantly “rolls out” the input channels belonging to that group to the Roll-out faders. This useful function makes it easy to adjust the level and other parameters of individual channels while using the eight DCA faders for overall mixing.	<br /><br />\n\n\n<h3>Channel Name and Color</h3>\nA display panel located above each channel fader shows the assigned channel name or ID, the port name, and the current fader setting. Phantom power status as well as gate and comp operation can also be displayed. A color bar that shows the assigned channel color makes visual navigation a breeze, and prevents confusion when fader banks are changed or scenes are recalled.	<br /><br />\n\n\n<h3>Faders Provide a Clear View of all Inputs</h3>\nThe TF5 has 33 motor faders, the TF3 has 25, and the TF1 has 17.All rear-panel inputs have individual faders so their status can be verified at a glance and they can be directly and immediately accessed for control.	<br /><br />\n\n\n<h3>Sends on Fader Section</h3>\nThe SENDS ON FADER buttons instantly bring the specified AUX or FX bus levels up on the faders for easy verification and adjustment. When a SENDS ON FADER button is engaged the MASTER fader acts as the master for the corresponding bus, so AUX levels can be checked and controlled without having to switch fader banks.	<br /><br />\n\n\n<h3>Advanced Design Promotes Smooth, Comfortable Operation</h3>\nThe upper section of the panel is designed to double as a rest for an iPad, set list, score, memos, and/or other small items. The panel consists of three angled sections that give the operator maximum visibility and access.	\n<br /><br />\n\n<h3>Other Features for Efficient Workflow</h3>\n<ul>\n<li><strong>USER DEFINED KNOBS section:</strong> Frequently used parameters such as compressor threshold and EQ gain, for example, can be assigned for direct, instant access when needed.                    </li>\n<li><strong>USER DEFINED KEYS section:</strong> Assign mixer settings that you use often to these six buttons for instant access, such as direct one-touch recall of specified scenes.                        </li>\n<li><strong>MUTE section:</strong> Multiple inputs or effects can be muted with a single operation.                                                                                                           </li>\n<li><strong>FX section:</strong> A dedicated channel offers easy effect ON/OFF switching, cue monitor ON/OFF switching, level adjustment, and effect parameter editing.                                       </li>\n<li><strong>ST IN section:</strong> In addition to allowing digital playback from an iPad or iPhone or recording/playback with a USB device, you have fingertip control of BGM playback and other audio files.</li>\n</ul><br />\n\n<h2>A Natural Sound Foundation With Extra Creative Freedom</h2>\nFaithful reproduction of the on-stage sound is the foundation, then creativity can take over.Yamaha’s unswerving approach to live sound reinforcement is alive and well in the TF series.The input stage of any console has a notable effect on its sonic character.The TF consoles feature acclaimed D-PRE™ microphone preamplifiers that not only deliver outstanding quality, but are recallable as well. Circuitry and individual components have been reassessed and redesigned where necessary to achieve extraordinarily pure, natural sound. That solid sonic foundation is backed up by an updated selection of high-performance processors and effects. Input and output channel processors such as EQ, gates, and compressors are complemented by eight processors that provide a broad spectrum of creative capabilities.<br /><br />\n\n\n<h3>Recallable D-pre™ Microphone Preamplifiers</h3>\nThe TF series consoles feature new recallable versions of Yamaha’s acclaimed D-PRE microphone preamplifier. The preamplifiers, or head amplifiers in any console play a significant role in defining the sound of the final mix, so Yamaha engineers spared no effort in developing and refining the D-PRE design to ensure that every nuance and subtlety of the original signal is effectively captured. The circuit is based on a discrete inverted Darlington pair configuration that achieves clean, precise amplification with consistently low noise and distortion at all signal levels. While some microphone preamps are built specifically to impart a unique character of their own, the D-PRE preamplifier has been painstakingly designed with a flat, wide frequency response that retains the tone and nuance of the original sound so that the essence of the performer’s art is captured intact.	<br /><br />\n\n\n\n<h3>Powerful Processors and Effects</h3>\nIn addition to EQ and two dynamics processors on each channel, the TF consoles offer eight powerful processors for wide-ranging sonic control. The globally accessible FX 1 and 2 feature the same type of SPX processors that have become standards in recording and live sound applications, offering 17 programs ranging from reverb and delay through modulation effects such as flanger and chorus to 3-band multiband compression. The panel EDIT key opens the effect parameter display where detailed parameters such as reverb time and delay feedback can be adjusted as required.The remaining six processors are available in the AUX 9/10~19/20 master channels.All effects other than reverb are provided.* Multiband compression is ideal for in-ear monitor level control, delay can be used for speaker alignment, and much more. And since these AUX buses can be sent to the main stereo bus, the effects can be used to supplement the available input channel processing when FX 1 and 2 aren’t quite enough.The AUX 1~8 buses and main output channels include the same 4-band parametric EQ as provided on the input channels, plus 31-band Flex12 GEQ. Both types of EQ are invaluable for optimizing speaker response and eliminating feedback.* Reverb is available for AUX 9/10 and 11/12.<br /><br />\n\n\n\n<h3>Supercharge your<span style=\"background-color: initial;\"> studio or live rig</span><span style=\"background-color: initial;\"> with the Yamaha TF3 Digital Mixing Console. Call or chat online with an RSPE representative for more information</span></h3>'),(12957,85,0,2160,'Yamaha TF3 Digital Mixing Console'),(12958,85,1,2160,'Yamaha TF3 Digital Mixing Console'),(12959,76,0,2160,''),(12960,76,1,2160,''),(12961,75,0,2161,'<h2>Yamaha TF5 33 Fader Digital Mixing Console <span style=\"background-color: initial;\">(32 Channels + 1 Master)</span><span style=\"background-color: initial;\"> </span></h2>\n\nThe Yamaha TF3 is a 33 fader (32 Channels + 1 Master) Digital Mixing Console that provides high input capacity and fader count, making this powerful console ideal for larger applications such as large live venues, or large recording studios.<br /><br />\n\n<h3>TF5 Key Features</h3>\n<ul>\n<li><span style=\"background-color: initial;\">33 motor faders (32 channels + 1 master)</span></li><li>48 input mixing channels (40 mono + 2 stereo + 2 return)</li><li>20 Aux (8 mono + 6 stereo) + Stereo + Sub buses</li><li>8 DCA groups with Roll-out</li><li>32 analog XLR/TRS combo mic/line inputs + 2 analog RCA pin stereo line inputs</li><li>16 analog XLR outputs</li><li>34 x 34 digital record/playback channels via USB 2.0 + 2 x 2 via a USB storage device</li><li>1 expansion slot for NY64-D audio interface card</li>\n</ul><br />\n\n<h3>Yamaha TF Digital Mixing Consoles</h3>\nYamaha digital consoles have always been designed with input from leading engineers worldwide to ensure that the most efficient, intuitive operation is achieved. The highly regarded Selected Channel and Centralogic™ interfaces attest to the success of that approach. The TF series combines Yamaha know-how with new input from the field and the latest touch-screen technology to deliver an evolved experience in console operation. Smooth setup and operation, practical presets and scenes, refined design, and software applications that integrate seamlessly with the entire system: these elements comprise TouchFlow Operation, a new concept in console interfaces that offers unprecedented comfort and convenience in small consoles, for a wide range of users and applications.<br /><br />\n\n<h2>Intuitive User Interface Optimized for Touch Panel Operation</h2>\nIn developing the TF series Yamaha engineers built from their existing base of acclaimed high-end mixer interfaces, adding intuitive control in an interface optimized for the type of touch panel control that has become a familiar feature in a wide range of applications. Allowing most operations to be carried out via the touch panel alone, the innovative TF series interface will quickly become second nature to a broad spectrum of users. Whether you have experience with Yamaha digital consoles, work with other digital consoles, operate analog consoles, or have never operated a mixer before, TF consoles will lead you to the desired results quickly and effortlessly through a smooth, efficient workflow. The availability of physical controls surrounding the touch panel further enhances control versatility and precision.<br /><br />\n\n\n<h3>Touch Operation for Intimate Control</h3>\nRefined for the smoothest possible operation via touch-panel control, the TF user interface offers a smooth workflow that can be an advantage in any mixing situation. The display content has been specifically designed for easy, direct accessibility, with a layout that promotes the most natural, efficient mixing. Touch panel operation is as easy as shaping the sound with your fingertips.<br /><br />\n\n<h3>Touch & Turn Knob Offers Extra Control Precision</h3>\nWhen you need extra precision for a fine EQ or other adjustment, the physical Touch & Turn knob is always available right beside the touch panel. There are also four User Defined Knobs below the panel that can be assigned to control compressor threshold, EQ gain, or other parameters you need fast, direct access to while mixing. The knobs always affect the currently selected channel.<br /><br />\n\n<h3>Traditional Overview and Selected Channel Interfaces</h3>\nLike the CL series consoles, operation is based around Overview and Selected Channel windows. The overview display shows the parameters for eight channels at a time, while the Touch & Turn knob provides direct access to gain, 1-knob EQ™, 1-knob COMP™, gate threshold, effect send level, pan, and other parameters. Touch the highlighted parameter a second time to switch to the Selected Channel display when you need access to detailed parameters for finer control.<br /><br />\n\n<h2>New features for Smooth Setup and Operation</h2>\nEffective gain, compressor, and EQ setup requires a considerable degree of skill and experience. Even veteran engineers need to spend time on these important basic settings. In addition to their intuitive user interfaces, TF consoles include a number of features that contribute to faster, smoother setup of these essential parameters.<br /><br />\n\n<h3>1-Knob Comp™ & 1-knob EQ™: one Knob to Dial in the Ideal Sound</h3>\nAn experienced engineer can do a lot with a compressor: bring a guitar to life, add punch to bass, tighten up a snare, and make vocals ride clearly on the mix. The 1-knob COMP can do all of this quickly and easily, without the need to juggle multiple parameters to achieve the desired effect. Originally introduced in Yamaha analog mixers, the 1-knob COMP quickly became a popular and valued feature. It has now been further refined in a digital version that adds new setup ease and efficiency to the TF consoles.The same concept has been applied in a new 1-knob EQ feature that provides notably improved speed and smooth operation. 1-knob EQ has been painstakingly fine-tuned by Yamaha R&D staff in cooperation with distinguished sound engineers, to ensure that you can achieve outstanding results with minimum effort in the shortest possible time. A Vocal Mode makes it easier than ever to achieve a clear, well defined vocal sound, while an Intensity Mode offers 1-knob “intensity” control over EQ curves you either select from the presets or create from scratch.But there’s more: the 1-knob COMP and 1-knob EQ are provided on the output channels too, so you can quickly achieve overall output compression or EQ that ideally matches the room and audience size. The output 1-knob EQ has a Loudness Mode in place of the Vocal Mode, effectively increasing the sound pressure level while maintaining optimum sound as you rotate the knob.Both the 1-knob COMP and 1-knob EQ provide quick access to the full compressor and EQ displays, so you can fine tune settings as required.<br /><br />\n\n<h3>Gainfinder™ Supports Precision Gain Setup</h3>\nGain is the first adjustment the input signal sees, and the way it is set up influences how subsequent parameters will affect the signal. Yamaha has developed a way to make fast, accurate setup of this important basic parameter easier than ever. The new GainFinder feature facilitates optimum gain setup for individual input signals so that ideal overall operation and signal quality is achieved. The user only has to set channel gain so that the central green indicator in the level meter remains lit for the longest possible time. Of course the level meters also perform their traditional function, so standard gain setup procedure can be followed if preferred.<br /><br />\n\n<h2>Practical Presets and Scenes - Shortcuts to great sound</h2>\nThe familiar Yamaha scene memory that stores mix settings for instant recall when needed is included as always. There’s also a range of channel presets that have been created in cooperation with leading microphone manufacturers and eminent sound engineers, providing starting points that take you a long way towards achieving great sound.The channel presets cover parameters such as HA gain, EQ, dynamics, and much more, right down to details like channel name and color. Less time needs to be spent on basic setup so that more time is available for refining the mix and communicating with the performers.<br /><br />\n\n<h3>Quickpro Presets™ Provide Instant Access to pro Sound Setups</h3>\nWorking with microphone manufacturers such as Audio-Technica, Sennheiser and Shure as well as respected engineers, and evaluating a large number of microphones, musical instruments, speaker systems, and in-ear monitors, the Yamaha R&D team focused on creating a range of shortcuts to great sound that would be effective in a wide variety of live-sound situations. Armed with these practical presets even the novice engineer can get very close to the ideal sound, while experienced engineers will appreciate the significant time savings they can provide starting points for further adjustments.The QuickPro Presets can be searched by instrument type and recalled quickly and easily. The presets include HA gain, EQ, Comp and other settings, right down to the channel name and color. The 1-knob EQ and 1-knob COMP can be used with QuickPro Presets, providing a super streamlined way to tweak the sound.The output channel preset library includes parameter sets optimized for Yamaha powered speakers, with several variations to match different environments and room sizes. Presets are provided for in-ear monitors too. All of these can be used as is when time is tight, but they are also great starting points for manual fine tuning. Setups created from the presets or from scratch can be saved as additional presets too.<br /><br />\n\n<h3>Two Scene Memory Banks</h3>\nThe scene memory features banks A and B, each capable of holding up to 100 scenes.That’s a total of 200 scenes that can be set up and instantly recalled whenever needed.A number of scenes are pre-programmed to give users a head start: scenes with the 1-knob COMP and 1-knob EQ controls engaged for the easiest possible operation, and scenes with the 1-knob features disabled for experienced engineers who might want to follow an established procedure. The banks are great for organizing different types of scenes: one for scenes categorized by music type, and the other by event type, for example.<br /><br />\n\n<h2>Design for Superior Visibility and Quick Operation</h2>\nThe TF series hardware is packed with features that contribute to superior operability and convenience. Faders, knobs, and buttons with outstanding fit and feel work seamlessly with state-of-the-art display technology, including high-visibility channel name and color displays. The touch panel itself offers an ideal blend of comprehensive visual feedback and fast response.The physical layout of these components brings everything together in a system that offers surprisingly efficient workflow.<br /><br />\n\n<h3>Panel Layout Maximizes Workflow Efficiency</h3>\n	Careful analysis of the workflows favored by a large number of engineers has led to a highly efficient panel layout. Rather than simply providing a long list of advanced features, the TF consoles present meaningful features in the most logical and accessible way through an overall design that maximizes visibility and operability.<br /><br />\n\n\n<h3>Comprehensive Fader Bank Section</h3>\nTwo INPUT banks and one OUTPUT bank are provided, and the GROUP bank can be selected by pressing both the INPUT bank buttons simultaneously. The GROUP bank allows the levels of multiple channels to be controlled from a single DCA fader. There’s also a CUSTOM fader bank where you can assign any input, output, and DCA group to any fader.	<br /><br />\n\n\n<h3>DCA Roll-out Enhances Group Control</h3>\nWhen the GROUP fader bank is selected, all faders other than DCA masters 1 through 8 function as Roll-out faders. Selecting one of the DCA groups instantly “rolls out” the input channels belonging to that group to the Roll-out faders. This useful function makes it easy to adjust the level and other parameters of individual channels while using the eight DCA faders for overall mixing.	<br /><br />\n\n\n<h3>Channel Name and Color</h3>\nA display panel located above each channel fader shows the assigned channel name or ID, the port name, and the current fader setting. Phantom power status as well as gate and comp operation can also be displayed. A color bar that shows the assigned channel color makes visual navigation a breeze, and prevents confusion when fader banks are changed or scenes are recalled.	<br /><br />\n\n\n<h3>Faders Provide a Clear View of all Inputs</h3>\nThe TF5 has 33 motor faders, the TF3 has 25, and the TF1 has 17.All rear-panel inputs have individual faders so their status can be verified at a glance and they can be directly and immediately accessed for control.	<br /><br />\n\n\n<h3>Sends on Fader Section</h3>\nThe SENDS ON FADER buttons instantly bring the specified AUX or FX bus levels up on the faders for easy verification and adjustment. When a SENDS ON FADER button is engaged the MASTER fader acts as the master for the corresponding bus, so AUX levels can be checked and controlled without having to switch fader banks.	<br /><br />\n\n\n<h3>Advanced Design Promotes Smooth, Comfortable Operation</h3>\nThe upper section of the panel is designed to double as a rest for an iPad, set list, score, memos, and/or other small items. The panel consists of three angled sections that give the operator maximum visibility and access.	\n<br /><br />\n\n<h3>Other Features for Efficient Workflow</h3>\n<ul>\n<li><strong>USER DEFINED KNOBS section:</strong> Frequently used parameters such as compressor threshold and EQ gain, for example, can be assigned for direct, instant access when needed.                    </li>\n<li><strong>USER DEFINED KEYS section:</strong> Assign mixer settings that you use often to these six buttons for instant access, such as direct one-touch recall of specified scenes.                        </li>\n<li><strong>MUTE section:</strong> Multiple inputs or effects can be muted with a single operation.                                                                                                           </li>\n<li><strong>FX section:</strong> A dedicated channel offers easy effect ON/OFF switching, cue monitor ON/OFF switching, level adjustment, and effect parameter editing.                                       </li>\n<li><strong>ST IN section:</strong> In addition to allowing digital playback from an iPad or iPhone or recording/playback with a USB device, you have fingertip control of BGM playback and other audio files.</li>\n</ul><br />\n\n<h2>A Natural Sound Foundation With Extra Creative Freedom</h2>\nFaithful reproduction of the on-stage sound is the foundation, then creativity can take over.Yamaha’s unswerving approach to live sound reinforcement is alive and well in the TF series.The input stage of any console has a notable effect on its sonic character.The TF consoles feature acclaimed D-PRE™ microphone preamplifiers that not only deliver outstanding quality, but are recallable as well. Circuitry and individual components have been reassessed and redesigned where necessary to achieve extraordinarily pure, natural sound. That solid sonic foundation is backed up by an updated selection of high-performance processors and effects. Input and output channel processors such as EQ, gates, and compressors are complemented by eight processors that provide a broad spectrum of creative capabilities.<br /><br />\n\n\n<h3>Recallable D-pre™ Microphone Preamplifiers</h3>\nThe TF series consoles feature new recallable versions of Yamaha’s acclaimed D-PRE microphone preamplifier. The preamplifiers, or head amplifiers in any console play a significant role in defining the sound of the final mix, so Yamaha engineers spared no effort in developing and refining the D-PRE design to ensure that every nuance and subtlety of the original signal is effectively captured. The circuit is based on a discrete inverted Darlington pair configuration that achieves clean, precise amplification with consistently low noise and distortion at all signal levels. While some microphone preamps are built specifically to impart a unique character of their own, the D-PRE preamplifier has been painstakingly designed with a flat, wide frequency response that retains the tone and nuance of the original sound so that the essence of the performer’s art is captured intact.	<br /><br />\n\n\n\n<h3>Powerful Processors and Effects</h3>\nIn addition to EQ and two dynamics processors on each channel, the TF consoles offer eight powerful processors for wide-ranging sonic control. The globally accessible FX 1 and 2 feature the same type of SPX processors that have become standards in recording and live sound applications, offering 17 programs ranging from reverb and delay through modulation effects such as flanger and chorus to 3-band multiband compression. The panel EDIT key opens the effect parameter display where detailed parameters such as reverb time and delay feedback can be adjusted as required.The remaining six processors are available in the AUX 9/10~19/20 master channels.All effects other than reverb are provided.* Multiband compression is ideal for in-ear monitor level control, delay can be used for speaker alignment, and much more. And since these AUX buses can be sent to the main stereo bus, the effects can be used to supplement the available input channel processing when FX 1 and 2 aren’t quite enough.The AUX 1~8 buses and main output channels include the same 4-band parametric EQ as provided on the input channels, plus 31-band Flex12 GEQ. Both types of EQ are invaluable for optimizing speaker response and eliminating feedback.* Reverb is available for AUX 9/10 and 11/12.<br /><br />\n\n\n\n<h3>Supercharge <span style=\"background-color: initial;\">your studio or live rig</span><span style=\"background-color: initial;\"> with the Yamaha TF5 Digital Mixing Console. Call or chat online with an RSPE representative for more information</span></h3>'),(12962,75,1,2161,'<h2>Yamaha TF5 33 Fader Digital Mixing Console <span style=\"background-color: initial;\">(32 Channels + 1 Master)</span><span style=\"background-color: initial;\"> </span></h2>\n\nThe Yamaha TF3 is a 33 fader (32 Channels + 1 Master) Digital Mixing Console that provides high input capacity and fader count, making this powerful console ideal for larger applications such as large live venues, or large recording studios.<br /><br />\n\n<h3>TF5 Key Features</h3>\n<ul>\n<li><span style=\"background-color: initial;\">33 motor faders (32 channels + 1 master)</span></li><li>48 input mixing channels (40 mono + 2 stereo + 2 return)</li><li>20 Aux (8 mono + 6 stereo) + Stereo + Sub buses</li><li>8 DCA groups with Roll-out</li><li>32 analog XLR/TRS combo mic/line inputs + 2 analog RCA pin stereo line inputs</li><li>16 analog XLR outputs</li><li>34 x 34 digital record/playback channels via USB 2.0 + 2 x 2 via a USB storage device</li><li>1 expansion slot for NY64-D audio interface card</li>\n</ul><br />\n\n<h3>Yamaha TF Digital Mixing Consoles</h3>\nYamaha digital consoles have always been designed with input from leading engineers worldwide to ensure that the most efficient, intuitive operation is achieved. The highly regarded Selected Channel and Centralogic™ interfaces attest to the success of that approach. The TF series combines Yamaha know-how with new input from the field and the latest touch-screen technology to deliver an evolved experience in console operation. Smooth setup and operation, practical presets and scenes, refined design, and software applications that integrate seamlessly with the entire system: these elements comprise TouchFlow Operation, a new concept in console interfaces that offers unprecedented comfort and convenience in small consoles, for a wide range of users and applications.<br /><br />\n\n<h2>Intuitive User Interface Optimized for Touch Panel Operation</h2>\nIn developing the TF series Yamaha engineers built from their existing base of acclaimed high-end mixer interfaces, adding intuitive control in an interface optimized for the type of touch panel control that has become a familiar feature in a wide range of applications. Allowing most operations to be carried out via the touch panel alone, the innovative TF series interface will quickly become second nature to a broad spectrum of users. Whether you have experience with Yamaha digital consoles, work with other digital consoles, operate analog consoles, or have never operated a mixer before, TF consoles will lead you to the desired results quickly and effortlessly through a smooth, efficient workflow. The availability of physical controls surrounding the touch panel further enhances control versatility and precision.<br /><br />\n\n\n<h3>Touch Operation for Intimate Control</h3>\nRefined for the smoothest possible operation via touch-panel control, the TF user interface offers a smooth workflow that can be an advantage in any mixing situation. The display content has been specifically designed for easy, direct accessibility, with a layout that promotes the most natural, efficient mixing. Touch panel operation is as easy as shaping the sound with your fingertips.<br /><br />\n\n<h3>Touch & Turn Knob Offers Extra Control Precision</h3>\nWhen you need extra precision for a fine EQ or other adjustment, the physical Touch & Turn knob is always available right beside the touch panel. There are also four User Defined Knobs below the panel that can be assigned to control compressor threshold, EQ gain, or other parameters you need fast, direct access to while mixing. The knobs always affect the currently selected channel.<br /><br />\n\n<h3>Traditional Overview and Selected Channel Interfaces</h3>\nLike the CL series consoles, operation is based around Overview and Selected Channel windows. The overview display shows the parameters for eight channels at a time, while the Touch & Turn knob provides direct access to gain, 1-knob EQ™, 1-knob COMP™, gate threshold, effect send level, pan, and other parameters. Touch the highlighted parameter a second time to switch to the Selected Channel display when you need access to detailed parameters for finer control.<br /><br />\n\n<h2>New features for Smooth Setup and Operation</h2>\nEffective gain, compressor, and EQ setup requires a considerable degree of skill and experience. Even veteran engineers need to spend time on these important basic settings. In addition to their intuitive user interfaces, TF consoles include a number of features that contribute to faster, smoother setup of these essential parameters.<br /><br />\n\n<h3>1-Knob Comp™ & 1-knob EQ™: one Knob to Dial in the Ideal Sound</h3>\nAn experienced engineer can do a lot with a compressor: bring a guitar to life, add punch to bass, tighten up a snare, and make vocals ride clearly on the mix. The 1-knob COMP can do all of this quickly and easily, without the need to juggle multiple parameters to achieve the desired effect. Originally introduced in Yamaha analog mixers, the 1-knob COMP quickly became a popular and valued feature. It has now been further refined in a digital version that adds new setup ease and efficiency to the TF consoles.The same concept has been applied in a new 1-knob EQ feature that provides notably improved speed and smooth operation. 1-knob EQ has been painstakingly fine-tuned by Yamaha R&D staff in cooperation with distinguished sound engineers, to ensure that you can achieve outstanding results with minimum effort in the shortest possible time. A Vocal Mode makes it easier than ever to achieve a clear, well defined vocal sound, while an Intensity Mode offers 1-knob “intensity” control over EQ curves you either select from the presets or create from scratch.But there’s more: the 1-knob COMP and 1-knob EQ are provided on the output channels too, so you can quickly achieve overall output compression or EQ that ideally matches the room and audience size. The output 1-knob EQ has a Loudness Mode in place of the Vocal Mode, effectively increasing the sound pressure level while maintaining optimum sound as you rotate the knob.Both the 1-knob COMP and 1-knob EQ provide quick access to the full compressor and EQ displays, so you can fine tune settings as required.<br /><br />\n\n<h3>Gainfinder™ Supports Precision Gain Setup</h3>\nGain is the first adjustment the input signal sees, and the way it is set up influences how subsequent parameters will affect the signal. Yamaha has developed a way to make fast, accurate setup of this important basic parameter easier than ever. The new GainFinder feature facilitates optimum gain setup for individual input signals so that ideal overall operation and signal quality is achieved. The user only has to set channel gain so that the central green indicator in the level meter remains lit for the longest possible time. Of course the level meters also perform their traditional function, so standard gain setup procedure can be followed if preferred.<br /><br />\n\n<h2>Practical Presets and Scenes - Shortcuts to great sound</h2>\nThe familiar Yamaha scene memory that stores mix settings for instant recall when needed is included as always. There’s also a range of channel presets that have been created in cooperation with leading microphone manufacturers and eminent sound engineers, providing starting points that take you a long way towards achieving great sound.The channel presets cover parameters such as HA gain, EQ, dynamics, and much more, right down to details like channel name and color. Less time needs to be spent on basic setup so that more time is available for refining the mix and communicating with the performers.<br /><br />\n\n<h3>Quickpro Presets™ Provide Instant Access to pro Sound Setups</h3>\nWorking with microphone manufacturers such as Audio-Technica, Sennheiser and Shure as well as respected engineers, and evaluating a large number of microphones, musical instruments, speaker systems, and in-ear monitors, the Yamaha R&D team focused on creating a range of shortcuts to great sound that would be effective in a wide variety of live-sound situations. Armed with these practical presets even the novice engineer can get very close to the ideal sound, while experienced engineers will appreciate the significant time savings they can provide starting points for further adjustments.The QuickPro Presets can be searched by instrument type and recalled quickly and easily. The presets include HA gain, EQ, Comp and other settings, right down to the channel name and color. The 1-knob EQ and 1-knob COMP can be used with QuickPro Presets, providing a super streamlined way to tweak the sound.The output channel preset library includes parameter sets optimized for Yamaha powered speakers, with several variations to match different environments and room sizes. Presets are provided for in-ear monitors too. All of these can be used as is when time is tight, but they are also great starting points for manual fine tuning. Setups created from the presets or from scratch can be saved as additional presets too.<br /><br />\n\n<h3>Two Scene Memory Banks</h3>\nThe scene memory features banks A and B, each capable of holding up to 100 scenes.That’s a total of 200 scenes that can be set up and instantly recalled whenever needed.A number of scenes are pre-programmed to give users a head start: scenes with the 1-knob COMP and 1-knob EQ controls engaged for the easiest possible operation, and scenes with the 1-knob features disabled for experienced engineers who might want to follow an established procedure. The banks are great for organizing different types of scenes: one for scenes categorized by music type, and the other by event type, for example.<br /><br />\n\n<h2>Design for Superior Visibility and Quick Operation</h2>\nThe TF series hardware is packed with features that contribute to superior operability and convenience. Faders, knobs, and buttons with outstanding fit and feel work seamlessly with state-of-the-art display technology, including high-visibility channel name and color displays. The touch panel itself offers an ideal blend of comprehensive visual feedback and fast response.The physical layout of these components brings everything together in a system that offers surprisingly efficient workflow.<br /><br />\n\n<h3>Panel Layout Maximizes Workflow Efficiency</h3>\n	Careful analysis of the workflows favored by a large number of engineers has led to a highly efficient panel layout. Rather than simply providing a long list of advanced features, the TF consoles present meaningful features in the most logical and accessible way through an overall design that maximizes visibility and operability.<br /><br />\n\n\n<h3>Comprehensive Fader Bank Section</h3>\nTwo INPUT banks and one OUTPUT bank are provided, and the GROUP bank can be selected by pressing both the INPUT bank buttons simultaneously. The GROUP bank allows the levels of multiple channels to be controlled from a single DCA fader. There’s also a CUSTOM fader bank where you can assign any input, output, and DCA group to any fader.	<br /><br />\n\n\n<h3>DCA Roll-out Enhances Group Control</h3>\nWhen the GROUP fader bank is selected, all faders other than DCA masters 1 through 8 function as Roll-out faders. Selecting one of the DCA groups instantly “rolls out” the input channels belonging to that group to the Roll-out faders. This useful function makes it easy to adjust the level and other parameters of individual channels while using the eight DCA faders for overall mixing.	<br /><br />\n\n\n<h3>Channel Name and Color</h3>\nA display panel located above each channel fader shows the assigned channel name or ID, the port name, and the current fader setting. Phantom power status as well as gate and comp operation can also be displayed. A color bar that shows the assigned channel color makes visual navigation a breeze, and prevents confusion when fader banks are changed or scenes are recalled.	<br /><br />\n\n\n<h3>Faders Provide a Clear View of all Inputs</h3>\nThe TF5 has 33 motor faders, the TF3 has 25, and the TF1 has 17.All rear-panel inputs have individual faders so their status can be verified at a glance and they can be directly and immediately accessed for control.	<br /><br />\n\n\n<h3>Sends on Fader Section</h3>\nThe SENDS ON FADER buttons instantly bring the specified AUX or FX bus levels up on the faders for easy verification and adjustment. When a SENDS ON FADER button is engaged the MASTER fader acts as the master for the corresponding bus, so AUX levels can be checked and controlled without having to switch fader banks.	<br /><br />\n\n\n<h3>Advanced Design Promotes Smooth, Comfortable Operation</h3>\nThe upper section of the panel is designed to double as a rest for an iPad, set list, score, memos, and/or other small items. The panel consists of three angled sections that give the operator maximum visibility and access.	\n<br /><br />\n\n<h3>Other Features for Efficient Workflow</h3>\n<ul>\n<li><strong>USER DEFINED KNOBS section:</strong> Frequently used parameters such as compressor threshold and EQ gain, for example, can be assigned for direct, instant access when needed.                    </li>\n<li><strong>USER DEFINED KEYS section:</strong> Assign mixer settings that you use often to these six buttons for instant access, such as direct one-touch recall of specified scenes.                        </li>\n<li><strong>MUTE section:</strong> Multiple inputs or effects can be muted with a single operation.                                                                                                           </li>\n<li><strong>FX section:</strong> A dedicated channel offers easy effect ON/OFF switching, cue monitor ON/OFF switching, level adjustment, and effect parameter editing.                                       </li>\n<li><strong>ST IN section:</strong> In addition to allowing digital playback from an iPad or iPhone or recording/playback with a USB device, you have fingertip control of BGM playback and other audio files.</li>\n</ul><br />\n\n<h2>A Natural Sound Foundation With Extra Creative Freedom</h2>\nFaithful reproduction of the on-stage sound is the foundation, then creativity can take over.Yamaha’s unswerving approach to live sound reinforcement is alive and well in the TF series.The input stage of any console has a notable effect on its sonic character.The TF consoles feature acclaimed D-PRE™ microphone preamplifiers that not only deliver outstanding quality, but are recallable as well. Circuitry and individual components have been reassessed and redesigned where necessary to achieve extraordinarily pure, natural sound. That solid sonic foundation is backed up by an updated selection of high-performance processors and effects. Input and output channel processors such as EQ, gates, and compressors are complemented by eight processors that provide a broad spectrum of creative capabilities.<br /><br />\n\n\n<h3>Recallable D-pre™ Microphone Preamplifiers</h3>\nThe TF series consoles feature new recallable versions of Yamaha’s acclaimed D-PRE microphone preamplifier. The preamplifiers, or head amplifiers in any console play a significant role in defining the sound of the final mix, so Yamaha engineers spared no effort in developing and refining the D-PRE design to ensure that every nuance and subtlety of the original signal is effectively captured. The circuit is based on a discrete inverted Darlington pair configuration that achieves clean, precise amplification with consistently low noise and distortion at all signal levels. While some microphone preamps are built specifically to impart a unique character of their own, the D-PRE preamplifier has been painstakingly designed with a flat, wide frequency response that retains the tone and nuance of the original sound so that the essence of the performer’s art is captured intact.	<br /><br />\n\n\n\n<h3>Powerful Processors and Effects</h3>\nIn addition to EQ and two dynamics processors on each channel, the TF consoles offer eight powerful processors for wide-ranging sonic control. The globally accessible FX 1 and 2 feature the same type of SPX processors that have become standards in recording and live sound applications, offering 17 programs ranging from reverb and delay through modulation effects such as flanger and chorus to 3-band multiband compression. The panel EDIT key opens the effect parameter display where detailed parameters such as reverb time and delay feedback can be adjusted as required.The remaining six processors are available in the AUX 9/10~19/20 master channels.All effects other than reverb are provided.* Multiband compression is ideal for in-ear monitor level control, delay can be used for speaker alignment, and much more. And since these AUX buses can be sent to the main stereo bus, the effects can be used to supplement the available input channel processing when FX 1 and 2 aren’t quite enough.The AUX 1~8 buses and main output channels include the same 4-band parametric EQ as provided on the input channels, plus 31-band Flex12 GEQ. Both types of EQ are invaluable for optimizing speaker response and eliminating feedback.* Reverb is available for AUX 9/10 and 11/12.<br /><br />\n\n\n\n<h3>Supercharge <span style=\"background-color: initial;\">your studio or live rig</span><span style=\"background-color: initial;\"> with the Yamaha TF5 Digital Mixing Console. Call or chat online with an RSPE representative for more information</span></h3>'),(12963,85,0,2161,'Yamaha TF5 Digital Mixing Console'),(12964,85,1,2161,'Yamaha TF5 Digital Mixing Console'),(12965,76,0,2161,''),(12966,76,1,2161,''),(12967,75,0,2162,'<h2>Zaor Croce - Fixed Height Speaker Stands (Pair)</h2>\n\n<i>Elegant, modern fixed height speaker stand with Aerstop pad for acoustic isolation and speaker decoupling. Designed to match Zaor\'s Classic Line of studio furniture.</i><br /><br /><div>ZAOR Croce Speaker Stands were designed with two main criteria in mind: They should be affordable and designed to the <span style=\"background-color: initial;\">best standards of technical performance and design. Croce Stands are built using the same high-quality materials as other items in the Classic </span><span style=\"background-color: initial;\">range, making Croce a very professional and highly useable speaker stand. Zaor also added a pad of </span><span style=\"background-color: initial;\">AERSTOP on top of the stand that helps isolate the speaker from the stand, reducing the propagation of lower frequency </span><span style=\"background-color: initial;\">content through the speaker to the floor and thus the room. Zaor Croce stands are available in two fixed heights, 36\" and 42\".</span></div><br />\n\n\n<h3>Zaor Miza V-Stand features:</h3>\n<ul>\n<li>Sleek, modern designs with solid, sturdy build quality</li>\n<li>Aerstop pad for speaker decoupling</li>\n<li>Adjustable feet with double-layer decoupling </li>\n<li>Fixed Height, available in 36\" or 42\"</li><li>Available in 4 finishes: Black, Black/Cherry, Jungle Grey, & White Gloss</li><li>Supports up to 40 kg (88 lb)</li></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours. <br /><br />'),(12968,75,1,2162,'<h2>Zaor Croce - Fixed Height Speaker Stands (Pair)</h2>\n\n<i>Elegant, modern fixed height speaker stand with Aerstop pad for acoustic isolation and speaker decoupling. Designed to match Zaor\'s Classic Line of studio furniture.</i><br /><br /><div>ZAOR Croce Speaker Stands were designed with two main criteria in mind: They should be affordable and designed to the <span style=\"background-color: initial;\">best standards of technical performance and design. Croce Stands are built using the same high-quality materials as other items in the Classic </span><span style=\"background-color: initial;\">range, making Croce a very professional and highly useable speaker stand. Zaor also added a pad of </span><span style=\"background-color: initial;\">AERSTOP on top of the stand that helps isolate the speaker from the stand, reducing the propagation of lower frequency </span><span style=\"background-color: initial;\">content through the speaker to the floor and thus the room. Zaor Croce stands are available in two fixed heights, 36\" and 42\".</span></div><br />\n\n\n<h3>Zaor Miza V-Stand features:</h3>\n<ul>\n<li>Sleek, modern designs with solid, sturdy build quality</li>\n<li>Aerstop pad for speaker decoupling</li>\n<li>Adjustable feet with double-layer decoupling </li>\n<li>Fixed Height, available in 36\" or 42\"</li><li>Available in 4 finishes: Black, Black/Cherry, Jungle Grey, & White Gloss</li><li>Supports up to 40 kg (88 lb)</li></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours. <br /><br />'),(12969,85,0,2162,'Zaor Croce - Fixed Height Speaker Stands'),(12970,85,1,2162,'Zaor Croce - Fixed Height Speaker Stands'),(12971,76,0,2162,''),(12972,76,1,2162,''),(12973,75,0,2163,'<h2>Zaor Marea X32 Studio Workstation Desk</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Modern Studio Design with Cable Management</span><br /><br />It’s generous proportions allow to place controllers, digital mixers and\n 6 rack units worth of outboard gear, two large screens, a laptop, pad \nor other accessories in a compact 158 cm by 110 cm work space. Cable \nmanagement is always a major concern for the ZAOR design team, so plenty\n of room for all those necessary wires is provided and passages in all \nthe right places. The whole desk stands on just two sleek yet strong \nlegs featuring solid wood, avoiding boxy and resonant designs of the \npast. The depth of the central mixer tray allows to cater for many \ndifferent angles and shapes of controllers that seem to constantly \noccupy more studio real estate and reshape the production workflow. <br />The \nMAREA makes the most of the primary ergonomic space, placing relevant \ncontrols within direct reach whereas rack gear is placed at arms length \nslightly further back. This design clearly places the DAW controller or \ndigital mixer in the heart of the action while still allowing for vital \nrackable components to find a home. The desk comes in black \nmelamine-faced chipboard with side panels, legs, armrest in solid oak or\n ash wood to convey a sense of its quality and durability.<br /><br />\n\n<h3>Zaor Marea X32 key features and specifications:</h3>\n<ul></ul><ul><li> Height: 1047 mm on the back and 770 mm on the front</li><li>Depth: 1105 mm</li><li>Width: 1581 mm</li><li>\n3 x 2 Rack units</li><li>\nSolid wood + melamine-faced chipboard\n\n\n</li></ul><h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Marea X32 excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(12974,75,1,2163,'<h2>Zaor Marea X32 Studio Workstation Desk</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Modern Studio Design with Cable Management</span><br /><br />It’s generous proportions allow to place controllers, digital mixers and\n 6 rack units worth of outboard gear, two large screens, a laptop, pad \nor other accessories in a compact 158 cm by 110 cm work space. Cable \nmanagement is always a major concern for the ZAOR design team, so plenty\n of room for all those necessary wires is provided and passages in all \nthe right places. The whole desk stands on just two sleek yet strong \nlegs featuring solid wood, avoiding boxy and resonant designs of the \npast. The depth of the central mixer tray allows to cater for many \ndifferent angles and shapes of controllers that seem to constantly \noccupy more studio real estate and reshape the production workflow. <br />The \nMAREA makes the most of the primary ergonomic space, placing relevant \ncontrols within direct reach whereas rack gear is placed at arms length \nslightly further back. This design clearly places the DAW controller or \ndigital mixer in the heart of the action while still allowing for vital \nrackable components to find a home. The desk comes in black \nmelamine-faced chipboard with side panels, legs, armrest in solid oak or\n ash wood to convey a sense of its quality and durability.<br /><br />\n\n<h3>Zaor Marea X32 key features and specifications:</h3>\n<ul></ul><ul><li> Height: 1047 mm on the back and 770 mm on the front</li><li>Depth: 1105 mm</li><li>Width: 1581 mm</li><li>\n3 x 2 Rack units</li><li>\nSolid wood + melamine-faced chipboard\n\n\n</li></ul><h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Marea X32 excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(12975,85,0,2163,'Zaor Marea X32 Studio Workstation Desk'),(12976,85,1,2163,'Zaor Marea X32 Studio Workstation Desk'),(12977,76,0,2163,''),(12978,76,1,2163,''),(12979,75,0,2164,'<h2>Zaor Miza 88 Studio Workstation Desk</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">The MIZA line was developed by Zaor to offer an ever wider range of creative people such as Musicians, DJs or Video artists a comfortable and yet affordable work environment.</span><br /><br />ZAOR MIZA 88 is a perfect companion for the working producer in todays modern, hybrid environment. It provides a perfectly suitable solution to put your full masterkeyboard on the practical drawer, that slides underneath the work surface when not in use. You will find a practical rack space for up to 8 rack units right in front of you, where you can see and operate it at ease.<br /><br />MIZA 88 with its large drawer for a masterkeyboard, with legs that can be pulled down to stabilise it, it will fell like a real piano (supposing you use weighted keys): no wobble, no bouncing back. It is available in 3 colors, bleached oak, black-cherry and wengé (a dark grey tone).<br /><br />\n\n<h3>Zaor Miza 88 key features and specifications:</h3>\n<ul></ul><ul><li> Height: 1015 mm</li><li>\nDepth: 891 mm</li><li>Width: 1470 mm</li><li>2 x 4 Rack units</li><li>Drawer in the centre</li><li>Melamine-faced chipboard panels</li><li>Solid wood applications</li><li>Cable tray in the back</li></ul><ul></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza 88 excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(12980,75,1,2164,'<h2>Zaor Miza 88 Studio Workstation Desk</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">The MIZA line was developed by Zaor to offer an ever wider range of creative people such as Musicians, DJs or Video artists a comfortable and yet affordable work environment.</span><br /><br />ZAOR MIZA 88 is a perfect companion for the working producer in todays modern, hybrid environment. It provides a perfectly suitable solution to put your full masterkeyboard on the practical drawer, that slides underneath the work surface when not in use. You will find a practical rack space for up to 8 rack units right in front of you, where you can see and operate it at ease.<br /><br />MIZA 88 with its large drawer for a masterkeyboard, with legs that can be pulled down to stabilise it, it will fell like a real piano (supposing you use weighted keys): no wobble, no bouncing back. It is available in 3 colors, bleached oak, black-cherry and wengé (a dark grey tone).<br /><br />\n\n<h3>Zaor Miza 88 key features and specifications:</h3>\n<ul></ul><ul><li> Height: 1015 mm</li><li>\nDepth: 891 mm</li><li>Width: 1470 mm</li><li>2 x 4 Rack units</li><li>Drawer in the centre</li><li>Melamine-faced chipboard panels</li><li>Solid wood applications</li><li>Cable tray in the back</li></ul><ul></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza 88 excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(12981,85,0,2164,'Zaor Miza 88 Studio Workstation Desk'),(12982,85,1,2164,'Zaor Miza 88 Studio Workstation Desk'),(12983,76,0,2164,''),(12984,76,1,2164,''),(12985,75,0,2165,'<h2>Zaor Miza 88XL Studio Workstation Desk</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">The Miza 88XL desk is easy to construct, sturdy and solid when completed, and well‑engineered. </span><br /><br />MIZA 88 XL has an overall width of 156 cm and its draw a height of 18 cm and width of 143cm, so that every masterkeyboard will fit! Due to a new double guide rail system the draw is even more stable than usual. One guide rail leads along the table base and the other along the draw itself, which makes the draw extraordinary sturdy. With its 12 rack units this workstation offers enough space for your hardware. The table is available in 3 colors, bleached oak, black-cherry and wengé (a dark grey tone).<br /><br />\n\n<h3>Zaor Miza 88XL key features and specifications:</h3>\n<ul></ul><ul><li>Height: 1015 mm</li><li>Depth: 986 mmWidth: 1560 mm</li><li>\n3 x 4 Rack units</li><li>Melamine-faced chipboard panels</li><li>Cable tray in the back</li></ul><ul></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza 88XL excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(12986,75,1,2165,'<h2>Zaor Miza 88XL Studio Workstation Desk</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">The Miza 88XL desk is easy to construct, sturdy and solid when completed, and well‑engineered. </span><br /><br />MIZA 88 XL has an overall width of 156 cm and its draw a height of 18 cm and width of 143cm, so that every masterkeyboard will fit! Due to a new double guide rail system the draw is even more stable than usual. One guide rail leads along the table base and the other along the draw itself, which makes the draw extraordinary sturdy. With its 12 rack units this workstation offers enough space for your hardware. The table is available in 3 colors, bleached oak, black-cherry and wengé (a dark grey tone).<br /><br />\n\n<h3>Zaor Miza 88XL key features and specifications:</h3>\n<ul></ul><ul><li>Height: 1015 mm</li><li>Depth: 986 mmWidth: 1560 mm</li><li>\n3 x 4 Rack units</li><li>Melamine-faced chipboard panels</li><li>Cable tray in the back</li></ul><ul></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza 88XL excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(12987,85,0,2165,'Zaor Miza 88XL Studio Workstation Desk'),(12988,85,1,2165,'Zaor Miza 88XL Studio Workstation Desk'),(12989,76,0,2165,''),(12990,76,1,2165,''),(12991,75,0,2166,'<h1>Zaor Miza D-Stand MkII</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Acoustic isolating studio monitor stands with adjustable height and angle.</span><br /><br />The MIZA D-Stand MkII from Zaor are a pair of height and angle adjustable modular speaker stands that have been designed to put the sound of your speakers at a desirable height on your desktop. They also feature industry-grade rubber to minimize transmission (up to 95%) of speaker cabinet energy to surrounding surfaces for applications such as home recording, mixing, studio post production, and more. D-Stand Mkll also features a black finish and sleek modern look that will make your space look and sound better.<br /><br />\n<h3>Zaor Miza D-Stand MkII Features:</h3>\n<ul>\n</ul>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Acoustical isolation with Sorbothane hemispheres</span></li><li>Height-adjustable up to 5 cm</li><li>Inclinable up to 9°</li><li>Ships in pairs, ready to use out of the box</li><li>Max. weight 25kg when used horizontally and 15kg when inclined</li><li>Useable surface 240 x 240 mm</li>\n</ul>\n<ul>\n</ul>\n<br />\n<h3>About Zaor</h3>\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.\n<br /><br />\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza D-Stand MkII excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(12992,75,1,2166,'<h1>Zaor Miza D-Stand MkII</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Acoustic isolating studio monitor stands with adjustable height and angle.</span><br /><br />The MIZA D-Stand MkII from Zaor are a pair of height and angle adjustable modular speaker stands that have been designed to put the sound of your speakers at a desirable height on your desktop. They also feature industry-grade rubber to minimize transmission (up to 95%) of speaker cabinet energy to surrounding surfaces for applications such as home recording, mixing, studio post production, and more. D-Stand Mkll also features a black finish and sleek modern look that will make your space look and sound better.<br /><br />\n<h3>Zaor Miza D-Stand MkII Features:</h3>\n<ul>\n</ul>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Acoustical isolation with Sorbothane hemispheres</span></li><li>Height-adjustable up to 5 cm</li><li>Inclinable up to 9°</li><li>Ships in pairs, ready to use out of the box</li><li>Max. weight 25kg when used horizontally and 15kg when inclined</li><li>Useable surface 240 x 240 mm</li>\n</ul>\n<ul>\n</ul>\n<br />\n<h3>About Zaor</h3>\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.\n<br /><br />\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza D-Stand MkII excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(12993,85,0,2166,'Zaor Miza D-Stand MkII'),(12994,85,1,2166,'Zaor Miza D-Stand MkII'),(12995,76,0,2166,''),(12996,76,1,2166,''),(12997,75,0,2167,'<h2>Zaor Miza Desktop Rack 2</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Their modular system enables you to build them up according to your needs and possibilities.<br /></span><br />ZAOR MIZA Desktop Racks come in three sizes (2, 4 or 6 rack units) as well and complement the series with some further rackspace for 19″ rack-able gear. Admittedly, the amount of outboard is shrinking, but there are still a large number of you out there who own a nice Armada of external processors, keyboard expanders, converters, CD/DVD players, tuners, power conditioners and UPS (not the shipping guys but uninterrupted power supply for PCs ) and much more. So when the main vintage gear has taken up all the space in your workstation, and you need more space to put all of this equipment, the MIZA Desktop Racks come in handy, at a reasonable cost and yet with a fresh designer look, that goes well with other MIZA elements such as the workstation the keyboard workstations or the stands.<br /><br />With an open architecture, heat is not a problem, plenty of airflow through the rack gives you enough circulation to keep your ‘babies’ nice and fresh.<br /><br /><h3>Zaor Miza Desktop Rack 2 key features and specifications:</h3><ul><li>\nHeight: 156 – 246 – 336 mm</li><li>\nDepth: 461 mm</li><li>\nWidth: 577 mm</li><li>\nModular system</li><li>\nInclinable</li><li>2 Rack Units</li></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza Desktop Rack 2 excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(12998,75,1,2167,'<h2>Zaor Miza Desktop Rack 2</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Their modular system enables you to build them up according to your needs and possibilities.<br /></span><br />ZAOR MIZA Desktop Racks come in three sizes (2, 4 or 6 rack units) as well and complement the series with some further rackspace for 19″ rack-able gear. Admittedly, the amount of outboard is shrinking, but there are still a large number of you out there who own a nice Armada of external processors, keyboard expanders, converters, CD/DVD players, tuners, power conditioners and UPS (not the shipping guys but uninterrupted power supply for PCs ) and much more. So when the main vintage gear has taken up all the space in your workstation, and you need more space to put all of this equipment, the MIZA Desktop Racks come in handy, at a reasonable cost and yet with a fresh designer look, that goes well with other MIZA elements such as the workstation the keyboard workstations or the stands.<br /><br />With an open architecture, heat is not a problem, plenty of airflow through the rack gives you enough circulation to keep your ‘babies’ nice and fresh.<br /><br /><h3>Zaor Miza Desktop Rack 2 key features and specifications:</h3><ul><li>\nHeight: 156 – 246 – 336 mm</li><li>\nDepth: 461 mm</li><li>\nWidth: 577 mm</li><li>\nModular system</li><li>\nInclinable</li><li>2 Rack Units</li></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza Desktop Rack 2 excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(12999,85,0,2167,'Zaor Miza Desktop Rack 2'),(13000,85,1,2167,'Zaor Miza Desktop Rack 2'),(13001,76,0,2167,''),(13002,76,1,2167,''),(13003,75,0,2168,'<h2>Zaor Miza Desktop Rack 4</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Their modular system enables you to build them up according to your needs and possibilities.<br /></span><br />ZAOR MIZA Desktop Racks come in three sizes (2, 4 or 6 rack units) as well and complement the series with some further rackspace for 19″ rack-able gear. Admittedly, the amount of outboard is shrinking, but there are still a large number of you out there who own a nice Armada of external processors, keyboard expanders, converters, CD/DVD players, tuners, power conditioners and UPS (not the shipping guys but uninterrupted power supply for PCs ) and much more. So when the main vintage gear has taken up all the space in your workstation, and you need more space to put all of this equipment, the MIZA Desktop Racks come in handy, at a reasonable cost and yet with a fresh designer look, that goes well with other MIZA elements such as the workstation the keyboard workstations or the stands.<br /><br />With an open architecture, heat is not a problem, plenty of airflow through the rack gives you enough circulation to keep your ‘babies’ nice and fresh.<br /><br /><h3>Zaor Miza Desktop Rack 4 key features and specifications:</h3><ul><li>\nHeight: 156 – 246 – 336 mm</li><li>\nDepth: 461 mm</li><li>\nWidth: 577 mm</li><li>\nModular system</li><li>\nInclinable</li><li>4 Rack Units</li></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza Desktop Rack 4 excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13004,75,1,2168,'<h2>Zaor Miza Desktop Rack 4</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Their modular system enables you to build them up according to your needs and possibilities.<br /></span><br />ZAOR MIZA Desktop Racks come in three sizes (2, 4 or 6 rack units) as well and complement the series with some further rackspace for 19″ rack-able gear. Admittedly, the amount of outboard is shrinking, but there are still a large number of you out there who own a nice Armada of external processors, keyboard expanders, converters, CD/DVD players, tuners, power conditioners and UPS (not the shipping guys but uninterrupted power supply for PCs ) and much more. So when the main vintage gear has taken up all the space in your workstation, and you need more space to put all of this equipment, the MIZA Desktop Racks come in handy, at a reasonable cost and yet with a fresh designer look, that goes well with other MIZA elements such as the workstation the keyboard workstations or the stands.<br /><br />With an open architecture, heat is not a problem, plenty of airflow through the rack gives you enough circulation to keep your ‘babies’ nice and fresh.<br /><br /><h3>Zaor Miza Desktop Rack 4 key features and specifications:</h3><ul><li>\nHeight: 156 – 246 – 336 mm</li><li>\nDepth: 461 mm</li><li>\nWidth: 577 mm</li><li>\nModular system</li><li>\nInclinable</li><li>4 Rack Units</li></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza Desktop Rack 4 excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13005,85,0,2168,'Zaor Miza Desktop Rack 4'),(13006,85,1,2168,'Zaor Miza Desktop Rack 4'),(13007,76,0,2168,''),(13008,76,1,2168,''),(13009,75,0,2169,'<h2>Zaor Miza Desktop Rack 6</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Their modular system enables you to build them up according to your needs and possibilities.<br /></span><br />ZAOR MIZA Desktop Racks come in three sizes (2, 4 or 6 rack units) as well and complement the series with some further rackspace for 19″ rack-able gear. Admittedly, the amount of outboard is shrinking, but there are still a large number of you out there who own a nice Armada of external processors, keyboard expanders, converters, CD/DVD players, tuners, power conditioners and UPS (not the shipping guys but uninterrupted power supply for PCs ) and much more. So when the main vintage gear has taken up all the space in your workstation, and you need more space to put all of this equipment, the MIZA Desktop Racks come in handy, at a reasonable cost and yet with a fresh designer look, that goes well with other MIZA elements such as the workstation the keyboard workstations or the stands.<br /><br />With an open architecture, heat is not a problem, plenty of airflow through the rack gives you enough circulation to keep your ‘babies’ nice and fresh.<br /><br /><h3>Zaor Miza Desktop Rack 6 key features and specifications:</h3><ul><li>\nHeight: 156 – 246 – 336 mm</li><li>\nDepth: 461 mm</li><li>\nWidth: 577 mm</li><li>\nModular system</li><li>\nInclinable</li><li>6 Rack Units</li></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza Desktop Rack 6 excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13010,75,1,2169,'<h2>Zaor Miza Desktop Rack 6</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Their modular system enables you to build them up according to your needs and possibilities.<br /></span><br />ZAOR MIZA Desktop Racks come in three sizes (2, 4 or 6 rack units) as well and complement the series with some further rackspace for 19″ rack-able gear. Admittedly, the amount of outboard is shrinking, but there are still a large number of you out there who own a nice Armada of external processors, keyboard expanders, converters, CD/DVD players, tuners, power conditioners and UPS (not the shipping guys but uninterrupted power supply for PCs ) and much more. So when the main vintage gear has taken up all the space in your workstation, and you need more space to put all of this equipment, the MIZA Desktop Racks come in handy, at a reasonable cost and yet with a fresh designer look, that goes well with other MIZA elements such as the workstation the keyboard workstations or the stands.<br /><br />With an open architecture, heat is not a problem, plenty of airflow through the rack gives you enough circulation to keep your ‘babies’ nice and fresh.<br /><br /><h3>Zaor Miza Desktop Rack 6 key features and specifications:</h3><ul><li>\nHeight: 156 – 246 – 336 mm</li><li>\nDepth: 461 mm</li><li>\nWidth: 577 mm</li><li>\nModular system</li><li>\nInclinable</li><li>6 Rack Units</li></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza Desktop Rack 6 excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13011,85,0,2169,'Zaor Miza Desktop Rack 6'),(13012,85,1,2169,'Zaor Miza Desktop Rack 6'),(13013,76,0,2169,''),(13014,76,1,2169,''),(13015,75,0,2170,'<h2>Zaor Miza Griprack2</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Zaor modular system, easy installation on any table or table top with up to 35mm thickness.</span><br /><br />ZAOR Miza Griprack: A slide on and tighten rack space, that uses only a fraction of the space a regular rack takes up on your desk, and offers either 2 or 4 rack spaces plus on top a padded surface to put your speakers on, your screen, the picture of your girl/boy<br />friend or you name it. You can put one rack, two racks, even three racks or … none if you work all in the box.<inline style=\"background-color: rgb(255, 255, 255);\"><br /></inline><br /><h3>Zaor Miza Griprack2 key features and specifications:</h3>\n<ul></ul><ul><li>Height: 2 units</li><li>Depth: 450 mm</li><li>Width: 560 mm</li><li>Modular system</li></ul><ul></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza Griprack2 excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13016,75,1,2170,'<h2>Zaor Miza Griprack2</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Zaor modular system, easy installation on any table or table top with up to 35mm thickness.</span><br /><br />ZAOR Miza Griprack: A slide on and tighten rack space, that uses only a fraction of the space a regular rack takes up on your desk, and offers either 2 or 4 rack spaces plus on top a padded surface to put your speakers on, your screen, the picture of your girl/boy<br />friend or you name it. You can put one rack, two racks, even three racks or … none if you work all in the box.<inline style=\"background-color: rgb(255, 255, 255);\"><br /></inline><br /><h3>Zaor Miza Griprack2 key features and specifications:</h3>\n<ul></ul><ul><li>Height: 2 units</li><li>Depth: 450 mm</li><li>Width: 560 mm</li><li>Modular system</li></ul><ul></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza Griprack2 excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13017,85,0,2170,'Zaor Miza Griprack2'),(13018,85,1,2170,'Zaor Miza Griprack2'),(13019,76,0,2170,''),(13020,76,1,2170,''),(13021,75,0,2171,'<h2>Zaor Miza Griprack4</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Zaor modular system, easy installation on any table or table top with up to 35mm thickness.</span><br /><br />ZAOR Miza Griprack: A slide on and tighten rack space, that uses only a fraction of the space a regular rack takes up on your desk, and offers either 2 or 4 rack spaces plus on top a padded surface to put your speakers on, your screen, the picture of your girl/boy<br />friend or you name it. You can put one rack, two racks, even three racks or … none if you work all in the box.<inline style=\"background-color: rgb(255, 255, 255);\"><br /></inline><br /><h3>Zaor Miza Griprack4 key features and specifications:</h3>\n<ul></ul><ul><li>Height: 4 units</li><li>Depth: 450 mm</li><li>Width: 560 mm</li><li>Modular system</li></ul><ul></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza Griprack4 excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13022,75,1,2171,'<h2>Zaor Miza Griprack4</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Zaor modular system, easy installation on any table or table top with up to 35mm thickness.</span><br /><br />ZAOR Miza Griprack: A slide on and tighten rack space, that uses only a fraction of the space a regular rack takes up on your desk, and offers either 2 or 4 rack spaces plus on top a padded surface to put your speakers on, your screen, the picture of your girl/boy<br />friend or you name it. You can put one rack, two racks, even three racks or … none if you work all in the box.<inline style=\"background-color: rgb(255, 255, 255);\"><br /></inline><br /><h3>Zaor Miza Griprack4 key features and specifications:</h3>\n<ul></ul><ul><li>Height: 4 units</li><li>Depth: 450 mm</li><li>Width: 560 mm</li><li>Modular system</li></ul><ul></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza Griprack4 excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13023,85,0,2171,'Zaor Miza Griprack4'),(13024,85,1,2171,'Zaor Miza Griprack4'),(13025,76,0,2171,''),(13026,76,1,2171,''),(13027,75,0,2172,'<h2>Zaor Miza Jr. Studio Workstation Desk</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">The  Miza Z is a basic desk designed for the user.</span><br /><br /><p><inline style=\"background-color: rgb(255, 255, 255);\">First and foremost the MIZA Jr. is a compact desk for musicians and \nall professions spending a large part of their work life on a computer. \nBelow the whole width of the tabletop is an extractable level, which \noffers room for keyboard and mouse, Pads and pens but also drum \nmachines, synthesisers or (MIDI-) controllers as well as DJ-mixers. Depending on the \napplication, the height of that level can be set up from a minimal 5 cm \nto a comfortable 16 cm of useable space below the top work surface. This\n makes the desk attractive for both a computer programmer or graphic \nartist as well as a creative music producer or DJ. </inline></p><inline style=\"background-color: rgb(255, 255, 255);\"><inline style=\"background-color: rgb(0, 0, 0);\">\n</inline></inline><p><inline style=\"background-color: rgb(255, 255, 255);\"><inline style=\"background-color: rgb(255, 255, 255);\">Usually a work desk will have one or two screens, 24“ being today’s \nstandard. These will have bases of different shapes and heights, take up\n valuable space and, at least in the case of someone working with sound,\n represent formidable obstacles to a proper listening experience! Here, \nMIZA Jr. shines with a second level below the back of the work level \n(like the one in front, it is height adjustable in steps of 16 mm down \nto 16 cm below the top  late) and removable panels, that allow to place \nthe foot of the screen(s) below the surface. Those cover panels come in \nthree segments so you can place one or two screens with the lower \nviewable edge at the edge of the table top. The advantages are both \nacoustic and aesthetic nature, allowing the user to ban cables, power \nsupplies and USB-hubs below the surface – leaving a clear, optimised \nwork space. MIZA Jr is made from 18mm melamine faced chip board with \naward wood edge (oak) featuring a dual cross section at the bottom for \noptimum stability.</inline></inline></p><inline style=\"background-color: rgb(255, 255, 255);\">\nThe layout is definitely urban, since the small size of the desk will\n fit even the smallest room: L x W x H = 125 cm x 70 cm x 77,6 cm.<br /><br />\nIt is resolutely modern, for big mixers, massive outboard gear inlarge \nfacilities are being gradually replaced by computer based outfits, \nespecially since EDM has come to dominate the charts and DJs are the \nheroes of the day! Zaor <a href=\"http://www.zaorstudiofurniture.com/\" title=\"HOME\"></a>pays\n tribute to this trend and has shed any superfluous attribute while \nadopting a unique flexibility that turns the MIZA Jr. into a smart \ncompanion of the creative media worker!<br /></inline><br /><h3>Zaor Miza Jr. key features and specifications:</h3>\n<ul></ul><ul><li>Height:  820 mm</li><li>Depth: 846 mm</li><li>Width: 1552 mm</li><li>Melamine-faced chipboard panels</li><li>Solid wood applications</li><li>Cable tray in the back</li></ul><ul></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza Jr. excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13028,75,1,2172,'<h2>Zaor Miza Jr. Studio Workstation Desk</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">The  Miza Z is a basic desk designed for the user.</span><br /><br /><p><inline style=\"background-color: rgb(255, 255, 255);\">First and foremost the MIZA Jr. is a compact desk for musicians and \nall professions spending a large part of their work life on a computer. \nBelow the whole width of the tabletop is an extractable level, which \noffers room for keyboard and mouse, Pads and pens but also drum \nmachines, synthesisers or (MIDI-) controllers as well as DJ-mixers. Depending on the \napplication, the height of that level can be set up from a minimal 5 cm \nto a comfortable 16 cm of useable space below the top work surface. This\n makes the desk attractive for both a computer programmer or graphic \nartist as well as a creative music producer or DJ. </inline></p><inline style=\"background-color: rgb(255, 255, 255);\"><inline style=\"background-color: rgb(0, 0, 0);\">\n</inline></inline><p><inline style=\"background-color: rgb(255, 255, 255);\"><inline style=\"background-color: rgb(255, 255, 255);\">Usually a work desk will have one or two screens, 24“ being today’s \nstandard. These will have bases of different shapes and heights, take up\n valuable space and, at least in the case of someone working with sound,\n represent formidable obstacles to a proper listening experience! Here, \nMIZA Jr. shines with a second level below the back of the work level \n(like the one in front, it is height adjustable in steps of 16 mm down \nto 16 cm below the top  late) and removable panels, that allow to place \nthe foot of the screen(s) below the surface. Those cover panels come in \nthree segments so you can place one or two screens with the lower \nviewable edge at the edge of the table top. The advantages are both \nacoustic and aesthetic nature, allowing the user to ban cables, power \nsupplies and USB-hubs below the surface – leaving a clear, optimised \nwork space. MIZA Jr is made from 18mm melamine faced chip board with \naward wood edge (oak) featuring a dual cross section at the bottom for \noptimum stability.</inline></inline></p><inline style=\"background-color: rgb(255, 255, 255);\">\nThe layout is definitely urban, since the small size of the desk will\n fit even the smallest room: L x W x H = 125 cm x 70 cm x 77,6 cm.<br /><br />\nIt is resolutely modern, for big mixers, massive outboard gear inlarge \nfacilities are being gradually replaced by computer based outfits, \nespecially since EDM has come to dominate the charts and DJs are the \nheroes of the day! Zaor <a href=\"http://www.zaorstudiofurniture.com/\" title=\"HOME\"></a>pays\n tribute to this trend and has shed any superfluous attribute while \nadopting a unique flexibility that turns the MIZA Jr. into a smart \ncompanion of the creative media worker!<br /></inline><br /><h3>Zaor Miza Jr. key features and specifications:</h3>\n<ul></ul><ul><li>Height:  820 mm</li><li>Depth: 846 mm</li><li>Width: 1552 mm</li><li>Melamine-faced chipboard panels</li><li>Solid wood applications</li><li>Cable tray in the back</li></ul><ul></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza Jr. excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13029,85,0,2172,'Zaor Miza Jr. Studio Workstation Desk'),(13030,85,1,2172,'Zaor Miza Jr. Studio Workstation Desk'),(13031,76,0,2172,''),(13032,76,1,2172,''),(13033,75,0,2173,'<h2>Zaor Miza M Studio Workstation Desk</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Styled in a black cherry finish, the Miza M from Zaor is a modular studio desk that also doubles as a surface for any 88-key digital piano</span><br /><br />ZAOR MIZA M – Modular desk for keyboard up to 1415 mm wide, 400 mm deep \nand 162 mm high | Dual rail system with floor support | Carries up to 30\n kg | Cable tray in the back | Size 1552 x 846 x 820 mm (WxDxH) | \nMelamine faced Chipboard and solid wood | Comes flat packed  | Easy \nassembly with 1-2 people.<br /><br /><p> The piano support offers two legs for keyboard stabilization.\n Furthermore, an integrated cable tray located in the rear of the desk \nwill aid you in the ongoing fight against clutter. The desk supports up \nto 90 lb, and accommodates Zaor Gripracks and/or D-Stands (available \nseparately).</p>\n\n<h3>Zaor Miza M key features and specifications:</h3>\n<ul></ul><ul><li>Height:  820 mm</li><li>Depth: 846 mm</li><li>Width: 1552 mm</li><li>Melamine-faced chipboard panels</li><li>Solid wood applications</li><li>Cable tray in the back</li></ul><ul></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza M excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13034,75,1,2173,'<h2>Zaor Miza M Studio Workstation Desk</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Styled in a black cherry finish, the Miza M from Zaor is a modular studio desk that also doubles as a surface for any 88-key digital piano</span><br /><br />ZAOR MIZA M – Modular desk for keyboard up to 1415 mm wide, 400 mm deep \nand 162 mm high | Dual rail system with floor support | Carries up to 30\n kg | Cable tray in the back | Size 1552 x 846 x 820 mm (WxDxH) | \nMelamine faced Chipboard and solid wood | Comes flat packed  | Easy \nassembly with 1-2 people.<br /><br /><p> The piano support offers two legs for keyboard stabilization.\n Furthermore, an integrated cable tray located in the rear of the desk \nwill aid you in the ongoing fight against clutter. The desk supports up \nto 90 lb, and accommodates Zaor Gripracks and/or D-Stands (available \nseparately).</p>\n\n<h3>Zaor Miza M key features and specifications:</h3>\n<ul></ul><ul><li>Height:  820 mm</li><li>Depth: 846 mm</li><li>Width: 1552 mm</li><li>Melamine-faced chipboard panels</li><li>Solid wood applications</li><li>Cable tray in the back</li></ul><ul></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza M excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13035,85,0,2173,'Zaor Miza M Studio Workstation Desk'),(13036,85,1,2173,'Zaor Miza M Studio Workstation Desk'),(13037,76,0,2173,''),(13038,76,1,2173,''),(13039,75,0,2174,'<h2>Zaor Miza Rack 12</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Miza Furniture Rack from Zaor is a rugged 12 RU rack stand with enclosed side panels.</span><br /><br />ZAOR MIZA RACKS<a href=\"http://www.poe-music.com/search?q=miza+racks\"></a>\n come in two sizes (12 or 16 rack units) as well and complement the \nseries with some further rackspace for 19″ rack-able gear. Admittedly, \nthe amount of outboard is shrinking, but there are still a large number \nof you out there who own a nice Armada of external processors, keyboard \nexpanders, converters, CD/DVD players, tuners, power conditioners and \nUPS (not the shipping guys but uninterrupted power supply for PCs ) and \nmuch more. So when the main vintage gear has taken up all the space in \nyour workstation, and you need more space to put all of this equipment, \nthe MIZA Racks come in handy, at a reasonable cost and yet with a fresh \ndesigner look, that goes well with other MIZA elements<a href=\"http://www.zaorstudiofurniture.com/miza/\" target=\"_blank\"></a> such as the MIZA station, the keyboard workstations or the stands. <br />\nWIth an open architecture, heat is not a problem, plenty of airflow \nthrough the rack gives you enough circulation to keep your ‘babies’ nice\n and fresh. In the back, the practical cable rail allows to put order into your whole connectivity, so it don’t look like a jungle behind your furniture.<br /><br /><h3>Zaor Miza Rack 12 key features and specifications:</h3>\n<ul></ul><ul></ul><ul></ul><ul><li>Height: 997 mm</li><li>Depth: 500 mm</li><li>Width: 600 mm</li><li>12 Rack Units</li></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza Rack 12 excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13040,75,1,2174,'<h2>Zaor Miza Rack 12</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Miza Furniture Rack from Zaor is a rugged 12 RU rack stand with enclosed side panels.</span><br /><br />ZAOR MIZA RACKS<a href=\"http://www.poe-music.com/search?q=miza+racks\"></a>\n come in two sizes (12 or 16 rack units) as well and complement the \nseries with some further rackspace for 19″ rack-able gear. Admittedly, \nthe amount of outboard is shrinking, but there are still a large number \nof you out there who own a nice Armada of external processors, keyboard \nexpanders, converters, CD/DVD players, tuners, power conditioners and \nUPS (not the shipping guys but uninterrupted power supply for PCs ) and \nmuch more. So when the main vintage gear has taken up all the space in \nyour workstation, and you need more space to put all of this equipment, \nthe MIZA Racks come in handy, at a reasonable cost and yet with a fresh \ndesigner look, that goes well with other MIZA elements<a href=\"http://www.zaorstudiofurniture.com/miza/\" target=\"_blank\"></a> such as the MIZA station, the keyboard workstations or the stands. <br />\nWIth an open architecture, heat is not a problem, plenty of airflow \nthrough the rack gives you enough circulation to keep your ‘babies’ nice\n and fresh. In the back, the practical cable rail allows to put order into your whole connectivity, so it don’t look like a jungle behind your furniture.<br /><br /><h3>Zaor Miza Rack 12 key features and specifications:</h3>\n<ul></ul><ul></ul><ul></ul><ul><li>Height: 997 mm</li><li>Depth: 500 mm</li><li>Width: 600 mm</li><li>12 Rack Units</li></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza Rack 12 excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13041,85,0,2174,'Zaor Miza Rack 12'),(13042,85,1,2174,'Zaor Miza Rack 12'),(13043,76,0,2174,''),(13044,76,1,2174,''),(13045,75,0,2175,'<h2>Zaor Miza Rack 16</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Miza Furniture Rack from Zaor is a rugged 16 RU rack stand with enclosed side panels.</span><br /><br />ZAOR MIZA RACKS<a href=\"http://www.poe-music.com/search?q=miza+racks\"></a>\n come in two sizes (12 or 16 rack units) as well and complement the \nseries with some further rackspace for 19″ rack-able gear. Admittedly, \nthe amount of outboard is shrinking, but there are still a large number \nof you out there who own a nice Armada of external processors, keyboard \nexpanders, converters, CD/DVD players, tuners, power conditioners and \nUPS (not the shipping guys but uninterrupted power supply for PCs ) and \nmuch more. So when the main vintage gear has taken up all the space in \nyour workstation, and you need more space to put all of this equipment, \nthe MIZA Racks come in handy, at a reasonable cost and yet with a fresh \ndesigner look, that goes well with other MIZA elements<a href=\"http://www.zaorstudiofurniture.com/miza/\" target=\"_blank\"></a> such as the MIZA station, the keyboard workstations or the stands. <br />\nWIth an open architecture, heat is not a problem, plenty of airflow \nthrough the rack gives you enough circulation to keep your ‘babies’ nice\n and fresh. In the back, the practical cable rail allows to put order into your whole connectivity, so it don’t look like a jungle behind your furniture.<br /><br /><h3>Zaor Miza Rack 16 key features and specifications:</h3>\n<ul></ul><ul></ul><ul></ul><ul><li>Height: 997 mm</li><li>Depth: 500 mm</li><li>Width: 600 mm</li><li>16 Rack Units</li></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza Rack 16 excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13046,75,1,2175,'<h2>Zaor Miza Rack 16</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Miza Furniture Rack from Zaor is a rugged 16 RU rack stand with enclosed side panels.</span><br /><br />ZAOR MIZA RACKS<a href=\"http://www.poe-music.com/search?q=miza+racks\"></a>\n come in two sizes (12 or 16 rack units) as well and complement the \nseries with some further rackspace for 19″ rack-able gear. Admittedly, \nthe amount of outboard is shrinking, but there are still a large number \nof you out there who own a nice Armada of external processors, keyboard \nexpanders, converters, CD/DVD players, tuners, power conditioners and \nUPS (not the shipping guys but uninterrupted power supply for PCs ) and \nmuch more. So when the main vintage gear has taken up all the space in \nyour workstation, and you need more space to put all of this equipment, \nthe MIZA Racks come in handy, at a reasonable cost and yet with a fresh \ndesigner look, that goes well with other MIZA elements<a href=\"http://www.zaorstudiofurniture.com/miza/\" target=\"_blank\"></a> such as the MIZA station, the keyboard workstations or the stands. <br />\nWIth an open architecture, heat is not a problem, plenty of airflow \nthrough the rack gives you enough circulation to keep your ‘babies’ nice\n and fresh. In the back, the practical cable rail allows to put order into your whole connectivity, so it don’t look like a jungle behind your furniture.<br /><br /><h3>Zaor Miza Rack 16 key features and specifications:</h3>\n<ul></ul><ul></ul><ul></ul><ul><li>Height: 997 mm</li><li>Depth: 500 mm</li><li>Width: 600 mm</li><li>16 Rack Units</li></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza Rack 16 excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13047,85,0,2175,'Zaor Miza Rack 16'),(13048,85,1,2175,'Zaor Miza Rack 16'),(13049,76,0,2175,''),(13050,76,1,2175,''),(13051,75,0,2176,'<h2>Zaor Miza Stand MkII - Adjustable Height Speaker Stand</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Elegantly styled, height-adjustable speaker stand with a solid wood construction</span><br /><br />\n\nZAOR MIZA Stands were designed with two main criteria in mind: They should be affordable and yet designed to the best standards of technical performance and design. Zaor chose the same materials as for the other items in the MIZA range, but with two particulars, that make it a very professional and highly useable speaker stand: They added a pad of AERSTOP on top of the stand, that helps isolate the speaker from the stand, reducing the propagation of lower frequency content through the speaker to the floor and thus the room.<br /><br />\n\n\n<h3>Zaor Miza Stand MkII unique features:</h3>\n<ul>\n<li>Sleek, modern designs with solid, sturdy build quality</li>\n\n<li>Adjustable feet</li>\n<li>Adjustable height</li>\n<li>All Monitor Stands are hand-built and tested before leaving the factory </li>\n</ul><br />\n\n<h3>Zaor Miza Stand MkII key features and specifications:</h3>\n<ul></ul> Height: 857 – 1206 mm (min to max)<br />Top: 230 x 214 mm<br />\nBottom: 322 x 294 mm<br />\nAdjustable in height<br />\nAERstop pad<br />\nup to 25kg<ul></ul>\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing facilitates creativity and inspires confidence in clients like a studio that looks as good as it sounds—and <br />Zaor Miza Stand MkII excels in both arenas. For more information, call or chat with an RSPE Representative today. </h3>'),(13052,75,1,2176,'<h2>Zaor Miza Stand MkII - Adjustable Height Speaker Stand</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Elegantly styled, height-adjustable speaker stand with a solid wood construction</span><br /><br />\n\nZAOR MIZA Stands were designed with two main criteria in mind: They should be affordable and yet designed to the best standards of technical performance and design. Zaor chose the same materials as for the other items in the MIZA range, but with two particulars, that make it a very professional and highly useable speaker stand: They added a pad of AERSTOP on top of the stand, that helps isolate the speaker from the stand, reducing the propagation of lower frequency content through the speaker to the floor and thus the room.<br /><br />\n\n\n<h3>Zaor Miza Stand MkII unique features:</h3>\n<ul>\n<li>Sleek, modern designs with solid, sturdy build quality</li>\n\n<li>Adjustable feet</li>\n<li>Adjustable height</li>\n<li>All Monitor Stands are hand-built and tested before leaving the factory </li>\n</ul><br />\n\n<h3>Zaor Miza Stand MkII key features and specifications:</h3>\n<ul></ul> Height: 857 – 1206 mm (min to max)<br />Top: 230 x 214 mm<br />\nBottom: 322 x 294 mm<br />\nAdjustable in height<br />\nAERstop pad<br />\nup to 25kg<ul></ul>\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing facilitates creativity and inspires confidence in clients like a studio that looks as good as it sounds—and <br />Zaor Miza Stand MkII excels in both arenas. For more information, call or chat with an RSPE Representative today. </h3>'),(13053,85,0,2176,'Zaor Miza Stand MkII - Adjustable Height Speaker Stand'),(13054,85,1,2176,'Zaor Miza Stand MkII - Adjustable Height Speaker Stand'),(13055,76,0,2176,''),(13056,76,1,2176,''),(13057,75,0,2177,'<h2>Zaor Miza V-Stands - Fixed Height Speaker Stands (Pair)</h2>\n\n<i>Elegant, modern fixed height speaker stand with Aerstop pad for acoustic isolation and speaker decoupling. Designed to match Zaor\'s Miza Line of studio furniture.</i><br /><br /><div>ZAOR MIZA V-Stands were designed with two main criteria in mind: They should be affordable and designed to the <span style=\"background-color: initial;\">best standards of technical performance and design. V-Stands are built using the same high-quality materials as other items in the MIZA </span><span style=\"background-color: initial;\">range, making V-Stand a very professional and highly useable speaker stand. Zaor also added a pad of </span><span style=\"background-color: initial;\">AERSTOP on top of the stand that helps isolate the speaker from the stand, reducing the propagation of lower frequency </span><span style=\"background-color: initial;\">content through the speaker to the floor and thus the room. Miza V-Stands are available in two fixed heights, 36\" and 42\".</span></div><br />\n\n\n<h3>Zaor Miza V-Stand features:</h3>\n<ul>\n<li>Sleek, modern designs with solid, sturdy build quality</li>\n<li>Aerstop pad for speaker decoupling</li>\n<li>Adjustable feet with double-layer decoupling </li>\n<li>Fixed Height, available in 36\" or 42\"</li><li>Available in 3 finishes: Black, Black/Cherry, and Titanium/Wenge (42\" Available in Black only)</li><li>Supports up to 40 kg (88 lb)</li></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours. <br /><br />'),(13058,75,1,2177,'<h2>Zaor Miza V-Stands - Fixed Height Speaker Stands (Pair)</h2>\n\n<i>Elegant, modern fixed height speaker stand with Aerstop pad for acoustic isolation and speaker decoupling. Designed to match Zaor\'s Miza Line of studio furniture.</i><br /><br /><div>ZAOR MIZA V-Stands were designed with two main criteria in mind: They should be affordable and designed to the <span style=\"background-color: initial;\">best standards of technical performance and design. V-Stands are built using the same high-quality materials as other items in the MIZA </span><span style=\"background-color: initial;\">range, making V-Stand a very professional and highly useable speaker stand. Zaor also added a pad of </span><span style=\"background-color: initial;\">AERSTOP on top of the stand that helps isolate the speaker from the stand, reducing the propagation of lower frequency </span><span style=\"background-color: initial;\">content through the speaker to the floor and thus the room. Miza V-Stands are available in two fixed heights, 36\" and 42\".</span></div><br />\n\n\n<h3>Zaor Miza V-Stand features:</h3>\n<ul>\n<li>Sleek, modern designs with solid, sturdy build quality</li>\n<li>Aerstop pad for speaker decoupling</li>\n<li>Adjustable feet with double-layer decoupling </li>\n<li>Fixed Height, available in 36\" or 42\"</li><li>Available in 3 finishes: Black, Black/Cherry, and Titanium/Wenge (42\" Available in Black only)</li><li>Supports up to 40 kg (88 lb)</li></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours. <br /><br />'),(13059,85,0,2177,'Zaor Miza V-Stands - Fixed Height Speaker Stands'),(13060,85,1,2177,'Zaor Miza V-Stands - Fixed Height Speaker Stands'),(13061,76,0,2177,''),(13062,76,1,2177,''),(13063,75,0,2178,'<h2>Zaor Miza X2 Studio Workstation Desk</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">MIZA X2 is the flagship of the MIZA line. </span><br /><br />Miza X2 will replace the current version of MIZA X, that features built-in height adjustable speakers stands, with a new version that comes with a pair of Zaor Isoplanes, featuring IsoAcoustic’s Aperta delivering superb acoustic isolation and thus a much better Stereo image and transparent low.<br /><br />With its exceptional features (integrated speaker stands, …) this piece of furniture is without equal!<br />When user dreams come true. The genesis of this project was indeed a customer’s wish for the perfect desk. The ensuing dialogue resulted in this studio center, which will give every PC based studio the look and feel of a real studio! Everything is integrated, from the giant drawer for controllers, master keyboards, monitor section to sufficient rack space, very reachable due to the angled build; from the huge PC compartment to the very practical shelf for disk drives and other accessories to the optional monitor arm: all of this for a very affordable price!<br /><br />\n\n<h3>Zaor Miza X2 key features and specifications:</h3>\n<ul></ul><ul><li>Depth: 1132 – 1593 mm</li><li>\nWidth: 1889 mm</li><li>Drawer: 1760 x 460 mm</li><li>3 x 4 rack units</li><li>Ergonomically angled</li><li>Including a pair of IsoPlanes featuring IsoAcoustic’s Aperta</li><li>Computer storage space</li><li>Large shelf for disk drives etc</li></ul><ul></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza X2 excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13064,75,1,2178,'<h2>Zaor Miza X2 Studio Workstation Desk</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">MIZA X2 is the flagship of the MIZA line. </span><br /><br />Miza X2 will replace the current version of MIZA X, that features built-in height adjustable speakers stands, with a new version that comes with a pair of Zaor Isoplanes, featuring IsoAcoustic’s Aperta delivering superb acoustic isolation and thus a much better Stereo image and transparent low.<br /><br />With its exceptional features (integrated speaker stands, …) this piece of furniture is without equal!<br />When user dreams come true. The genesis of this project was indeed a customer’s wish for the perfect desk. The ensuing dialogue resulted in this studio center, which will give every PC based studio the look and feel of a real studio! Everything is integrated, from the giant drawer for controllers, master keyboards, monitor section to sufficient rack space, very reachable due to the angled build; from the huge PC compartment to the very practical shelf for disk drives and other accessories to the optional monitor arm: all of this for a very affordable price!<br /><br />\n\n<h3>Zaor Miza X2 key features and specifications:</h3>\n<ul></ul><ul><li>Depth: 1132 – 1593 mm</li><li>\nWidth: 1889 mm</li><li>Drawer: 1760 x 460 mm</li><li>3 x 4 rack units</li><li>Ergonomically angled</li><li>Including a pair of IsoPlanes featuring IsoAcoustic’s Aperta</li><li>Computer storage space</li><li>Large shelf for disk drives etc</li></ul><ul></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza X2 excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13065,85,0,2178,'Zaor Miza X2 Studio Workstation Desk'),(13066,85,1,2178,'Zaor Miza X2 Studio Workstation Desk'),(13067,76,0,2178,''),(13068,76,1,2178,''),(13069,75,0,2179,'<h2>Zaor Miza Z Studio Workstation Desk</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Audio, ergonomics, and a sense of style – a powerful combination if you can find it for the studio.<br /></span><br />Zaor has given a lot of thought to the needs of the modern musician, producer, project studio, post production and created a platform, where the user decides precisely what he needs and where. We created the basic desk: MIZA Z. The characteristic look of ZAOR with the big Z on the side, the huge drawer which leaves countless possibilities, from master keyboard, to small mixer, controller to the various machines and launch pads that are the tools of the modern DJ/producer will find their home in this huge and solid space, with a roll out system known from the popular MIZA 88 XL and MIZA X.<br /><br />\n\n<h3>Zaor Miza Z key features and specifications:</h3>\n<ul></ul><ul><li> Height:  853 mm</li><li>Depth: 850 mm</li><li>Width: 1836 mm</li><li>Melamine-faced chipboard panels</li><li>Solid wood applications</li><li>Cable tray in the back</li></ul><ul></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza Z excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13070,75,1,2179,'<h2>Zaor Miza Z Studio Workstation Desk</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Audio, ergonomics, and a sense of style – a powerful combination if you can find it for the studio.<br /></span><br />Zaor has given a lot of thought to the needs of the modern musician, producer, project studio, post production and created a platform, where the user decides precisely what he needs and where. We created the basic desk: MIZA Z. The characteristic look of ZAOR with the big Z on the side, the huge drawer which leaves countless possibilities, from master keyboard, to small mixer, controller to the various machines and launch pads that are the tools of the modern DJ/producer will find their home in this huge and solid space, with a roll out system known from the popular MIZA 88 XL and MIZA X.<br /><br />\n\n<h3>Zaor Miza Z key features and specifications:</h3>\n<ul></ul><ul><li> Height:  853 mm</li><li>Depth: 850 mm</li><li>Width: 1836 mm</li><li>Melamine-faced chipboard panels</li><li>Solid wood applications</li><li>Cable tray in the back</li></ul><ul></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Miza Z excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13071,85,0,2179,'Zaor Miza Z Studio Workstation Desk'),(13072,85,1,2179,'Zaor Miza Z Studio Workstation Desk'),(13073,76,0,2179,''),(13074,76,1,2179,''),(13075,75,0,2180,'<h2>Zaor Classic Monitor Stand — Adjustable Height Speaker Stand</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">Elegantly styled, height-adjustable speaker stand with a solid wood construction</span><br /><br />\n\nKnown throughout Europe for stunning visuals and efficient designs, Zaor put everything they had into their Monitor Stands, adjustable height speaker stands. With exceptional build quality, the height-adjustable Monitor Stand features a silver/black or cherry wood finish worthy of an exotic sports car. In keeping with the exotic sports car concept of quality, Zaor uses Aerstop between surfaces for acoustic isolation—the same closed-cell rubber seal used to sound- and weatherproof Lamborghinis. The Monitor Stand can support speakers weighing up to 55 lb. on a specially made solid oak or ash wood and plywood stand, which has practically no self resonance,. Between its acoustically astute design and eye-catching good looks, the Zaor Monitor Stand is guaranteed to facilitate accurate monitoring and impress clients.<br /><br />\n\n\n<h3>Zaor Monitor Stand unique features:</h3>\n<ul>\n<li>Sleek, modern designs with solid, sturdy build quality</li>\n<li>Aerstop decoupling for speaker isolation</li>\n<li>Adjustable feet</li>\n<li>Adjustable height</li>\n<li>All Monitor Stands are hand-built and tested before leaving the factory </li>\n</ul><br />\n\n<h3>Zaor Monitor Stand key features and specifications:</h3>\n<ul>\n<li>Adjustable height from 31.4\" to 45.2\"</li>\n<li>Top: 8.2\" x 8.2\" </li>\n<li>Bottom: 12.5\" x 12.5\"</li>\n<li>Supports up to 55 lb. (25kg)</li>\n</ul><br />\n\nHand-built and hand-tested before leaving the factory, Zaor Monitor Stands speaker stands comprise a rectangular column fitted inside a larger rectangular housing that has a spring-loaded pull knob for height adjustments. The base of the Monitor Stand has adjustable legs, to provide provides stability and acoustic isolation beyond compare. <br /><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing facilitates creativity and inspires confidence in clients like a studio that looks as good as it sounds—and Zaor Monitor Stand excels in both arenas. For more information, call or chat with an RSPE Representative today. </h3>'),(13076,75,1,2180,'<h2>Zaor Classic Monitor Stand — Adjustable Height Speaker Stand</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">Elegantly styled, height-adjustable speaker stand with a solid wood construction</span><br /><br />\n\nKnown throughout Europe for stunning visuals and efficient designs, Zaor put everything they had into their Monitor Stands, adjustable height speaker stands. With exceptional build quality, the height-adjustable Monitor Stand features a silver/black or cherry wood finish worthy of an exotic sports car. In keeping with the exotic sports car concept of quality, Zaor uses Aerstop between surfaces for acoustic isolation—the same closed-cell rubber seal used to sound- and weatherproof Lamborghinis. The Monitor Stand can support speakers weighing up to 55 lb. on a specially made solid oak or ash wood and plywood stand, which has practically no self resonance,. Between its acoustically astute design and eye-catching good looks, the Zaor Monitor Stand is guaranteed to facilitate accurate monitoring and impress clients.<br /><br />\n\n\n<h3>Zaor Monitor Stand unique features:</h3>\n<ul>\n<li>Sleek, modern designs with solid, sturdy build quality</li>\n<li>Aerstop decoupling for speaker isolation</li>\n<li>Adjustable feet</li>\n<li>Adjustable height</li>\n<li>All Monitor Stands are hand-built and tested before leaving the factory </li>\n</ul><br />\n\n<h3>Zaor Monitor Stand key features and specifications:</h3>\n<ul>\n<li>Adjustable height from 31.4\" to 45.2\"</li>\n<li>Top: 8.2\" x 8.2\" </li>\n<li>Bottom: 12.5\" x 12.5\"</li>\n<li>Supports up to 55 lb. (25kg)</li>\n</ul><br />\n\nHand-built and hand-tested before leaving the factory, Zaor Monitor Stands speaker stands comprise a rectangular column fitted inside a larger rectangular housing that has a spring-loaded pull knob for height adjustments. The base of the Monitor Stand has adjustable legs, to provide provides stability and acoustic isolation beyond compare. <br /><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing facilitates creativity and inspires confidence in clients like a studio that looks as good as it sounds—and Zaor Monitor Stand excels in both arenas. For more information, call or chat with an RSPE Representative today. </h3>'),(13077,85,0,2180,'Zaor Classic Monitor Stand - Adjustable Height Speaker Stand'),(13078,85,1,2180,'Zaor Classic Monitor Stand - Adjustable Height Speaker Stand'),(13079,76,0,2180,''),(13080,76,1,2180,''),(13081,75,0,2181,'<h2>Zaor Onda Angle Studio Workstation Desk</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Modern Studio Design with Cable Management</span><br /><br />\n\n\n<p>The ONDA stems from the request of some of our customers to combine a\n light, but solid work desk with some rack spaces on the left and right \nhand side, at the same time providing a surface on top of those rack \nspaces to put some studio monitors. The focus is on durable quality with\n side panels, front arm rest, top panels and feet being crafted from \nsolid local oak.</p>\n<p>It comes in a straight version, with the two rack bays running in \nparallel or angled at 18 degrees, providing a trapeze shaped work \nsurface, widening towards the back. As a further customer wish granted, \nthe ONDA has a lowered panel in the back of the work surface, allowing \nto place a screen on its foot level with the desktop. There are cable \npassages in all the right places.</p>\nConsidering the diversity of musician/producer’s needs, the ONDA can \nbe easily adapted in width, height, angle and number of rack spaces to \nfit all kinds of configurations, such as adding controllers, mixers, \ndeeper or no screen drop down. So with a few mods, anyone can create a \nvery personal yet affordable production desk that comes flat packed and \nwith very sturdy mounting kits, so that if you need to move your studio \none day, you can disassemble your desk and put it up in your new \nlocation.<br /><br />\n\n<h3>Zaor Onda Angle key features and specifications:</h3>\n<ul></ul><ul><li>Height: 812 mm</li><li>Depth: 816 mm</li><li>Width: 2346 mm (variable)</li><li>2 x 6 Rack units</li><li>Solid wood (oak or ash) + particle board</li></ul><ul></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Onda Angle excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13082,75,1,2181,'<h2>Zaor Onda Angle Studio Workstation Desk</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Modern Studio Design with Cable Management</span><br /><br />\n\n\n<p>The ONDA stems from the request of some of our customers to combine a\n light, but solid work desk with some rack spaces on the left and right \nhand side, at the same time providing a surface on top of those rack \nspaces to put some studio monitors. The focus is on durable quality with\n side panels, front arm rest, top panels and feet being crafted from \nsolid local oak.</p>\n<p>It comes in a straight version, with the two rack bays running in \nparallel or angled at 18 degrees, providing a trapeze shaped work \nsurface, widening towards the back. As a further customer wish granted, \nthe ONDA has a lowered panel in the back of the work surface, allowing \nto place a screen on its foot level with the desktop. There are cable \npassages in all the right places.</p>\nConsidering the diversity of musician/producer’s needs, the ONDA can \nbe easily adapted in width, height, angle and number of rack spaces to \nfit all kinds of configurations, such as adding controllers, mixers, \ndeeper or no screen drop down. So with a few mods, anyone can create a \nvery personal yet affordable production desk that comes flat packed and \nwith very sturdy mounting kits, so that if you need to move your studio \none day, you can disassemble your desk and put it up in your new \nlocation.<br /><br />\n\n<h3>Zaor Onda Angle key features and specifications:</h3>\n<ul></ul><ul><li>Height: 812 mm</li><li>Depth: 816 mm</li><li>Width: 2346 mm (variable)</li><li>2 x 6 Rack units</li><li>Solid wood (oak or ash) + particle board</li></ul><ul></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Onda Angle excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13083,85,0,2181,'Zaor Onda Angle Studio Workstation Desk'),(13084,85,1,2181,'Zaor Onda Angle Studio Workstation Desk'),(13085,76,0,2181,''),(13086,76,1,2181,''),(13087,75,0,2182,'<h2>Zaor Yesk - Modern Studio Workstation</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Beauty of form meets functionality in a DAW work surface with two 4U equipment racks</span><br /><br />\n\n\nZaor YESK Modern Production desk, open design Full solid wood frame 8 Rack spaces top level for speakers/screens, workspace level and extractable keyboard level Open sided keyboard tray for small medium or large keyboards.<br /><br />\n\n\n<h3>Zaor Yesk features:</h3>\n<ul>\n<li>Modern design with smooth, flowing unobstructed lines</li><li> Height: 950 mm</li><li> Depth: 852 mm</li><li> Width: 1500 mm</li><li> 2 x 4 Rack units</li><li> Full solid wood frame</li><li> Melamine-faced chipboard panels</li></ul><ul></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Yesk excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13088,75,1,2182,'<h2>Zaor Yesk - Modern Studio Workstation</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Beauty of form meets functionality in a DAW work surface with two 4U equipment racks</span><br /><br />\n\n\nZaor YESK Modern Production desk, open design Full solid wood frame 8 Rack spaces top level for speakers/screens, workspace level and extractable keyboard level Open sided keyboard tray for small medium or large keyboards.<br /><br />\n\n\n<h3>Zaor Yesk features:</h3>\n<ul>\n<li>Modern design with smooth, flowing unobstructed lines</li><li> Height: 950 mm</li><li> Depth: 852 mm</li><li> Width: 1500 mm</li><li> 2 x 4 Rack units</li><li> Full solid wood frame</li><li> Melamine-faced chipboard panels</li></ul><ul></ul><br />\n\n\n<h3>About Zaor</h3>\n\nFounded in 2004 by seasoned audio professionals from Italy and Germany Zaor (pronounced Zay-or) recognized the lack of functional studio furniture combining attractive and inspiring design with ergonomic efficiency. Since then, Zaor has grown to be Europe\'s number one supplier of ready-made and custom recording studio furniture.<br /><br />\n\nA combination of Italian design, piano builder\'s precision, and German engineering, Zaor’s mission is to create the perfect studio environment, equally pleasing to the eyes and ears. “In essence, your gear should be placed in such a way that nothing interferes with the magic moment when it hits... “<br /><br />\n\nAccording to Zaor’s design philosophy, walking into your creative center should be a gratifying experience, with everything catering to your needs for a smooth workflow. When you look around your studio, you should no be distracted by clutter, rather uplifted by the exquisite environment that is uniquely yours.  <br /><br />\n\n\n<h3>Nothing fosters creativity like a studio that looks as good as it sounds, and the Zaor Yesk excels equally at both. For more information, call or chat with an RSPE Representative today. </h3>'),(13089,85,0,2182,'Zaor Yesk - Modern Studio Workstation'),(13090,85,1,2182,'Zaor Yesk - Modern Studio Workstation'),(13091,76,0,2182,''),(13092,76,1,2182,''),(13093,75,0,2183,'<h2>Zynaptiq ADAPTIVERB Plug-In</h2>\n	<span style=\"font-size: 16px;\"><i>Harmonic Tracking Resynthesis Reverb</i></span><br /><div><br />Zynaptiq ADAPTIVERB  is a revolutionary reflectionsless reverberation plugin. Unlike traditional reflection-based acoustic room modeling, ADAPTIVERB adds perceived depth, harmonic richness, and butter-smooth tails without obscuring the source. Preserving the tonal definition and directness of your mix, it adds size, glue and body – making it perfect for mixing and mastering applications alike.</div><div>Powered by ray tracing, source separation, and advances in artificial intelligence, ADAPTIVERB automatically adapts to the input audio like a chameleon, blending with your sounds perfectly, and conforming its reverb tail to the tonality of the input or a user defined set of notes.</div><div>While exceptionally fast to use, its advanced synthesis, cross-filtering and reverb pitch processing functionality provides ambient artists, film composers and sound designers with exciting new creative options for making evolving drones, organic pads, lush ambient sound scapes, and more.</div><br />\n\n<h3>The MORPH features at a glance: </h3>\n<ul>\n<li><span style=\"background-color: initial;\">Revolutionary new reverberation approach with unique sonic characteristics.</span></li><li>Bionic Sustain Resynthesis creates stunningly organic tails, eliminating noisy components from the input for clear, harmonic results free of graininess.</li><li>Harmonic Contour Filter (HCF) circuit for removing effect components not in tune with the input, a captured harmonic fingerprint, or a set of notes defined using an on-screen keyboard.</li><li>Filtering and pitch quantization based HCF Keyboard modes to conform the effect to a specific key.</li><li>HCF HOLD mode for creating cross-filtering effects.</li><li>Ray Tracing and Allpass based reverb engines.</li><li>Input FREEZE function for creating drones, pads or infinite reverb type sounds.</li><li>SIMPLIFY function that recreates the input’s harmonic content with a small amount of oscillators for additive synthesis type sounds — without the warbliness. </li><li>RICHNESS parameter for adding octave, fifth or unison interval harmonics into the reverb.</li><li>Pre-Processing section including harmonic synthesis based AIR.</li><li>More than 400 presets covering a broad range of effects, including bread-and-butter reverbs, “invisible” reverbs, instrument-/voice-colored reverbs, cross-filtering, adaptively filtered delays, and pads/drones that play without input signal. </li><li>MIDI control of all key parameters.</li>\n</ul><br />\n\n<h3>Plug In Lushness</h3><div>ADAPTIVERB was designed to sound beautifully lush and smooth from the ground up. Rather than simulating a realistic room, it focuses on creating depth, harmonic richness, and sustain that sounds so naturally organic it\'s as if your sounds had more sustain to begin with. Its unique Bionic Sustain Resynthesizer creates reverb free of graininess or noise splashes, and its Ray Tracing engine creates super-dense and perfectly diffuse tails free of any attention-grabbing discrete reflections. Read more about the Bionic Sustain Resynthesizer or the Ray Tracing reverb...</div><div>You will find ADAPTIVERB works wonders on instruments like guitars, pianos, synthesizers or strings, on speech and vocals, on SFX and location sound, and even on full mixes.</div>\n\n\n<h3>No Clutter, No Mud, No Dissonance</h3><div>Applying long reverb tails is a great way to \"carry\" a sound and embed it into a mix. However, the length and amount of reverb you can successfully use for this effect is usually limited. Reverb tends to obscure detail by moving sounds into the background and it can introduce dissonance and tonal clashing when the tail overlaps with a note or chord change. This often results in a cluttered, \"muddy\" mix that lacks directness and tonal definition.</div><div>ADAPTIVERB is always in tune with the input or a user-defined set of pitches, filtering out all unwanted harmonic content from the reverb automatically. Bye bye, mud & clutter – hello, harmonic clarity!</div>\n\n\n<h3>Like a (Bionic) Chameleon</h3>\nRather than stacking delay/allpass nodes or convolving the input with an IR (impulse response), ADAPTIVERB employs machine learning, ray tracing and source separation techniques to synthesize a reverb tail that automatically adapts to the audio context in which it is used – like a chameleon.  As a result, reverb timbre can be matched to the source automatically, and the reverb can blend with your sounds so seamlessly that it becomes \"invisible\" with minimal effort – great for adding \"glue\" in mixing and mastering applications without having to adjust roll-offs, frequency dependent decay times or crossover frequencies manually. <br /><br />\n\n\n<h3>Sound Design Savvy</h3>ADAPTIVERB loves sound design. Add fifth or octave interval harmonics into the reverb using the RICHNESS parameter, create additive synth style timbres using SIMPLIFY, create drones and pads that play without input using FREEZE, or create cross-filtering effects with the Harmonic Contour Filter\'s HOLD functionality – quickly, easily and at maximum quality. Whether you produce music or design sound for film and games, ADAPTIVERB is for you. <br /><br />\n\n\n<h3>Presets Galore</h3>ADAPTIVERB ships with over 400 presets, including basic starting points, music production reverbs, adaptive delays, voice and orchestral colored reverbs, drones, pads, speech-optimized reverbs, cross-filtering presets, robotizers and more. And even this huge number of presets is just scratching the surface of what you can do with ADAPTIVERB!<br /><br /><h3>Easy To Use</h3>Like with all Zynaptiq products, the heavy lifting stays “under the hood” – making your workflow as effortless as possible. With “main” and “fine tune” GUI modes, ADAPTIVERB’s controls are both highly accessible and comprehensive. And with Zynaptiq’s advanced artificial intelligence, ADAPTIVERB can quite literally “drive itself” – saving you valuable time while producing stellar results.'),(13094,75,1,2183,'<h2>Zynaptiq ADAPTIVERB Plug-In</h2>\n	<span style=\"font-size: 16px;\"><i>Harmonic Tracking Resynthesis Reverb</i></span><br /><div><br />Zynaptiq ADAPTIVERB  is a revolutionary reflectionsless reverberation plugin. Unlike traditional reflection-based acoustic room modeling, ADAPTIVERB adds perceived depth, harmonic richness, and butter-smooth tails without obscuring the source. Preserving the tonal definition and directness of your mix, it adds size, glue and body – making it perfect for mixing and mastering applications alike.</div><div>Powered by ray tracing, source separation, and advances in artificial intelligence, ADAPTIVERB automatically adapts to the input audio like a chameleon, blending with your sounds perfectly, and conforming its reverb tail to the tonality of the input or a user defined set of notes.</div><div>While exceptionally fast to use, its advanced synthesis, cross-filtering and reverb pitch processing functionality provides ambient artists, film composers and sound designers with exciting new creative options for making evolving drones, organic pads, lush ambient sound scapes, and more.</div><br />\n\n<h3>The MORPH features at a glance: </h3>\n<ul>\n<li><span style=\"background-color: initial;\">Revolutionary new reverberation approach with unique sonic characteristics.</span></li><li>Bionic Sustain Resynthesis creates stunningly organic tails, eliminating noisy components from the input for clear, harmonic results free of graininess.</li><li>Harmonic Contour Filter (HCF) circuit for removing effect components not in tune with the input, a captured harmonic fingerprint, or a set of notes defined using an on-screen keyboard.</li><li>Filtering and pitch quantization based HCF Keyboard modes to conform the effect to a specific key.</li><li>HCF HOLD mode for creating cross-filtering effects.</li><li>Ray Tracing and Allpass based reverb engines.</li><li>Input FREEZE function for creating drones, pads or infinite reverb type sounds.</li><li>SIMPLIFY function that recreates the input’s harmonic content with a small amount of oscillators for additive synthesis type sounds — without the warbliness. </li><li>RICHNESS parameter for adding octave, fifth or unison interval harmonics into the reverb.</li><li>Pre-Processing section including harmonic synthesis based AIR.</li><li>More than 400 presets covering a broad range of effects, including bread-and-butter reverbs, “invisible” reverbs, instrument-/voice-colored reverbs, cross-filtering, adaptively filtered delays, and pads/drones that play without input signal. </li><li>MIDI control of all key parameters.</li>\n</ul><br />\n\n<h3>Plug In Lushness</h3><div>ADAPTIVERB was designed to sound beautifully lush and smooth from the ground up. Rather than simulating a realistic room, it focuses on creating depth, harmonic richness, and sustain that sounds so naturally organic it\'s as if your sounds had more sustain to begin with. Its unique Bionic Sustain Resynthesizer creates reverb free of graininess or noise splashes, and its Ray Tracing engine creates super-dense and perfectly diffuse tails free of any attention-grabbing discrete reflections. Read more about the Bionic Sustain Resynthesizer or the Ray Tracing reverb...</div><div>You will find ADAPTIVERB works wonders on instruments like guitars, pianos, synthesizers or strings, on speech and vocals, on SFX and location sound, and even on full mixes.</div>\n\n\n<h3>No Clutter, No Mud, No Dissonance</h3><div>Applying long reverb tails is a great way to \"carry\" a sound and embed it into a mix. However, the length and amount of reverb you can successfully use for this effect is usually limited. Reverb tends to obscure detail by moving sounds into the background and it can introduce dissonance and tonal clashing when the tail overlaps with a note or chord change. This often results in a cluttered, \"muddy\" mix that lacks directness and tonal definition.</div><div>ADAPTIVERB is always in tune with the input or a user-defined set of pitches, filtering out all unwanted harmonic content from the reverb automatically. Bye bye, mud & clutter – hello, harmonic clarity!</div>\n\n\n<h3>Like a (Bionic) Chameleon</h3>\nRather than stacking delay/allpass nodes or convolving the input with an IR (impulse response), ADAPTIVERB employs machine learning, ray tracing and source separation techniques to synthesize a reverb tail that automatically adapts to the audio context in which it is used – like a chameleon.  As a result, reverb timbre can be matched to the source automatically, and the reverb can blend with your sounds so seamlessly that it becomes \"invisible\" with minimal effort – great for adding \"glue\" in mixing and mastering applications without having to adjust roll-offs, frequency dependent decay times or crossover frequencies manually. <br /><br />\n\n\n<h3>Sound Design Savvy</h3>ADAPTIVERB loves sound design. Add fifth or octave interval harmonics into the reverb using the RICHNESS parameter, create additive synth style timbres using SIMPLIFY, create drones and pads that play without input using FREEZE, or create cross-filtering effects with the Harmonic Contour Filter\'s HOLD functionality – quickly, easily and at maximum quality. Whether you produce music or design sound for film and games, ADAPTIVERB is for you. <br /><br />\n\n\n<h3>Presets Galore</h3>ADAPTIVERB ships with over 400 presets, including basic starting points, music production reverbs, adaptive delays, voice and orchestral colored reverbs, drones, pads, speech-optimized reverbs, cross-filtering presets, robotizers and more. And even this huge number of presets is just scratching the surface of what you can do with ADAPTIVERB!<br /><br /><h3>Easy To Use</h3>Like with all Zynaptiq products, the heavy lifting stays “under the hood” – making your workflow as effortless as possible. With “main” and “fine tune” GUI modes, ADAPTIVERB’s controls are both highly accessible and comprehensive. And with Zynaptiq’s advanced artificial intelligence, ADAPTIVERB can quite literally “drive itself” – saving you valuable time while producing stellar results.'),(13095,85,0,2183,'Zynaptiq Adaptiverb Plug-In'),(13096,85,1,2183,'Zynaptiq Adaptiverb Plug-In'),(13097,76,0,2183,''),(13098,76,1,2183,''),(13099,75,0,2184,'<h2>Zynaptiq DESIGN Plug-In Bundle</h2>\n<i>The DESIGN Bundle: Sound Transform Effects Plug-In Bundle</i><br /><br />\nThe DESIGN Bundle bundles three sound design powerhouses into one indispensable package. Design pads, drones and ambiences, perform cross-filtering, and add pristine, lush reverb that harmonically adapts to your audio with ADAPTIVERB. Combine features of two sources into unheard new hybrid sounds, and create smooth morphing transitions with MORPH 2. Transform your sounds with multi-effects processing ranging from the sublime to the otherworldly and extreme using WORMHOLE. Whether you are a sound designer, music producer, audio artist or film composer, the DESIGN Bundle is for you!<br /><br />\n\n<h3>Zynaptiq DESIGN Includes:</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">ADAPTIVERB: Harmonic Tracking Resynthesis Reverb.</span></li>\n	<li>MORPH 2: Real-Time Structural Audio Morphing.</li>\n	<li>WORMHOLE: Otherworldly Audio Effects Processor.</li>\n</ul><br />\n<h3>Three Unbelievable plug-ins at one Unbelievable price: DESIGN – The Zynaptiq Sound Transform Effects Bundle.</h3>\n<ul>\n</ul>\n<br />'),(13100,75,1,2184,'<h2>Zynaptiq DESIGN Plug-In Bundle</h2>\n<i>The DESIGN Bundle: Sound Transform Effects Plug-In Bundle</i><br /><br />\nThe DESIGN Bundle bundles three sound design powerhouses into one indispensable package. Design pads, drones and ambiences, perform cross-filtering, and add pristine, lush reverb that harmonically adapts to your audio with ADAPTIVERB. Combine features of two sources into unheard new hybrid sounds, and create smooth morphing transitions with MORPH 2. Transform your sounds with multi-effects processing ranging from the sublime to the otherworldly and extreme using WORMHOLE. Whether you are a sound designer, music producer, audio artist or film composer, the DESIGN Bundle is for you!<br /><br />\n\n<h3>Zynaptiq DESIGN Includes:</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">ADAPTIVERB: Harmonic Tracking Resynthesis Reverb.</span></li>\n	<li>MORPH 2: Real-Time Structural Audio Morphing.</li>\n	<li>WORMHOLE: Otherworldly Audio Effects Processor.</li>\n</ul><br />\n<h3>Three Unbelievable plug-ins at one Unbelievable price: DESIGN – The Zynaptiq Sound Transform Effects Bundle.</h3>\n<ul>\n</ul>\n<br />'),(13101,85,0,2184,'Zynaptiq DESIGN Plug-In Bundle'),(13102,85,1,2184,'Zynaptiq DESIGN Plug-In Bundle'),(13103,76,0,2184,''),(13104,76,1,2184,''),(13105,75,0,2185,'<h1>Zynaptiq INTENSITY Plug-In</h1>\n<span style=\"font-size:16px; font-style:italic;\">The fastest and easiest plug-in to get great sound—INTENSITY</span><br /><br />Zynaptiq INTENSITY is a new kind of audio processor plug-in for mixing, mastering and sound design. Built on techniques typically found in facial recognition algorithms, INTENSITY brings out a sound’s inherent detail, increases its perceived loudness and density, and adds insane amounts of clarity. The unique algorithm carves out important signal features – making sounds sound more like themselves – and is operated with essentially one control. Between the proprietary algorithm and an optional soft-knee saturating limiter in the plugin’s output stage, INTENSITY also excels at attaining maximum loudness and creating a beautifully aggressive tone. <br /><em><br /></em>\n<h3>INTENSITY features at a glance:</h3>\n<ul>\n	<li>Mastering-grade processing for more detail, clarity, density and loudness.</li>\n	<li>Intuitive and fast workflow using a streamlined set of controls. </li>\n	<li>Proprietary INTENSITY circuit with optional frequency-dependent BIAS function. </li>\n	<li>Additional precision soft-knee saturating limiter at the output stage. </li>\n</ul>\n<br />\n<h3>INTENSITY</h3>\nAt the heart of the plugin lies its namesake, the INTENSITY  circuit. A combination of advanced neural network based analysis and proprietary input and output transforms is used to separate the signal into broad strokes and detail features. By boosting the details while leaving the broad strokes in place, the sound\'s unique characteristics are amplified, masking effects mitigated, details carved out, the density and perceived loudness increased. Sounds high tech? That\'s because it IS.<br /><br />\n\n<h3>BIAS</h3>\nIn most cases, the INTENSITY trackball is all you\'ll need to use to get a great sound. But the processing amount can be controlled frequency dependently, too, using the BIAS function.<br /><br />\n\n<h3>Preset BIAS Curves</h3>\nINTENSITY features ten preset bias curves, including two equal loudness curves, a presence boost curve, linear tilt curves, and more. Curves are selected using our proprietary Visual Menu widget, which allows you to preview a setting simply by hovering your mouse over it. <br /><br />\n\n<h3>Custom BIAS Curve</h3>\nOr simply create your own. Supported by multiple macro functions, finding just the right curve is a snap.<br /><br />\n\n<h3>SATURATE</h3>\nOn top of the high-tech INTENSITY circuit, there\'s also a slightly more traditional, but nonetheless state-of-the-art soft-knee saturating limiter that can optionally be switched into the output stage. From subtle glue to in-your-face-ness to Yeah-I-Just-Got-Three-dB-of-Loudness-For-Free in mastering to straight-up overdrive, the SATURATE circuit delivers a beautifully warm, meaty tone...and can drive the loudness into La-La-Land.<br /><br />\n<h3>How Intensity Works</h3>\n	Intensity is probably the fastest way to get great sound. Here\'s how intensity works:\n<br /><br />\n<ol>\n	<li><span style=\"background-color: initial;\">Insert plugin</span></li>\n	<li>Adjust INTENSITY amount</li>\n	<li>Enjoy the result</li>\n</ol>\n	<br />\nIn some cases, you may additionally:\n\n<ul>\n	<li><span style=\"background-color: initial;\">Adjust BIAS Amount and/or Curve</span></li>\n	<li>Switch LEVEL COMPENSATION off</li>\n	<li>Activate the saturation.</li>\n</ul>\n<br />'),(13106,75,1,2185,'<h1>Zynaptiq INTENSITY Plug-In</h1>\n<span style=\"font-size:16px; font-style:italic;\">The fastest and easiest plug-in to get great sound—INTENSITY</span><br /><br />Zynaptiq INTENSITY is a new kind of audio processor plug-in for mixing, mastering and sound design. Built on techniques typically found in facial recognition algorithms, INTENSITY brings out a sound’s inherent detail, increases its perceived loudness and density, and adds insane amounts of clarity. The unique algorithm carves out important signal features – making sounds sound more like themselves – and is operated with essentially one control. Between the proprietary algorithm and an optional soft-knee saturating limiter in the plugin’s output stage, INTENSITY also excels at attaining maximum loudness and creating a beautifully aggressive tone. <br /><em><br /></em>\n<h3>INTENSITY features at a glance:</h3>\n<ul>\n	<li>Mastering-grade processing for more detail, clarity, density and loudness.</li>\n	<li>Intuitive and fast workflow using a streamlined set of controls. </li>\n	<li>Proprietary INTENSITY circuit with optional frequency-dependent BIAS function. </li>\n	<li>Additional precision soft-knee saturating limiter at the output stage. </li>\n</ul>\n<br />\n<h3>INTENSITY</h3>\nAt the heart of the plugin lies its namesake, the INTENSITY  circuit. A combination of advanced neural network based analysis and proprietary input and output transforms is used to separate the signal into broad strokes and detail features. By boosting the details while leaving the broad strokes in place, the sound\'s unique characteristics are amplified, masking effects mitigated, details carved out, the density and perceived loudness increased. Sounds high tech? That\'s because it IS.<br /><br />\n\n<h3>BIAS</h3>\nIn most cases, the INTENSITY trackball is all you\'ll need to use to get a great sound. But the processing amount can be controlled frequency dependently, too, using the BIAS function.<br /><br />\n\n<h3>Preset BIAS Curves</h3>\nINTENSITY features ten preset bias curves, including two equal loudness curves, a presence boost curve, linear tilt curves, and more. Curves are selected using our proprietary Visual Menu widget, which allows you to preview a setting simply by hovering your mouse over it. <br /><br />\n\n<h3>Custom BIAS Curve</h3>\nOr simply create your own. Supported by multiple macro functions, finding just the right curve is a snap.<br /><br />\n\n<h3>SATURATE</h3>\nOn top of the high-tech INTENSITY circuit, there\'s also a slightly more traditional, but nonetheless state-of-the-art soft-knee saturating limiter that can optionally be switched into the output stage. From subtle glue to in-your-face-ness to Yeah-I-Just-Got-Three-dB-of-Loudness-For-Free in mastering to straight-up overdrive, the SATURATE circuit delivers a beautifully warm, meaty tone...and can drive the loudness into La-La-Land.<br /><br />\n<h3>How Intensity Works</h3>\n	Intensity is probably the fastest way to get great sound. Here\'s how intensity works:\n<br /><br />\n<ol>\n	<li><span style=\"background-color: initial;\">Insert plugin</span></li>\n	<li>Adjust INTENSITY amount</li>\n	<li>Enjoy the result</li>\n</ol>\n	<br />\nIn some cases, you may additionally:\n\n<ul>\n	<li><span style=\"background-color: initial;\">Adjust BIAS Amount and/or Curve</span></li>\n	<li>Switch LEVEL COMPENSATION off</li>\n	<li>Activate the saturation.</li>\n</ul>\n<br />'),(13107,85,0,2185,'Zynaptiq INTENSITY Plug-In'),(13108,85,1,2185,'Zynaptiq INTENSITY Plug-In'),(13109,76,0,2185,''),(13110,76,1,2185,''),(13111,75,0,2186,'<h2>Zynaptiq MASTER Plug-In Bundle</h2>\n<i>Zynaptiq MASTER: a Plug-In bundle that contains INTENSITY, UNMIX::DRUMS, and UNFILTER.</i><br /><br />\nThe Zynaptiq MASTER Bundle bundles three mastering powerhouses into one indispensable package. Remove resonances, roll-offs, comb-filtering and solve any other type of EQ problem including mastering applications automatically, with award-winning precision and quality with UNFILTER. Boost or cut the drums in a mix or sample frequency dependently, or add potentially illegal amounts of punch to your drum stems  with UNMIX:DRUMS. Bring out a sound’s inherent detail, increases its perceived loudness and density, and adds insane amounts of clarity with INTENSITY.<br /><br />\n\n<h3>Zynaptiq MASTER Includes:</h3>\n<ul>\n	<li><b style=\"background-color: initial; letter-spacing: 0px;\">UNFILTER: Adaptive Tonal Contour Linearization</b><span style=\"background-color: initial; letter-spacing: 0px;\"> - Remove resonances, roll-offs, comb-filtering and solve any other type of EQ problem including mastering applications automatically, with award-winning precision and quality.</span></li>\n	<li><b>UNMIX::DRUMS: Boost Or Attenuate Drums In Mixed Music</b> - Boost or cut the drums in a mix or sample frequency dependently, or add potentially illegal amounts of punch to your drum stems.  </li>\n	<li><b>INTENSITY is a new kind of audio processor for mixing, mastering and sound design</b> - Bring out a sound’s inherent detail, increases its perceived loudness and density, and adds insane amounts of clarity.</li>\n</ul><br />\n<h3>Three Unbelievable plug-ins at one Unbelievable price: MASTER – The Zynaptiq Mastering Bundle.</h3>\n<ul>\n</ul>\n<br />'),(13112,75,1,2186,'<h2>Zynaptiq MASTER Plug-In Bundle</h2>\n<i>Zynaptiq MASTER: a Plug-In bundle that contains INTENSITY, UNMIX::DRUMS, and UNFILTER.</i><br /><br />\nThe Zynaptiq MASTER Bundle bundles three mastering powerhouses into one indispensable package. Remove resonances, roll-offs, comb-filtering and solve any other type of EQ problem including mastering applications automatically, with award-winning precision and quality with UNFILTER. Boost or cut the drums in a mix or sample frequency dependently, or add potentially illegal amounts of punch to your drum stems  with UNMIX:DRUMS. Bring out a sound’s inherent detail, increases its perceived loudness and density, and adds insane amounts of clarity with INTENSITY.<br /><br />\n\n<h3>Zynaptiq MASTER Includes:</h3>\n<ul>\n	<li><b style=\"background-color: initial; letter-spacing: 0px;\">UNFILTER: Adaptive Tonal Contour Linearization</b><span style=\"background-color: initial; letter-spacing: 0px;\"> - Remove resonances, roll-offs, comb-filtering and solve any other type of EQ problem including mastering applications automatically, with award-winning precision and quality.</span></li>\n	<li><b>UNMIX::DRUMS: Boost Or Attenuate Drums In Mixed Music</b> - Boost or cut the drums in a mix or sample frequency dependently, or add potentially illegal amounts of punch to your drum stems.  </li>\n	<li><b>INTENSITY is a new kind of audio processor for mixing, mastering and sound design</b> - Bring out a sound’s inherent detail, increases its perceived loudness and density, and adds insane amounts of clarity.</li>\n</ul><br />\n<h3>Three Unbelievable plug-ins at one Unbelievable price: MASTER – The Zynaptiq Mastering Bundle.</h3>\n<ul>\n</ul>\n<br />'),(13113,85,0,2186,'Zynaptiq MASTER Plug-In Bundle'),(13114,85,1,2186,'Zynaptiq MASTER Plug-In Bundle'),(13115,76,0,2186,''),(13116,76,1,2186,''),(13117,75,0,2187,'<h2>Zynaptiq MORPH 2 Plug-In</h2>\n	<span style=\"font-size:16px; font-style:italic;\">Real-Time Structural Audio Morphing</span><br /><br />\nZynaptiq MORPH 2 is a real-time plug-in for structural audio morphing, the sonic equivalent of one object slowly changing its shape to become a different object - for example, one face becoming another. Super-charged with a selection of 5 different morphing algorithms, a stunningly clean formant shifter as well as a lush reverb that seems to extend sounds much like some highly revered vintage hardware boxes, MORPH 2 opens up a whole new universe of sounds to explore. Create seamless morphing transitions, new hybrid sounds that combine aspects of existing ones, physically impossible instruments, the furthest-out creature and robot voices, talkbox-esque effects and other outrageously unique new sounds. Whether you\'re a sound designer for film or games looking for that signature sound, or a music producer or remix artist wanting to create new content from existing recordings...look no further, MORPH is for you!<br /><br />\n\n<h3>The MORPH features at a glance: </h3>\n<ul>\n<li>5 Unique feature-aware structural audio morphing algorithms.                          </li>\n<li>Morphs between two input channels or input and side-chain.                            </li>\n<li>Dual morphing circuits with crossfade option.                                         </li>\n<li>High-quality formant shifter.                                                         </li>\n<li>Uses cutting edge signal transform technology for superb fidelity and intelligibility.</li>\n<li>Both inputs can be mixed into the output or switched to solo.                         </li>\n<li>Built-In Hall Reverb.                                                                 </li>\n<li>Fully real-time for immediate results.                                                </li>\n</ul><br />\n\n<h3>Shape-Shifter</h3>\nMORPH takes two input signals, A and B, and creates a new sound or transition that has characteristics of both – like a circle gradually turning into a square. Singing guitars, dogs that speak, or cymbals made out of mains hum - the choices are endless. MORPH computes two separate morphing transitions from A and B simultaneously, one starting out at A and shaping it to become B, the other starting out at B and shaping it to become A. The two sound completely different. Additionally, you can crossfade between the two for even more sonic options. All this is achieved using a single two-dimensional \"X/Y\" control, and completely in real-time – insert plugin, set up routing, go!<br /><br />\n\n\n<h3>A Whole New Universe Of Sounds. A Multi-Verse, Actually.</h3>\nMORPH 2.0 features not one but three different morphing algorithms, two of which have additional low-latency versions with their own distinct sonic character, for a total of 5 different flavors of sound hybridization goodness (considering that A-to-B and B-to-A sound different, it\'s effectively even 10 flavors...). Add to that the brand-new Amplitude Sensitivity, Complexity and Formant Shift parameters and you\'ll never run out of unique new sounds.<br /><br />\n\n\n<h3>FORMANTS, Not Just Formants.</h3>\nSpeaking of the MORPH 2 formant shifter...it is – quite simply – stunningly good. Whether you use it on voice, drums, instruments or SFX captured in the field – it always sounds natural and focused, preserving all your sound\'s detail, without introducing any of the granular or \"spectral blurring\" artifacts associated with traditional approaches to formant shifting. If you\'re reading this, most likely you are a discerning audio connoisseur, and thus most likely you\'ll fall in love with the MORPH 2 formant shifter the first time you hear it!<br /><br />\n\n\n<h3>Impossible Mathematics, Easier Than Pie</h3>\nBecause of its pretty-much-one-control approach, using MORPH is a breeze. That said, it does some very heavy mathematical lifting under the hood. While the term \"audio morphing\" is widely used, what it typically describes is a simple interpolation of parameter values or spectral data. MORPH takes an entirely different approach, which is both mathematically a lot more complex and at the same time gives totally unique results. As an analogy, it creates wire-frame models for the two inputs in real-time, and then shapes one model to become the other – transforming one sound into the other structurally. Talk about sound transformation power at your fingertips...<br /><br />\n\n\n<h3>To Boldly Go...</h3>\nSo what is this plug-in for? In a nut-shell: creating unheard new sounds and smooth, sonically pleasing transitions that are different from the cookie-cutter crossfade approach. Create creature voices by combining speech with other sounds, apply the features of a drum loop to a sustained pad, transition from one ambience or SFX to another with surreal intermediate stages, or or create hybrid rhythms or instruments...start exploring a whole new universe of sounds today with the 30-day free trial of MORPH 2! <br /><br />'),(13118,75,1,2187,'<h2>Zynaptiq MORPH 2 Plug-In</h2>\n	<span style=\"font-size:16px; font-style:italic;\">Real-Time Structural Audio Morphing</span><br /><br />\nZynaptiq MORPH 2 is a real-time plug-in for structural audio morphing, the sonic equivalent of one object slowly changing its shape to become a different object - for example, one face becoming another. Super-charged with a selection of 5 different morphing algorithms, a stunningly clean formant shifter as well as a lush reverb that seems to extend sounds much like some highly revered vintage hardware boxes, MORPH 2 opens up a whole new universe of sounds to explore. Create seamless morphing transitions, new hybrid sounds that combine aspects of existing ones, physically impossible instruments, the furthest-out creature and robot voices, talkbox-esque effects and other outrageously unique new sounds. Whether you\'re a sound designer for film or games looking for that signature sound, or a music producer or remix artist wanting to create new content from existing recordings...look no further, MORPH is for you!<br /><br />\n\n<h3>The MORPH features at a glance: </h3>\n<ul>\n<li>5 Unique feature-aware structural audio morphing algorithms.                          </li>\n<li>Morphs between two input channels or input and side-chain.                            </li>\n<li>Dual morphing circuits with crossfade option.                                         </li>\n<li>High-quality formant shifter.                                                         </li>\n<li>Uses cutting edge signal transform technology for superb fidelity and intelligibility.</li>\n<li>Both inputs can be mixed into the output or switched to solo.                         </li>\n<li>Built-In Hall Reverb.                                                                 </li>\n<li>Fully real-time for immediate results.                                                </li>\n</ul><br />\n\n<h3>Shape-Shifter</h3>\nMORPH takes two input signals, A and B, and creates a new sound or transition that has characteristics of both – like a circle gradually turning into a square. Singing guitars, dogs that speak, or cymbals made out of mains hum - the choices are endless. MORPH computes two separate morphing transitions from A and B simultaneously, one starting out at A and shaping it to become B, the other starting out at B and shaping it to become A. The two sound completely different. Additionally, you can crossfade between the two for even more sonic options. All this is achieved using a single two-dimensional \"X/Y\" control, and completely in real-time – insert plugin, set up routing, go!<br /><br />\n\n\n<h3>A Whole New Universe Of Sounds. A Multi-Verse, Actually.</h3>\nMORPH 2.0 features not one but three different morphing algorithms, two of which have additional low-latency versions with their own distinct sonic character, for a total of 5 different flavors of sound hybridization goodness (considering that A-to-B and B-to-A sound different, it\'s effectively even 10 flavors...). Add to that the brand-new Amplitude Sensitivity, Complexity and Formant Shift parameters and you\'ll never run out of unique new sounds.<br /><br />\n\n\n<h3>FORMANTS, Not Just Formants.</h3>\nSpeaking of the MORPH 2 formant shifter...it is – quite simply – stunningly good. Whether you use it on voice, drums, instruments or SFX captured in the field – it always sounds natural and focused, preserving all your sound\'s detail, without introducing any of the granular or \"spectral blurring\" artifacts associated with traditional approaches to formant shifting. If you\'re reading this, most likely you are a discerning audio connoisseur, and thus most likely you\'ll fall in love with the MORPH 2 formant shifter the first time you hear it!<br /><br />\n\n\n<h3>Impossible Mathematics, Easier Than Pie</h3>\nBecause of its pretty-much-one-control approach, using MORPH is a breeze. That said, it does some very heavy mathematical lifting under the hood. While the term \"audio morphing\" is widely used, what it typically describes is a simple interpolation of parameter values or spectral data. MORPH takes an entirely different approach, which is both mathematically a lot more complex and at the same time gives totally unique results. As an analogy, it creates wire-frame models for the two inputs in real-time, and then shapes one model to become the other – transforming one sound into the other structurally. Talk about sound transformation power at your fingertips...<br /><br />\n\n\n<h3>To Boldly Go...</h3>\nSo what is this plug-in for? In a nut-shell: creating unheard new sounds and smooth, sonically pleasing transitions that are different from the cookie-cutter crossfade approach. Create creature voices by combining speech with other sounds, apply the features of a drum loop to a sustained pad, transition from one ambience or SFX to another with surreal intermediate stages, or or create hybrid rhythms or instruments...start exploring a whole new universe of sounds today with the 30-day free trial of MORPH 2! <br /><br />'),(13119,85,0,2187,'Zynaptiq Morph 2 Plug-In'),(13120,85,1,2187,'Zynaptiq Morph 2 Plug-In'),(13121,76,0,2187,''),(13122,76,1,2187,''),(13123,75,0,2188,'<h2>Zynaptiq Orange Vocoder AU Plug-In</h2>\n	<span style=\"font-size:16px; font-style:italic;\">Multi-Algorithm Vocoder Plug-In</span><br /><br />\nZynaptiq Heard on countless songs in multiple genres worldwide, ORANGE VOCODER AU is indeed THE classic software vocoder plug-in. Originally developed by Prosoniq in 1998, ORANGE VOCODER has since evolved through numerous iterations, always staying at the cutting edge right to this day. It has a reputation for being the single most transparent sounding and flexible vocoder plug-in available...and we at Zynaptiq agree.<br /><br />\n\nORANGE VOCODER features a built-in 32-voice synthesizer, 8 different vocoder algorithms ranging from analog modelled circuits to far-out digital cross-synthesis modes, filter-bank freezing and reverb, a 10-band graphic EQ, and more...a dream-machine for creating new sounds!<br /><br />\n\n<h3>The ORANGE VOCODER features at a glance: </h3>\n<ul> \n<li>Realtime vocoder effects plug-in for the Apple AudioUnits (AU) format.</li>\n<li>Flexible Carrier/Modulator Routing, including side-chain input.       </li>\n<li>Integrated 32-voice virtual analog synthesizer.                       </li>\n<li>8 unique vocoder algorithms.                                          </li>\n<li>HF Passthrough & Voiced/Unvoiced Detector with noise generator.       </li>\n<li>Filterbank Freeze & Filterbank Reverb.                                </li>\n<li>10-band Graphic EQ with Analyzer.                                     </li>\n<li>Integrated Hall Reverb.                                               </li>\n</ul><br />\n\n<h3>One Vocoder? How About 8...</h3>\nORANGE VOCODER doesn\'t just give you one great vocoder sound, it gives you eight. Two different 24-band analog emulations give you classic vocoder sounds in linear and minimum phase. The ORANGE VOC 3 and Classic ORANGE algorithms give you the state-of-the-art ORANGE VOCODER algorithm, as well as its digital classic counterpart from the original plug-in from 1998. The unique MR 1st order, MR 2nd order and MR 3rd order Multi-Resolution modes use wavelet transform mathematics to provide frequency dependent time resolution, and sounds ranging from extremely natural to completely synthetic, while Colorize applies the Modulator\'s phase response in addition to its frequency amplitude data, for a wild cross-synthesis effect.<br /><br />\n\n\n<h3>Play It Again, Vocoder</h3>\nThe integrated virtual analog synth features two oscillators with ring-mod and hard-sync. Choose between analog emulation and sampled waveforms, and use the included 4-pole low-pass filter for shaping them. Add a distortion circuit that is so warm sounding that you\'ll break a sweat, and throw in dual LFOs and an envelope follower and start tweaking. You can play the synth via MIDI, or tell it which notes to play using the on-screen keyboard.<br /><br />\n\n\n<h3>Flip That Switch</h3>\nORANGE VOCODER is all about flexibility. The vocoder engine\'s Carrier and Modulator inputs can be sourced from the plug-in input, a side-chain input, and the internal synth, and changing the routing is as simple as clicking one or two switches. Want to swap Carrier and Modulator signals? Hit Flip. Use the synth instead of the side-chain? Click on Synth, done.<br /><br />\n\n\n<h3>We Hear Ya\' - And Don\'t You Move!</h3>\nIntelligibility is key when transforming speech using a vocoder. Which is something that ORANGE VOCODER excels at. Apart from its unique, highly transparent algorithms, it also features a high frequency pass-through circuit as well as voiced/unvoiced detection. On the other hand, ORANGE VOCODER has several options to make the results more diffuse, or even static – the integrated Filterbank Reverb allows smoothing and blurring the Filterbank modulation, while the Freeze function will capture the current state of the Filterbank and hold it infinitely.<br /><br />\n\n\n<h3>Features Galore</h3>\nAll that said, there\'s more. ORANGE VOCODER comes with an easy to use Hall Reverb, a three-channel mixer for blending Carrier and Modulator with the Vocoder\'s output, a stereo widening function aptly called PHAT, a 10-band graphic EQ with analyzer, a random preset generator, and more than 60 factory presets. Test drive the free trial of this vocoding powerhouse today!<br /><br />'),(13124,75,1,2188,'<h2>Zynaptiq Orange Vocoder AU Plug-In</h2>\n	<span style=\"font-size:16px; font-style:italic;\">Multi-Algorithm Vocoder Plug-In</span><br /><br />\nZynaptiq Heard on countless songs in multiple genres worldwide, ORANGE VOCODER AU is indeed THE classic software vocoder plug-in. Originally developed by Prosoniq in 1998, ORANGE VOCODER has since evolved through numerous iterations, always staying at the cutting edge right to this day. It has a reputation for being the single most transparent sounding and flexible vocoder plug-in available...and we at Zynaptiq agree.<br /><br />\n\nORANGE VOCODER features a built-in 32-voice synthesizer, 8 different vocoder algorithms ranging from analog modelled circuits to far-out digital cross-synthesis modes, filter-bank freezing and reverb, a 10-band graphic EQ, and more...a dream-machine for creating new sounds!<br /><br />\n\n<h3>The ORANGE VOCODER features at a glance: </h3>\n<ul> \n<li>Realtime vocoder effects plug-in for the Apple AudioUnits (AU) format.</li>\n<li>Flexible Carrier/Modulator Routing, including side-chain input.       </li>\n<li>Integrated 32-voice virtual analog synthesizer.                       </li>\n<li>8 unique vocoder algorithms.                                          </li>\n<li>HF Passthrough & Voiced/Unvoiced Detector with noise generator.       </li>\n<li>Filterbank Freeze & Filterbank Reverb.                                </li>\n<li>10-band Graphic EQ with Analyzer.                                     </li>\n<li>Integrated Hall Reverb.                                               </li>\n</ul><br />\n\n<h3>One Vocoder? How About 8...</h3>\nORANGE VOCODER doesn\'t just give you one great vocoder sound, it gives you eight. Two different 24-band analog emulations give you classic vocoder sounds in linear and minimum phase. The ORANGE VOC 3 and Classic ORANGE algorithms give you the state-of-the-art ORANGE VOCODER algorithm, as well as its digital classic counterpart from the original plug-in from 1998. The unique MR 1st order, MR 2nd order and MR 3rd order Multi-Resolution modes use wavelet transform mathematics to provide frequency dependent time resolution, and sounds ranging from extremely natural to completely synthetic, while Colorize applies the Modulator\'s phase response in addition to its frequency amplitude data, for a wild cross-synthesis effect.<br /><br />\n\n\n<h3>Play It Again, Vocoder</h3>\nThe integrated virtual analog synth features two oscillators with ring-mod and hard-sync. Choose between analog emulation and sampled waveforms, and use the included 4-pole low-pass filter for shaping them. Add a distortion circuit that is so warm sounding that you\'ll break a sweat, and throw in dual LFOs and an envelope follower and start tweaking. You can play the synth via MIDI, or tell it which notes to play using the on-screen keyboard.<br /><br />\n\n\n<h3>Flip That Switch</h3>\nORANGE VOCODER is all about flexibility. The vocoder engine\'s Carrier and Modulator inputs can be sourced from the plug-in input, a side-chain input, and the internal synth, and changing the routing is as simple as clicking one or two switches. Want to swap Carrier and Modulator signals? Hit Flip. Use the synth instead of the side-chain? Click on Synth, done.<br /><br />\n\n\n<h3>We Hear Ya\' - And Don\'t You Move!</h3>\nIntelligibility is key when transforming speech using a vocoder. Which is something that ORANGE VOCODER excels at. Apart from its unique, highly transparent algorithms, it also features a high frequency pass-through circuit as well as voiced/unvoiced detection. On the other hand, ORANGE VOCODER has several options to make the results more diffuse, or even static – the integrated Filterbank Reverb allows smoothing and blurring the Filterbank modulation, while the Freeze function will capture the current state of the Filterbank and hold it infinitely.<br /><br />\n\n\n<h3>Features Galore</h3>\nAll that said, there\'s more. ORANGE VOCODER comes with an easy to use Hall Reverb, a three-channel mixer for blending Carrier and Modulator with the Vocoder\'s output, a stereo widening function aptly called PHAT, a 10-band graphic EQ with analyzer, a random preset generator, and more than 60 factory presets. Test drive the free trial of this vocoding powerhouse today!<br /><br />'),(13125,85,0,2188,'Zynaptiq Orange Vocoder AU Plug-In'),(13126,85,1,2188,'Zynaptiq Orange Vocoder AU Plug-In'),(13127,76,0,2188,''),(13128,76,1,2188,''),(13129,75,0,2189,'<h2>Zynaptiq PitchMap Plug-In</h2>\n	<span style=\"font-size: 16px; font-style: italic;\">Re-Write Mixed Music In Real-Time</span><br /><br />\nZynaptiq PITCHMAP is the world\'s first and only plug-in that allows processing the pitch of individual sounds within mixed signals in real-time. It lets you change the melodies and harmonies of any recording by simply playing your own on a MIDI keyboard or creating a pitch map using our stream-lined GUI, and optionally corrects any tuning issues at the same time. As if that weren\'t enough, PITCHMAP provides functions to suppress individual sounds within a mix, and can apply advanced synthesizer-like sound transformations to your audio. In short, it is an inspiring musical instrument, a precision corrective tool and the only processor that literally lets you shape music with your hands.<br /><br />\n<h3>PITCHMAP Applications:</h3>\n<ul>\n<li>Engineers can correct tuning inaccuracies in mixed recordings                                                                            </li>\n<li>Composers can try different harmonies for their works in an immediate, hassle-free and inspiring manner                                  </li>\n<li>Music producers that work with sampled material can now sculpt the music inside the samples as if they were clay in the hands of a potter</li>\n<li>DJs can adapt the key/scale of their songs to fit into a seamless set                                                                    </li>\n<li>Sound designers get a bunch of unique new ways of creating the sounds that make the films and games of today so immersive                </li>\n<li>Mash-Up artists and Re-Mixers now spend minutes instead of hours (or days) adapting the components they use to fit each other            </li>\n<li>Rapid song/score prototyping using existing recordings that can be transformed to be something new on-the-fly                            </li>\n<li>Mix element suppression under MIDI control                                                                                               </li>\n<li>Creating unique synthesizer sounds based on a live input                                                                                 </li>\n<li>Create instant remixes and professional accompaniment tracks directly from your favorite songs or play list                              </li>\n</ul><br />\n\n<h3>MAP That Pitch</h3>\nBased on our Mixed-Signal Audio Processing technology (MAP), PITCHMAP internally de-mixes the input signal into individual sounds, including their harmonics and transients. This technique is quite literally rocket science, and is done using perceptive modeling and pattern recognition techniques also used in artificial intelligence applications. The separated sounds can then be individually tuning-corrected and mapped to other pitches, a process we call Pitch Mapping. MAP also enables PITCHMAP\'s  simple-to-use, yet very effective functions for suppressing or isolating mix elements. In real-time, of course.<br /><br />\n\n\n<h3>Natural</h3>\nOur MAP process is based on a model of the human perceptive system, including the cochlea and the brain region responsible for interpreting its data. Hence our process is inherently very natural sounding with correct settings and reasonable amounts of pitch modification. The human voice, however, has a very specific sonic topology that is very different from any musical instrument, and human hearing is trained to detect even the most subtle sonic variations in a voice. As a result, processing voice simultaneously with other instruments has been a challenge in the past. To accommodate for this, we\'ve added an extra layer of intelligence that recognizes voice elements and processes them separately. We\'ve called this Natural Mode. <br /><br />\n\n\n<h3>Electric & Creative</h3>\nCertain pitch correction algorithm artifacts have become quite popular. We\'ve got those, too, if you want them. But our MAP process has more sonic options than that.  We\'ve added parameters called Purify and Electrify that allow making your sound more or less synthetic sounding, and threw in a polyphonic Portamento option named Glide, for good measure. In combination with the live MIDI function, these parameters can basically turn PITCHMAP into a unique synthesizer allowing some very far out sound design.\n<br /><br />\n<h3>Macros - No PhD Required</h3>\nAlthough the DSP code itself is insanely complex, the process of Mapping Pitch is as simple as playing some notes on a MIDI keyboard or dragging sliders on our super-slick GUI to assign source pitches to target pitches. Or you can let your computer do the pitch mapping by using dedicated macro controls to go from one key/scale to another with just a couple of clicks. Changing pitches in a mixed signal has never been so intuitive and musical. Instant correction of tuning issues, straight-forward re-harmonisation or intricate restructuring of a composition\'s pitches... the choice is yours, PITCHMAP does the rest.<br /><br />\n\nSnapshots - Lightning Fast\nTo increase workflow efficiency even more, we\'ve provided comprehensive Snapshot functionality. 8 Snapshot slots let you compare multiple settings, adapt the process to different parts of a recording individually and create parameter automation without a headache. Summed up, PITCHMAP gives you near-instant results while at the same time giving you access to every little detail.<br /><br />'),(13130,75,1,2189,'<h2>Zynaptiq PitchMap Plug-In</h2>\n	<span style=\"font-size: 16px; font-style: italic;\">Re-Write Mixed Music In Real-Time</span><br /><br />\nZynaptiq PITCHMAP is the world\'s first and only plug-in that allows processing the pitch of individual sounds within mixed signals in real-time. It lets you change the melodies and harmonies of any recording by simply playing your own on a MIDI keyboard or creating a pitch map using our stream-lined GUI, and optionally corrects any tuning issues at the same time. As if that weren\'t enough, PITCHMAP provides functions to suppress individual sounds within a mix, and can apply advanced synthesizer-like sound transformations to your audio. In short, it is an inspiring musical instrument, a precision corrective tool and the only processor that literally lets you shape music with your hands.<br /><br />\n<h3>PITCHMAP Applications:</h3>\n<ul>\n<li>Engineers can correct tuning inaccuracies in mixed recordings                                                                            </li>\n<li>Composers can try different harmonies for their works in an immediate, hassle-free and inspiring manner                                  </li>\n<li>Music producers that work with sampled material can now sculpt the music inside the samples as if they were clay in the hands of a potter</li>\n<li>DJs can adapt the key/scale of their songs to fit into a seamless set                                                                    </li>\n<li>Sound designers get a bunch of unique new ways of creating the sounds that make the films and games of today so immersive                </li>\n<li>Mash-Up artists and Re-Mixers now spend minutes instead of hours (or days) adapting the components they use to fit each other            </li>\n<li>Rapid song/score prototyping using existing recordings that can be transformed to be something new on-the-fly                            </li>\n<li>Mix element suppression under MIDI control                                                                                               </li>\n<li>Creating unique synthesizer sounds based on a live input                                                                                 </li>\n<li>Create instant remixes and professional accompaniment tracks directly from your favorite songs or play list                              </li>\n</ul><br />\n\n<h3>MAP That Pitch</h3>\nBased on our Mixed-Signal Audio Processing technology (MAP), PITCHMAP internally de-mixes the input signal into individual sounds, including their harmonics and transients. This technique is quite literally rocket science, and is done using perceptive modeling and pattern recognition techniques also used in artificial intelligence applications. The separated sounds can then be individually tuning-corrected and mapped to other pitches, a process we call Pitch Mapping. MAP also enables PITCHMAP\'s  simple-to-use, yet very effective functions for suppressing or isolating mix elements. In real-time, of course.<br /><br />\n\n\n<h3>Natural</h3>\nOur MAP process is based on a model of the human perceptive system, including the cochlea and the brain region responsible for interpreting its data. Hence our process is inherently very natural sounding with correct settings and reasonable amounts of pitch modification. The human voice, however, has a very specific sonic topology that is very different from any musical instrument, and human hearing is trained to detect even the most subtle sonic variations in a voice. As a result, processing voice simultaneously with other instruments has been a challenge in the past. To accommodate for this, we\'ve added an extra layer of intelligence that recognizes voice elements and processes them separately. We\'ve called this Natural Mode. <br /><br />\n\n\n<h3>Electric & Creative</h3>\nCertain pitch correction algorithm artifacts have become quite popular. We\'ve got those, too, if you want them. But our MAP process has more sonic options than that.  We\'ve added parameters called Purify and Electrify that allow making your sound more or less synthetic sounding, and threw in a polyphonic Portamento option named Glide, for good measure. In combination with the live MIDI function, these parameters can basically turn PITCHMAP into a unique synthesizer allowing some very far out sound design.\n<br /><br />\n<h3>Macros - No PhD Required</h3>\nAlthough the DSP code itself is insanely complex, the process of Mapping Pitch is as simple as playing some notes on a MIDI keyboard or dragging sliders on our super-slick GUI to assign source pitches to target pitches. Or you can let your computer do the pitch mapping by using dedicated macro controls to go from one key/scale to another with just a couple of clicks. Changing pitches in a mixed signal has never been so intuitive and musical. Instant correction of tuning issues, straight-forward re-harmonisation or intricate restructuring of a composition\'s pitches... the choice is yours, PITCHMAP does the rest.<br /><br />\n\nSnapshots - Lightning Fast\nTo increase workflow efficiency even more, we\'ve provided comprehensive Snapshot functionality. 8 Snapshot slots let you compare multiple settings, adapt the process to different parts of a recording individually and create parameter automation without a headache. Summed up, PITCHMAP gives you near-instant results while at the same time giving you access to every little detail.<br /><br />'),(13131,85,0,2189,'Zynaptiq PitchMap Plug-In'),(13132,85,1,2189,'Zynaptiq PitchMap Plug-In'),(13133,76,0,2189,''),(13134,76,1,2189,''),(13135,75,0,2190,'<h2>Zynaptiq Unchirp Plug-In</h2>\n<span style=\"font-size:16px; font-style:italic;\">Codec Artifact Removal & Transient Retrieval\n</span><br /><br />\nZynaptiq UNCHIRP is a plug-in for removing the most obnoxious artifacts associated with lossy audio encoding and other FFT based processes, such as spectral de-noising. Reduce musical noise, suppress high frequency chirping (also known as underwater sound, warbling or the tweeties), fix transient smearing, and restore lost high frequencies – UNCHIRP does it all in one go. If you need to salvage poorly encoded music, speech that has gone through a low bit rate uplink, material that has been de-noised too strongly, or footage recorded with consumer mobile devices – or if you simply want to add contour and vibrance to already great sounding recordings – UNCHIRP is your (only) friend.<br /><br />\n<h3>The UNCHIRP features at a glance: </h3>\n<ul>\n	<li>Suppression of high frequency \"chirping\" artifacts.                                                       </li>\n	<li>Reduction of \"musical noise\" artifacts.                                                                   </li>\n	<li>Transient Synthesis to augment or replace smeared, over-limited or otherwise compromised transients.      </li>\n	<li>Psycho-Acoustically optimized Treble Boost circuit with Enhance and Excite modes.                         </li>\n	<li>Break-Point Curve Editor based frequency-dependent processing.                                            </li>\n	<li>Side-only algorithm mode for working with joint-stereo encoded material.                                  </li>\n	<li>HD algorithm mode for increased quality processing with higher CPU load (off-line processing recommended).</li>\n	<li>SYNC parameter allows processing to be synchronized to signal transients for increasing clarity.          </li>\n	<li>Output limiter for unsupervised use in batch processing applications.                                     </li>\n	<li>Highly time-efficient workflow and UI.                                                                    </li>\n</ul>\n<br />\n<h3>The Problem</h3>\nBoth lossy codecs as well as many of today\'s DSP processes (like de-noisers) make heavy use of a process called the Fast Fourier Transform (FFT). This method has some major advantages. It also has some major drawbacks, which are the root cause for a variety of artifacts, such as Musical Noise, High Frequency Modulation (a.k.a. Chirping), Transient Smearing, and overall \"blurring\" due to low localization in the time domain. Because of the way human hearing works, these artifacts are very obvious and sound distinctly unnatural. Additionally, lossy codecs and de-noisers often cause a loss of high frequencies, further degrading your audio. UNCHIRP is the medicine for all of these artifact types.\n<br /><br />\n\n<h3>Two Is More Than One</h3>\nUNCHIRP identifies the birdies, and applies proprietary processing to make them disappear. It offers two different, simultaneously available algorithms to achieve this, Musical Noise Reduction and Dechirping, each featuring its own technological approach, unique sonic properties and its own breakpoint curve editor for frequency dependent processing. At Zynaptiq, we like over-delivering.\n<br /><br />\n<h3>Snap!</h3>\nLike our award-winning de-reverberator UNVEIL, UNCHIRP allows bypassing transients for natural sounding results even with extreme settings. But we didn\'t stop there – we\'ve added frequency dependency to the bypass threshold, and frequency dependent transient attenuation/boost. The new Transient Synthesis can replace transients compromised by FFT processing such as lossy encoding, or by excessive dynamics processing. Finally, the Sync function synchronizes processing to the signal\'s transients, adding overal clarity and coherence. These algorithms work equally well for fixing problem material as well as for augmenting already great sounding recordings, adding impact, detail and contour. It\'s like pulling a curtain aside. Try it, you\'ll love it.\n<br /><br />\n<h3>The Shining</h3>\nAnd then, there\'s Treble Boost, which deals with the fact that low bit rate encoded audio may show a \"dead band\" in the treble range - there\'s simply a hard-limit to what any given bit rate can capture in terms of frequency. Regular EQ won\'t help because there\'s nothing to boost. The Treble Boost circuit offers two ways to recover some of that treble: a psycho-acoustically optimized Enhancer – equalization that is tailored in such a way that it implies frequency content in the dead band to the listener – and an Exciter, which synthesizes new harmonics to \"fill the gap\". These sound so good that you may end up turning to these for your treble processing in general – even with already great sounding signals – to add shine and vibrance to your audio.\n<br /><br />\n<h3>Supraluminal</h3>\nAs time is the most scarce of resources, at Zynaptiq we\'re obsessed with saving it for you. UNCHIRP sports a variety of workflow features to help you get results faster than light. There\'s an output limiter to allow for unsupervised batch-processing without overs, an I/O difference function to quickly hear what exactly you\'re removing, frequency dependent processing for all key parameters using breakpoint curves with snap-to-zero and copy/paste functionality, and our preset manager that writes presets that you can then use across all platforms and formats. Start using UNCHIRP and go ahead and book another week of holidays.\n<br /><br />\n<h3>Synergies Galore</h3>\nUNCHIRP is available for purchase separately as well as bundled with our award-winning reverb removal, adaptive equalization and polyphonic pitch processing plug-ins UNVEIL, UNFILTER and PITCHMAP, as part of the ZAP Bundle. As a team, these tools give you unprecedented access to the heart of your audio, and do so so efficiently that you\'ll wonder how you managed without them all these years.\n<br /><br />'),(13136,75,1,2190,'<h2>Zynaptiq Unchirp Plug-In</h2>\n<span style=\"font-size:16px; font-style:italic;\">Codec Artifact Removal & Transient Retrieval\n</span><br /><br />\nZynaptiq UNCHIRP is a plug-in for removing the most obnoxious artifacts associated with lossy audio encoding and other FFT based processes, such as spectral de-noising. Reduce musical noise, suppress high frequency chirping (also known as underwater sound, warbling or the tweeties), fix transient smearing, and restore lost high frequencies – UNCHIRP does it all in one go. If you need to salvage poorly encoded music, speech that has gone through a low bit rate uplink, material that has been de-noised too strongly, or footage recorded with consumer mobile devices – or if you simply want to add contour and vibrance to already great sounding recordings – UNCHIRP is your (only) friend.<br /><br />\n<h3>The UNCHIRP features at a glance: </h3>\n<ul>\n	<li>Suppression of high frequency \"chirping\" artifacts.                                                       </li>\n	<li>Reduction of \"musical noise\" artifacts.                                                                   </li>\n	<li>Transient Synthesis to augment or replace smeared, over-limited or otherwise compromised transients.      </li>\n	<li>Psycho-Acoustically optimized Treble Boost circuit with Enhance and Excite modes.                         </li>\n	<li>Break-Point Curve Editor based frequency-dependent processing.                                            </li>\n	<li>Side-only algorithm mode for working with joint-stereo encoded material.                                  </li>\n	<li>HD algorithm mode for increased quality processing with higher CPU load (off-line processing recommended).</li>\n	<li>SYNC parameter allows processing to be synchronized to signal transients for increasing clarity.          </li>\n	<li>Output limiter for unsupervised use in batch processing applications.                                     </li>\n	<li>Highly time-efficient workflow and UI.                                                                    </li>\n</ul>\n<br />\n<h3>The Problem</h3>\nBoth lossy codecs as well as many of today\'s DSP processes (like de-noisers) make heavy use of a process called the Fast Fourier Transform (FFT). This method has some major advantages. It also has some major drawbacks, which are the root cause for a variety of artifacts, such as Musical Noise, High Frequency Modulation (a.k.a. Chirping), Transient Smearing, and overall \"blurring\" due to low localization in the time domain. Because of the way human hearing works, these artifacts are very obvious and sound distinctly unnatural. Additionally, lossy codecs and de-noisers often cause a loss of high frequencies, further degrading your audio. UNCHIRP is the medicine for all of these artifact types.\n<br /><br />\n\n<h3>Two Is More Than One</h3>\nUNCHIRP identifies the birdies, and applies proprietary processing to make them disappear. It offers two different, simultaneously available algorithms to achieve this, Musical Noise Reduction and Dechirping, each featuring its own technological approach, unique sonic properties and its own breakpoint curve editor for frequency dependent processing. At Zynaptiq, we like over-delivering.\n<br /><br />\n<h3>Snap!</h3>\nLike our award-winning de-reverberator UNVEIL, UNCHIRP allows bypassing transients for natural sounding results even with extreme settings. But we didn\'t stop there – we\'ve added frequency dependency to the bypass threshold, and frequency dependent transient attenuation/boost. The new Transient Synthesis can replace transients compromised by FFT processing such as lossy encoding, or by excessive dynamics processing. Finally, the Sync function synchronizes processing to the signal\'s transients, adding overal clarity and coherence. These algorithms work equally well for fixing problem material as well as for augmenting already great sounding recordings, adding impact, detail and contour. It\'s like pulling a curtain aside. Try it, you\'ll love it.\n<br /><br />\n<h3>The Shining</h3>\nAnd then, there\'s Treble Boost, which deals with the fact that low bit rate encoded audio may show a \"dead band\" in the treble range - there\'s simply a hard-limit to what any given bit rate can capture in terms of frequency. Regular EQ won\'t help because there\'s nothing to boost. The Treble Boost circuit offers two ways to recover some of that treble: a psycho-acoustically optimized Enhancer – equalization that is tailored in such a way that it implies frequency content in the dead band to the listener – and an Exciter, which synthesizes new harmonics to \"fill the gap\". These sound so good that you may end up turning to these for your treble processing in general – even with already great sounding signals – to add shine and vibrance to your audio.\n<br /><br />\n<h3>Supraluminal</h3>\nAs time is the most scarce of resources, at Zynaptiq we\'re obsessed with saving it for you. UNCHIRP sports a variety of workflow features to help you get results faster than light. There\'s an output limiter to allow for unsupervised batch-processing without overs, an I/O difference function to quickly hear what exactly you\'re removing, frequency dependent processing for all key parameters using breakpoint curves with snap-to-zero and copy/paste functionality, and our preset manager that writes presets that you can then use across all platforms and formats. Start using UNCHIRP and go ahead and book another week of holidays.\n<br /><br />\n<h3>Synergies Galore</h3>\nUNCHIRP is available for purchase separately as well as bundled with our award-winning reverb removal, adaptive equalization and polyphonic pitch processing plug-ins UNVEIL, UNFILTER and PITCHMAP, as part of the ZAP Bundle. As a team, these tools give you unprecedented access to the heart of your audio, and do so so efficiently that you\'ll wonder how you managed without them all these years.\n<br /><br />'),(13137,85,0,2190,'Zynaptiq Unchirp Plug-In'),(13138,85,1,2190,'Zynaptiq Unchirp Plug-In'),(13139,76,0,2190,''),(13140,76,1,2190,''),(13141,75,0,2191,'<h2>Zynaptiq UNFILTER Plug-In</h2>Zynaptiq UNFILTER is a real-time plug-in that removes filtering effects, such as comb filtering, resonance, or excessive equalization – effectively linearizing the frequency response of a signal automatically. UNFILTER can also apply a detected filter response to another signal, or export it to disk as an impulse response, and can even perform mastering grade adaptive, free-form, and graphic equalization. Whether you\'re in music production, film post, game audio, broadcast, sound design, forensics, or engineering – UNFILTER makes time-consuming and often impossible tasks as effortless as adjusting one control.<br /><br />\n\n<h3>The UNFILTER features at a glance:</h3>\n<ul>\n<li>Automatically detect and remove resonances, equalization, roll-offs and the effects of comb filtering from musical,  location dialog, and surveillance recordings.    </li>\n<li>Apply the measured filter response to other signals to place them in the same \"acoustic world\".                                                                       </li>\n<li>Export the measured filter response to or import it from a linear- or minimum-phase impulse response file (WAV).                                                      </li>\n<li>Mastering grade adaptive, free-form and graphic equalization.                                                                                                         </li>\n<li>Extremely steep 96dB/octave shelving high-pass filter.                                                                                                                </li>\n<li>Output limiter for unsupervised use in batch processing applications.                                                                                                 </li>\n<li>Highly time-efficient workflow and UI                                                                                                                                 </li>\n</ul><br />\n\n<h3>SET IT STRAIGHT</h3>\nUNFILTER automatically detects resonances, EQ or filter effects – essentially any frequency response anomalies that aren\'t part of the original signal. You can then remove these by simply adjusting one control, leaving the rest of the signal virtually untouched. As a result, previously problematic or unusable recordings can be made to sound good, and good recordings to sound great. In real-time, and with minimal effort, Zynaptiq-style.<br /><br />\n\n<h3>MAKE IT SO</h3>\nYou can also apply the measured filter response from one recording to another – placing the two in the same acoustic \"world\". Or you can create room-tone to fill editing gaps, by applying a measured filter response to noise. You can of course also store filter responses to disk as linear- or minimum-phase impulse response files, building a library of \"colors\" to have at your disposal any time. Whether you need to make ADR blend with production dialog, get one guitar snippet to sound like part of another, or create new sounds, UNFILTER makes this task fast and easy.<br /><br />\n\n<h3>MORE EQUAL</h3>\nUNFILTER is also an EQ. Three mastering grade EQs and an excellent high-pass filter, actually. For one, its (un-)filtering engine can function as an adaptive program equalizer that continuously adjusts itself while the audio is playing. This helps maintain a balanced spectrum when working with audio that changes over time, for example when streaming mixed music in broadcast applications. Secondly, UNFILTER sports a free-form EQ with various curve interpolation modes, from super-gentle slopes, through narrow notches, to brickwall steps. Thirdly, we added a streamlined 7-band graphic EQ for good measure. And finally, there’s a super-steep 96dB per octave shelving high-pass filter that removes low frequency rumble so efficiently you’ll forget that there was ever anything down there.<br /><br />\n\n<h3>ROCKET SCIENCE</h3>\nHow does UNFILTER do all that? Technically, it performs a real-time blind de-convolution, a cutting-edge technology rarely found even in the most advanced of research institutes. Fortunately, we don\'t do lab coats.\nThis technology allows UNFILTER to take a close look at your audio, estimate what happened to its frequency response, and then create a filter that will undo the process. Sounds like rocket science? That\'s because it is. But all the technology in the world doesn\'t matter if it\'s difficult to operate or doesn\'t sound good. Well, UNFILTER is a breeze to use, and doesn\'t just sound good...it sounds amazing.<br /><br />\n\n<h3>LIGHTSPEED</h3>\nThe UNFILTER UI is so fast and easy to use that corrective EQ can often be done within seconds by adjusting just one of our super-slick trackball sliders. And for advanced customization, every single function and control has been engineered with painstaking attention to detail – finely-tuned for optimal workflow and results. Whichever control you move, the right setting is never far away. UNFILTER is not only a life-saver, it is also a time-saver par excellance. But don\'t take our word for it, experience it for yourself using the free trial version!<br /><br />\n\n\n<h3>APPLICATIONS FOR UNFILTER</h3>\nUNFILTER is an incredibly versatile frequency response tool with a broad range of applications. We\'ve compiled some of them here, organized by field of work: Sound For Picture, Music Production & Mastering, Sound Design, Broadcast and Forensics.<br /><br />\n\n<h3>SOUND FOR PICTURE</h3>\nUNFILTER is a real workhorse in audio post. Its automatic recognition of frequency response anomalies is extremely useful for cleaning up production sound, and especially for enhancing the intelligibility of dialog. Here are some example scenarios:\n<ul>\n	<li>Remove comb-filtering caused by multiple \"open\" mics being mixed to one iso track, or by proximity to reflective surfaces.                                                        </li>\n	<li>Remove resonances caused by room geometry or using shotgun mics near off-axis reflective surfaces.                                                                                </li>\n	<li>Remove recording path roll-offs and lav mic chest resonance.                                                                                                                      </li>\n	<li>Increase level separation between dialog and background sounds.                                                                                                                   </li>\n	<li>Make ADR blend better with production dialog.                                                                                                                                     </li>\n	<li>Synthesize room tone to fill editing gaps or to layer with ADR by applying a measured filter response to noise.                                                                   </li>\n	<li>Make crowd atmos, walla or dense ambience collide less with dialog.                                                                                                               </li>\n	<li>Manipulate apparent distance of background sounds by emphasizing room filtering effects.                                                                                          </li>\n	<li>“Worldize” SFX and foley recordings.                                                                                                                                              </li>\n	<li>Speed up any equalization and low-cut filtering task.                                                                                                                             </li>\n	<li>Improve mix translation to non-standardized playback environments, like TV sor PCs, by removing resonances that would add up with the frequency response of the playback system.  </li>\n	<li>Save hours of expensive mixing stage time.                                                                                                                                        </li>\n</ul><br />\n<h3>MUSIC PRODUCTION & MASTERING</h3>\nIn music production and mastering, fine-tuning the frequency response of your signals is one of the most commonly encountered tasks. Recordings of acoustic instruments and live performances often exhibit unwanted peaks and notches, and as the instruments in a song are typically playing in the same key, there is excessive  build-up in the frequency ranges where the relevant pitches have their fundamentals and harmonics. Also, your clients may have delivered processed tracks, limiting what can be done to “fix it in the mix”. UNFILTER’s automatic recognition of frequency response anomalies and its high-precision filtering engine make it a very flexible solution for all of these issues. Below are some examples of what UNFILTER can do for you:\n<ul>\n	<li>Remove resonances and other frequency response issues from recordings of acoustic instruments or live performances.\n	</li><li>Remove EQ or filtering “printed” to tracks delivered for mix-down or mastering.\n	</li><li>Remove guitar cabinet coloration, or apply it to a DI guitar.\n	</li><li>Apply corrective EQ to any source within seconds.\n	</li><li>Exaggerate a sound’s coloration to more firmly place it in it’s own frequency “window”.\n	</li><li>Remove low-mid buildup from sub-mixes and mixes without losing the “body” of the sound.\n	</li><li>Balance the spectrum of one or multiple songs.\n	</li><li>Capture the frequency response of outboard EQ or other signal paths & apply it or store it as impulse response (WAV).\n	</li><li>Accentuate the natural low end on acoustic bassdrums.\n	</li><li>Remove spectral peaks caused by corpus resonance, for example on bass or acoustic guitars.\n	</li><li>Apply a track’s measured filter response to overdubs made with a different recording setup to make them blend better.\n</li></ul><br />\n<h3>SOUND DESIGN</h3>\nUNFILTER’s ability to completely reshape the spectral contour of a signal, extract the filter response from a sound and apply it to a different file, and to solo the noisy components contained in a sound makes it an excellent tool for designing new sounds. Here are just a few ideas on how UNFILTER can aid you in creating that unique new sonic entity:\n<ul>\n	<li>Extract a filter response curve from a sound and apply it to another.                                                                                                </li>\n	<li>Remove the natural corpus resonance from a sound and apply a different one.                                                                                          </li>\n	<li>Open or close synth lowpass filters after the fact.                                                                                                                  </li>\n	<li>Bring out aspects of a sound normally hidden behind other features.                                                                                                  </li>\n	<li>Synthesize drones, hiss or rumble by extracting a filter response from an example sound & applying it to noise or other broad-band quasi- /cyclo-stationary sounds.  </li>\n	<li>Use NOISE MONITOR to isolate the noisy components of a sound.                                                                                                        </li>\n	<li>Generate multiple object state sounds from one file for game-audio.                                                                                                  </li>\n	<li>Animate the frequency response of static sounds to make them more \"alive\".                                                                                           </li>\n	<li>Improve translation to consumer playback systems like gamer PCs.                                                                                                     </li>\n	<li>Generally fine-tune the frequency response of a sound with unprecedented precision.                                                                                  </li>\n</ul><br />\n<h3>BROADCAST & ENG</h3>\nWhen broadcasting audio, it is important to maintain a consistent and balanced audio spectrum, to ensure optimal performance of all down-stream systems, including dynamics processing, codecs and playback devices...and, most importantly, to provide a high-quality, consistent and non-fatigueing listening experience to the audience. As the acoustic properties of the footage used can vary strongly to say the least, this is no trivial task. Electronic News Gathering (ENG) in the field can often require using only small, portable and inconspicuous devices, and/or low  bandwidth transmission systems, due to infrastructural, political or safety-related issues. In many cases, it’s either low-fidelity footage, or none at all. UNFILTER’s adaptive processing will help you make even the most difficult footage usable, and deliver the best possible audio every and any time. Here are some things UNFILTER will do for you:\n<ul>\n	<li>Apply adaptive equalization to time-varying audio content, such as mixed music audio streams.                                    </li>\n	<li>Enhance intelligibility of speech recordings by removing resonances and signal path related roll-offs.                           </li>\n	<li>Improve translation to consumer playback devices by removing non-linearities that would add up with those of the playback system.</li>\n	<li>Reduce the coloration imparted by transmission through telephones, megaphones, intercoms, P.A. systems etc.                      </li>\n	<li>Increase intelligibilty of speech recorded using low-fidelity or covertly worn recording devices.                                </li>\n	<li>Increase the separation of speech from background sounds.                                                                        </li>\n</ul><br />\n<h3>FORENSICS</h3>\nUNFILTER can assist in extracting information from recordings in multiple ways. Intelligibility of speech recordings can be greatly enhanced, the filtering effects of microphone occlusion can be removed, and you can even make sounds buried beneath others more audible. Some usage scenarios are:\n<ul>\n	<li>Increase intelligibility of speech recorded using low-quality, occluded or damaged audio equipment. </li>\n	<li>Make sounds buried beneath other sounds more audible.                                               </li>\n	<li>Increase separation between speech and background sounds.                                           </li>\n	<li>Reduce the filtering effects caused by telephone transmissions.                                     </li>\n	<li>Remove resonances and filtering effects caused by an intermediate medium, such as walls or windows. </li>\n	</ul>'),(13142,75,1,2191,'<h2>Zynaptiq UNFILTER Plug-In</h2>Zynaptiq UNFILTER is a real-time plug-in that removes filtering effects, such as comb filtering, resonance, or excessive equalization – effectively linearizing the frequency response of a signal automatically. UNFILTER can also apply a detected filter response to another signal, or export it to disk as an impulse response, and can even perform mastering grade adaptive, free-form, and graphic equalization. Whether you\'re in music production, film post, game audio, broadcast, sound design, forensics, or engineering – UNFILTER makes time-consuming and often impossible tasks as effortless as adjusting one control.<br /><br />\n\n<h3>The UNFILTER features at a glance:</h3>\n<ul>\n<li>Automatically detect and remove resonances, equalization, roll-offs and the effects of comb filtering from musical,  location dialog, and surveillance recordings.    </li>\n<li>Apply the measured filter response to other signals to place them in the same \"acoustic world\".                                                                       </li>\n<li>Export the measured filter response to or import it from a linear- or minimum-phase impulse response file (WAV).                                                      </li>\n<li>Mastering grade adaptive, free-form and graphic equalization.                                                                                                         </li>\n<li>Extremely steep 96dB/octave shelving high-pass filter.                                                                                                                </li>\n<li>Output limiter for unsupervised use in batch processing applications.                                                                                                 </li>\n<li>Highly time-efficient workflow and UI                                                                                                                                 </li>\n</ul><br />\n\n<h3>SET IT STRAIGHT</h3>\nUNFILTER automatically detects resonances, EQ or filter effects – essentially any frequency response anomalies that aren\'t part of the original signal. You can then remove these by simply adjusting one control, leaving the rest of the signal virtually untouched. As a result, previously problematic or unusable recordings can be made to sound good, and good recordings to sound great. In real-time, and with minimal effort, Zynaptiq-style.<br /><br />\n\n<h3>MAKE IT SO</h3>\nYou can also apply the measured filter response from one recording to another – placing the two in the same acoustic \"world\". Or you can create room-tone to fill editing gaps, by applying a measured filter response to noise. You can of course also store filter responses to disk as linear- or minimum-phase impulse response files, building a library of \"colors\" to have at your disposal any time. Whether you need to make ADR blend with production dialog, get one guitar snippet to sound like part of another, or create new sounds, UNFILTER makes this task fast and easy.<br /><br />\n\n<h3>MORE EQUAL</h3>\nUNFILTER is also an EQ. Three mastering grade EQs and an excellent high-pass filter, actually. For one, its (un-)filtering engine can function as an adaptive program equalizer that continuously adjusts itself while the audio is playing. This helps maintain a balanced spectrum when working with audio that changes over time, for example when streaming mixed music in broadcast applications. Secondly, UNFILTER sports a free-form EQ with various curve interpolation modes, from super-gentle slopes, through narrow notches, to brickwall steps. Thirdly, we added a streamlined 7-band graphic EQ for good measure. And finally, there’s a super-steep 96dB per octave shelving high-pass filter that removes low frequency rumble so efficiently you’ll forget that there was ever anything down there.<br /><br />\n\n<h3>ROCKET SCIENCE</h3>\nHow does UNFILTER do all that? Technically, it performs a real-time blind de-convolution, a cutting-edge technology rarely found even in the most advanced of research institutes. Fortunately, we don\'t do lab coats.\nThis technology allows UNFILTER to take a close look at your audio, estimate what happened to its frequency response, and then create a filter that will undo the process. Sounds like rocket science? That\'s because it is. But all the technology in the world doesn\'t matter if it\'s difficult to operate or doesn\'t sound good. Well, UNFILTER is a breeze to use, and doesn\'t just sound good...it sounds amazing.<br /><br />\n\n<h3>LIGHTSPEED</h3>\nThe UNFILTER UI is so fast and easy to use that corrective EQ can often be done within seconds by adjusting just one of our super-slick trackball sliders. And for advanced customization, every single function and control has been engineered with painstaking attention to detail – finely-tuned for optimal workflow and results. Whichever control you move, the right setting is never far away. UNFILTER is not only a life-saver, it is also a time-saver par excellance. But don\'t take our word for it, experience it for yourself using the free trial version!<br /><br />\n\n\n<h3>APPLICATIONS FOR UNFILTER</h3>\nUNFILTER is an incredibly versatile frequency response tool with a broad range of applications. We\'ve compiled some of them here, organized by field of work: Sound For Picture, Music Production & Mastering, Sound Design, Broadcast and Forensics.<br /><br />\n\n<h3>SOUND FOR PICTURE</h3>\nUNFILTER is a real workhorse in audio post. Its automatic recognition of frequency response anomalies is extremely useful for cleaning up production sound, and especially for enhancing the intelligibility of dialog. Here are some example scenarios:\n<ul>\n	<li>Remove comb-filtering caused by multiple \"open\" mics being mixed to one iso track, or by proximity to reflective surfaces.                                                        </li>\n	<li>Remove resonances caused by room geometry or using shotgun mics near off-axis reflective surfaces.                                                                                </li>\n	<li>Remove recording path roll-offs and lav mic chest resonance.                                                                                                                      </li>\n	<li>Increase level separation between dialog and background sounds.                                                                                                                   </li>\n	<li>Make ADR blend better with production dialog.                                                                                                                                     </li>\n	<li>Synthesize room tone to fill editing gaps or to layer with ADR by applying a measured filter response to noise.                                                                   </li>\n	<li>Make crowd atmos, walla or dense ambience collide less with dialog.                                                                                                               </li>\n	<li>Manipulate apparent distance of background sounds by emphasizing room filtering effects.                                                                                          </li>\n	<li>“Worldize” SFX and foley recordings.                                                                                                                                              </li>\n	<li>Speed up any equalization and low-cut filtering task.                                                                                                                             </li>\n	<li>Improve mix translation to non-standardized playback environments, like TV sor PCs, by removing resonances that would add up with the frequency response of the playback system.  </li>\n	<li>Save hours of expensive mixing stage time.                                                                                                                                        </li>\n</ul><br />\n<h3>MUSIC PRODUCTION & MASTERING</h3>\nIn music production and mastering, fine-tuning the frequency response of your signals is one of the most commonly encountered tasks. Recordings of acoustic instruments and live performances often exhibit unwanted peaks and notches, and as the instruments in a song are typically playing in the same key, there is excessive  build-up in the frequency ranges where the relevant pitches have their fundamentals and harmonics. Also, your clients may have delivered processed tracks, limiting what can be done to “fix it in the mix”. UNFILTER’s automatic recognition of frequency response anomalies and its high-precision filtering engine make it a very flexible solution for all of these issues. Below are some examples of what UNFILTER can do for you:\n<ul>\n	<li>Remove resonances and other frequency response issues from recordings of acoustic instruments or live performances.\n	</li><li>Remove EQ or filtering “printed” to tracks delivered for mix-down or mastering.\n	</li><li>Remove guitar cabinet coloration, or apply it to a DI guitar.\n	</li><li>Apply corrective EQ to any source within seconds.\n	</li><li>Exaggerate a sound’s coloration to more firmly place it in it’s own frequency “window”.\n	</li><li>Remove low-mid buildup from sub-mixes and mixes without losing the “body” of the sound.\n	</li><li>Balance the spectrum of one or multiple songs.\n	</li><li>Capture the frequency response of outboard EQ or other signal paths & apply it or store it as impulse response (WAV).\n	</li><li>Accentuate the natural low end on acoustic bassdrums.\n	</li><li>Remove spectral peaks caused by corpus resonance, for example on bass or acoustic guitars.\n	</li><li>Apply a track’s measured filter response to overdubs made with a different recording setup to make them blend better.\n</li></ul><br />\n<h3>SOUND DESIGN</h3>\nUNFILTER’s ability to completely reshape the spectral contour of a signal, extract the filter response from a sound and apply it to a different file, and to solo the noisy components contained in a sound makes it an excellent tool for designing new sounds. Here are just a few ideas on how UNFILTER can aid you in creating that unique new sonic entity:\n<ul>\n	<li>Extract a filter response curve from a sound and apply it to another.                                                                                                </li>\n	<li>Remove the natural corpus resonance from a sound and apply a different one.                                                                                          </li>\n	<li>Open or close synth lowpass filters after the fact.                                                                                                                  </li>\n	<li>Bring out aspects of a sound normally hidden behind other features.                                                                                                  </li>\n	<li>Synthesize drones, hiss or rumble by extracting a filter response from an example sound & applying it to noise or other broad-band quasi- /cyclo-stationary sounds.  </li>\n	<li>Use NOISE MONITOR to isolate the noisy components of a sound.                                                                                                        </li>\n	<li>Generate multiple object state sounds from one file for game-audio.                                                                                                  </li>\n	<li>Animate the frequency response of static sounds to make them more \"alive\".                                                                                           </li>\n	<li>Improve translation to consumer playback systems like gamer PCs.                                                                                                     </li>\n	<li>Generally fine-tune the frequency response of a sound with unprecedented precision.                                                                                  </li>\n</ul><br />\n<h3>BROADCAST & ENG</h3>\nWhen broadcasting audio, it is important to maintain a consistent and balanced audio spectrum, to ensure optimal performance of all down-stream systems, including dynamics processing, codecs and playback devices...and, most importantly, to provide a high-quality, consistent and non-fatigueing listening experience to the audience. As the acoustic properties of the footage used can vary strongly to say the least, this is no trivial task. Electronic News Gathering (ENG) in the field can often require using only small, portable and inconspicuous devices, and/or low  bandwidth transmission systems, due to infrastructural, political or safety-related issues. In many cases, it’s either low-fidelity footage, or none at all. UNFILTER’s adaptive processing will help you make even the most difficult footage usable, and deliver the best possible audio every and any time. Here are some things UNFILTER will do for you:\n<ul>\n	<li>Apply adaptive equalization to time-varying audio content, such as mixed music audio streams.                                    </li>\n	<li>Enhance intelligibility of speech recordings by removing resonances and signal path related roll-offs.                           </li>\n	<li>Improve translation to consumer playback devices by removing non-linearities that would add up with those of the playback system.</li>\n	<li>Reduce the coloration imparted by transmission through telephones, megaphones, intercoms, P.A. systems etc.                      </li>\n	<li>Increase intelligibilty of speech recorded using low-fidelity or covertly worn recording devices.                                </li>\n	<li>Increase the separation of speech from background sounds.                                                                        </li>\n</ul><br />\n<h3>FORENSICS</h3>\nUNFILTER can assist in extracting information from recordings in multiple ways. Intelligibility of speech recordings can be greatly enhanced, the filtering effects of microphone occlusion can be removed, and you can even make sounds buried beneath others more audible. Some usage scenarios are:\n<ul>\n	<li>Increase intelligibility of speech recorded using low-quality, occluded or damaged audio equipment. </li>\n	<li>Make sounds buried beneath other sounds more audible.                                               </li>\n	<li>Increase separation between speech and background sounds.                                           </li>\n	<li>Reduce the filtering effects caused by telephone transmissions.                                     </li>\n	<li>Remove resonances and filtering effects caused by an intermediate medium, such as walls or windows. </li>\n	</ul>'),(13143,85,0,2191,'Zynaptiq UNFILTER Plug-In'),(13144,85,1,2191,'Zynaptiq UNFILTER Plug-In'),(13145,76,0,2191,''),(13146,76,1,2191,''),(13147,75,0,2192,'<h2>Zynaptiq UNMIX::DRUMS Plug-In</h2>\n<span style=\"font-size:16px; font-style:italic;\">Attenuate or boost drums in mixed music, easily and in real-time.</span><br /><br />\nZynaptiq UNMIX::DRUMS is the world’s first audio plugin that allows attenuating or boosting drums in mixed music, in real-time. Using advanced source signal separation (a.k.a. de-mixing, unmixing, sound extraction, sound isolation) technology under the hood, UNMIX::DRUMS provides frequency dependent drum level control that ranges from up to +18dB of boost to virtually complete removal* – while always sounding great. Whether used on a full mix or on a drum bus, UNMIX::DRUMS can be used to shape and enhance the impact of your drums in a unique new way. Sporting an intuitive multi-level GUI, frequency dependent control of key parameters, a sample accurate sub-bass (re)synthesizer, our high-precision analyzer display, M/S operation and an output limiter, UNMIX::DRUMS opens up exciting new options for mastering, music production, sample-based music creation, mash-up artists, remixers and DJs.<br /><br />\n<em>* Actually achievable amounts depend on input signal specifics.<br /></em>\n<h3>The UNMIX::DRUMS features at a glance:</h3>\n<ul>\n	<li>Source Separation-Based Control of Drum Level in Mixed Music.</li>\n	<li>SMOOTH and PUNCHY Boost Modes.                               </li>\n	<li>Sample-Accurate Sub-Bass (Re)Synthesizer.                    </li>\n	<li>Frequency Dependent Control of Key Parameters.               </li>\n	<li>Intuitive 3-way GUI Design.                                  </li>\n	<li>UNMIX::DRUMS Drum Level Control                              </li>\n</ul>\n<br />\n<h3>Turn It Up (or Down).</h3>\nUNMIX::DRUMS is your after-the-fact fader for the drums. It takes a mixed music input and allows you to change the level of the drums relative to everything else, in real-time. Attenuate the drums to \"headphone bleed\" levels, or make them sit squarely in your face – the choice is yours. Adjust DRUM LEVEL and THRESHOLD, done.\n<br /><br />\n<h3>Impact Shaping.</h3>\nUNMIX::DRUMS doesn\'t only work with mixed music – you can slap it onto a drum buss, too. Adjusting DRUM LEVEL frequency dependently - using our slick breakpoint editor in the CURVES view - lets you shape the impact and punch of your drums like never before. Without touching a compressor or transient processor, and even if they\'re inside a full mix. We call this impact equalization. As drum punch connoisseurs, we\'re proud to say: It\'s simply awesome.\n<br /><br />\n<h3>Smooth Punch, Punchy Smoothness.</h3>\nSpeaking of punch: UNMIX::DRUMS offers two boost modes, SMOOTH and PUNCHY. The SMOOTH mode was designed with a dry, organic sound in mind, for natural sounding medium boost situations, as well as pre-processing for drum extraction applications. PUNCHY produces a very snappy, tight sound that can really make the drums jump at you. Both modes allow boosting the drum reverb, too, SMOOTH focusing on early reflections and PUNCHY on long reverb tails. \n<br /><br />\n<h3>Off The Richter Scale.</h3>\nUNMIX::DRUMS features the world\'s first and only sample accurate sub-bass (re)synthesizer. Adding punchy and clean low frequency energy to your music or drums has never been easier. Simply raise the BASS SYNTH slider to taste – no level instabilities, false triggers or phase cancellation included. Whether subtly extending the frequency range on a jazz master or creating earth shattering club beats of woofer destruction, the onboard BASS SYNTH delivers – with minimal effort.\n<br /><br />\n<h3>Workflow Monster.</h3>\nUNMIX::DRUMS features an intuitive 3-way Graphical User Interface design. Rather than cluttering up your workspace, this layout ensures you see only the parameters you need to see – when and if you need them. With its level compensation feature, M/S processing, a hard-knee limiter, \"kill-switch\" style drum level macro buttons, and a plethora of carefully hand-crafted factory presets, UNMIX:DRUMS delivers stunning results, easily and in an instant.\n<br /><br />'),(13148,75,1,2192,'<h2>Zynaptiq UNMIX::DRUMS Plug-In</h2>\n<span style=\"font-size:16px; font-style:italic;\">Attenuate or boost drums in mixed music, easily and in real-time.</span><br /><br />\nZynaptiq UNMIX::DRUMS is the world’s first audio plugin that allows attenuating or boosting drums in mixed music, in real-time. Using advanced source signal separation (a.k.a. de-mixing, unmixing, sound extraction, sound isolation) technology under the hood, UNMIX::DRUMS provides frequency dependent drum level control that ranges from up to +18dB of boost to virtually complete removal* – while always sounding great. Whether used on a full mix or on a drum bus, UNMIX::DRUMS can be used to shape and enhance the impact of your drums in a unique new way. Sporting an intuitive multi-level GUI, frequency dependent control of key parameters, a sample accurate sub-bass (re)synthesizer, our high-precision analyzer display, M/S operation and an output limiter, UNMIX::DRUMS opens up exciting new options for mastering, music production, sample-based music creation, mash-up artists, remixers and DJs.<br /><br />\n<em>* Actually achievable amounts depend on input signal specifics.<br /></em>\n<h3>The UNMIX::DRUMS features at a glance:</h3>\n<ul>\n	<li>Source Separation-Based Control of Drum Level in Mixed Music.</li>\n	<li>SMOOTH and PUNCHY Boost Modes.                               </li>\n	<li>Sample-Accurate Sub-Bass (Re)Synthesizer.                    </li>\n	<li>Frequency Dependent Control of Key Parameters.               </li>\n	<li>Intuitive 3-way GUI Design.                                  </li>\n	<li>UNMIX::DRUMS Drum Level Control                              </li>\n</ul>\n<br />\n<h3>Turn It Up (or Down).</h3>\nUNMIX::DRUMS is your after-the-fact fader for the drums. It takes a mixed music input and allows you to change the level of the drums relative to everything else, in real-time. Attenuate the drums to \"headphone bleed\" levels, or make them sit squarely in your face – the choice is yours. Adjust DRUM LEVEL and THRESHOLD, done.\n<br /><br />\n<h3>Impact Shaping.</h3>\nUNMIX::DRUMS doesn\'t only work with mixed music – you can slap it onto a drum buss, too. Adjusting DRUM LEVEL frequency dependently - using our slick breakpoint editor in the CURVES view - lets you shape the impact and punch of your drums like never before. Without touching a compressor or transient processor, and even if they\'re inside a full mix. We call this impact equalization. As drum punch connoisseurs, we\'re proud to say: It\'s simply awesome.\n<br /><br />\n<h3>Smooth Punch, Punchy Smoothness.</h3>\nSpeaking of punch: UNMIX::DRUMS offers two boost modes, SMOOTH and PUNCHY. The SMOOTH mode was designed with a dry, organic sound in mind, for natural sounding medium boost situations, as well as pre-processing for drum extraction applications. PUNCHY produces a very snappy, tight sound that can really make the drums jump at you. Both modes allow boosting the drum reverb, too, SMOOTH focusing on early reflections and PUNCHY on long reverb tails. \n<br /><br />\n<h3>Off The Richter Scale.</h3>\nUNMIX::DRUMS features the world\'s first and only sample accurate sub-bass (re)synthesizer. Adding punchy and clean low frequency energy to your music or drums has never been easier. Simply raise the BASS SYNTH slider to taste – no level instabilities, false triggers or phase cancellation included. Whether subtly extending the frequency range on a jazz master or creating earth shattering club beats of woofer destruction, the onboard BASS SYNTH delivers – with minimal effort.\n<br /><br />\n<h3>Workflow Monster.</h3>\nUNMIX::DRUMS features an intuitive 3-way Graphical User Interface design. Rather than cluttering up your workspace, this layout ensures you see only the parameters you need to see – when and if you need them. With its level compensation feature, M/S processing, a hard-knee limiter, \"kill-switch\" style drum level macro buttons, and a plethora of carefully hand-crafted factory presets, UNMIX:DRUMS delivers stunning results, easily and in an instant.\n<br /><br />'),(13149,85,0,2192,'Zynaptiq UNMIX::DRUMS Plug-In'),(13150,85,1,2192,'Zynaptiq UNMIX::DRUMS Plug-In'),(13151,76,0,2192,''),(13152,76,1,2192,''),(13153,75,0,2193,'<h2>Zynaptiq Unveil Plug-In</h2>\n	<span style=\"font-size:16px; font-style:italic;\">Real-Time De-Reverberation And Signal Focusing</span><br /><br />\nZynaptiq UNVEIL is a real-time, de-mixing based plug-in that allows attenuating or boosting reverb components within a mixed signal of any channel count, including mono sources, as well as modifying reverb characteristics. Additionally, UNVEIL allows you to bring the key features of a recording into focus, or move them to the background, by attenuating or boosting perceptionally less important signal components. Based on our proprietary, artificial intelligence based MAP (Mixed-Signal Audio Processing) technology, UNVEIL allows fixing previously unusable location audio and dialog, tightening up live music recordings, removing reverb and “mud” from musical signals, as well as creative sound design.<br /><br />\n\n<h3>UNVEIL has many uses, some of which are:</h3>\n<ul>\n<li>Audio engineers can attenuate reverb in recordings                                                                        </li>\n<li>Film mixers and dialog editors can remove reverb from dialog and location sound                                           </li>\n<li>Music producers can turn vintage drum-loops rich in reverb into dry recordings, and vice-versa                            </li>\n<li>Foley artists can remove ambience from sub-optimally captured sounds                                                      </li>\n<li>Mix and mastering engineers can bring key mix elements into focus by attenuating components commonly referred to as \"mud\" </li>\n</ul><br />\n\n<h3>Good Bye, Reverb</h3>\nRemoving reverb from recordings has always been difficult to impossible. Existing de-reverberation strategies either manipulate signal dynamics, require specific channel formats, are limited to certain signal types, or all of the above. Enter UNVEIL.\nUNVEIL is not an expander or envelope shaper, is not a spectral thresholding processor, does not use phase cancellation techniques or inter-channel correlation analysis, and thus works with any channel count from mono to whichever surround formats your DAW supports, and without changing signal dynamics. To achieve this, it utilizes a model of the human auditory system to discern which parts of the signal are reverb, effectively “listening” to your signal much like a human would. These components are then separated from your signal for processing using our MAP technology. From there, reducing the amount of reverb in your recording is as easy as adjusting the value of one of our slick track-ball-esque sliders.<br /><br />\n\n\n<h3>Hello, Reverb</h3>\nConversely, UNVEIL allows increasing the amount of reverb in a recording, too. You can turn a close-miked drum kit into a full-on room-heavy monster, move a sound back in the sound-stage or adapt the amount of reverb on different location recordings to match each other better. Additionally, UNVEIL gives you several parameters that allow manipulating reverb characteristics...like all of it\'s features, within a mixed signal, in real-time and even using mono source material. No, that\'s not magic, that\'s advanced science. <br /><br />\n\n<h3>UNVEIL The Detail</h3>\nUNVEIL\'s algorithm isn\'t limited to processing reverb. Actually, it processes any signal components that the human auditory system considers as being of little significance, which includes the parts that many engineers refer to as \"mud\". As a result, UNVEIL allows reducing the level of all the stuff that clouds your signal and masks the detail you work so hard to capture, bringing the key features into focus and, well, unveiling all the inherent detail. And again, you can use the inverse function to add grit and a less up-front character to your recording. <br /><br />\n\n\n<h3>One Small Step...</h3>\nExcept for the mathematics under the hood, everything about UNVEIL is simple and easy, results are always just one small step away. That being said, UNVEIL allows adjusting the process in a very wide range. No dumbed-down \"easy-mode\" in sight, just a perfectly stream-lined, no-nonsense GUI that looks as slick as UNVEIL sounds. And oooooh yes does it sound good. But don\'t take our word for it, grab the demo for a test-drive!<br /><br />'),(13154,75,1,2193,'<h2>Zynaptiq Unveil Plug-In</h2>\n	<span style=\"font-size:16px; font-style:italic;\">Real-Time De-Reverberation And Signal Focusing</span><br /><br />\nZynaptiq UNVEIL is a real-time, de-mixing based plug-in that allows attenuating or boosting reverb components within a mixed signal of any channel count, including mono sources, as well as modifying reverb characteristics. Additionally, UNVEIL allows you to bring the key features of a recording into focus, or move them to the background, by attenuating or boosting perceptionally less important signal components. Based on our proprietary, artificial intelligence based MAP (Mixed-Signal Audio Processing) technology, UNVEIL allows fixing previously unusable location audio and dialog, tightening up live music recordings, removing reverb and “mud” from musical signals, as well as creative sound design.<br /><br />\n\n<h3>UNVEIL has many uses, some of which are:</h3>\n<ul>\n<li>Audio engineers can attenuate reverb in recordings                                                                        </li>\n<li>Film mixers and dialog editors can remove reverb from dialog and location sound                                           </li>\n<li>Music producers can turn vintage drum-loops rich in reverb into dry recordings, and vice-versa                            </li>\n<li>Foley artists can remove ambience from sub-optimally captured sounds                                                      </li>\n<li>Mix and mastering engineers can bring key mix elements into focus by attenuating components commonly referred to as \"mud\" </li>\n</ul><br />\n\n<h3>Good Bye, Reverb</h3>\nRemoving reverb from recordings has always been difficult to impossible. Existing de-reverberation strategies either manipulate signal dynamics, require specific channel formats, are limited to certain signal types, or all of the above. Enter UNVEIL.\nUNVEIL is not an expander or envelope shaper, is not a spectral thresholding processor, does not use phase cancellation techniques or inter-channel correlation analysis, and thus works with any channel count from mono to whichever surround formats your DAW supports, and without changing signal dynamics. To achieve this, it utilizes a model of the human auditory system to discern which parts of the signal are reverb, effectively “listening” to your signal much like a human would. These components are then separated from your signal for processing using our MAP technology. From there, reducing the amount of reverb in your recording is as easy as adjusting the value of one of our slick track-ball-esque sliders.<br /><br />\n\n\n<h3>Hello, Reverb</h3>\nConversely, UNVEIL allows increasing the amount of reverb in a recording, too. You can turn a close-miked drum kit into a full-on room-heavy monster, move a sound back in the sound-stage or adapt the amount of reverb on different location recordings to match each other better. Additionally, UNVEIL gives you several parameters that allow manipulating reverb characteristics...like all of it\'s features, within a mixed signal, in real-time and even using mono source material. No, that\'s not magic, that\'s advanced science. <br /><br />\n\n<h3>UNVEIL The Detail</h3>\nUNVEIL\'s algorithm isn\'t limited to processing reverb. Actually, it processes any signal components that the human auditory system considers as being of little significance, which includes the parts that many engineers refer to as \"mud\". As a result, UNVEIL allows reducing the level of all the stuff that clouds your signal and masks the detail you work so hard to capture, bringing the key features into focus and, well, unveiling all the inherent detail. And again, you can use the inverse function to add grit and a less up-front character to your recording. <br /><br />\n\n\n<h3>One Small Step...</h3>\nExcept for the mathematics under the hood, everything about UNVEIL is simple and easy, results are always just one small step away. That being said, UNVEIL allows adjusting the process in a very wide range. No dumbed-down \"easy-mode\" in sight, just a perfectly stream-lined, no-nonsense GUI that looks as slick as UNVEIL sounds. And oooooh yes does it sound good. But don\'t take our word for it, grab the demo for a test-drive!<br /><br />'),(13155,85,0,2193,'Zynaptiq Unveil Plug-In'),(13156,85,1,2193,'Zynaptiq Unveil Plug-In'),(13157,76,0,2193,''),(13158,76,1,2193,''),(13159,75,0,2194,'<h2>Zynaptiq WORMHOLE Plug-In</h2>\n<span style=\"font-size:16px; font-style:italic;\">Real-Time Structural Audio Morphing</span><br /><br />Zynaptiq WORMHOLE is a multi-effects audio processor plug-in designed for sound designers, music producers and film composers. WORMHOLE can do everything from beautifully shimmering detuned guitar widening and glassy ambient octave-shift tails, to surreal ambiences, starship drones, alien, monster, and robot voices. Combining ultra-clean pitch/frequency shifting, eccentric spectral warping, dual lush reverbs, and unique dry/wet morphing, WORMHOLE delivers sounds so unearthly you’ll swear they’re from a parallel universe.<br /><br />\n<h3>WORMHOLE features at a glance: </h3>\n<ul>\n	<li>High-quality multieffects processing ranging from the sublime to the extreme.</li>\n	<li>WARP spectral inversion & warping module.</li>\n	<li>SHIFT unique topology combined pitch-/frequency-shifting module with SMOOTH, TIGHT and two DETUNE modes.</li>\n	<li>Dual lush randomized hall reverbs.</li>\n	<li>Unique dry/wet morphing. </li>\n	<li>Very wide +- 4 octaves pitch-shift and +-4000Hz frequency shift range, fully aliasing free, with 96dB/oct (!!) carrier and side-band attenuation.</li>\n	\n</ul>\n<br />\n\n<h3>Powerhouse</h3>\nWORMHOLE consists of 5 highly synergistic processing modules: the spectral WARP, the pitch/frequency SHIFT, the dual random modulated hall REVERB, a nifty little DELAY, and the dry/wet morphing FX BLEND sections. In combination with a flexible signal path, this makes WORMHOLE an ultra-fast and easy-to-use, high-end multieffects processor, that covers the full range from the subtle to the (very) extreme. Whether you\'re a sound designer, music producer or ambient artist, WORMHOLE is for you.<br /><br />\n\n<h3>So What Is This For?</h3>\nWhile WORMHOLE excels at making the usually time-consuming workflows of creating high-quality Sci-Fi sounds and creature voices fast, easy, fun and extremely hi-fi, it actually covers a very broad range of applications – including musical sweetening and ambient effects from the grungy to the shimmering and lush, bread-and-butter mixing effects like creating suboctaves, widening, chorusing, filtering, harmonic shaping and reverberation, and some seriously psychedelic electronica colors and mangling effects. Here are some of the things WORMHOLE is great at.<br /><br />\n\n<h3>Alien, Robot and Monster Voices & Space-Age Transmission FX</h3>\nWORMHOLE is insanely good for making all sorts of creature and robotic voices, as well as making them sound like the gravitometric faster-than-light transceiver went out-of-range. The WARP and SHIFT sections provide the mangling, while the dry/wet morphing ensures intelligibility (even with extreme transformations) and serves to fine-tune the alienification amount – reigning even the strongest processing back in if so desired. Or use the morphing to gradually transition from clean to mutated in an otherwise impossible, cool way. <br /><br />\n\n\n<h3>Surreal Soundscapes and SFX</h3>\nWith WORMHOLE, spaceship atmospheres and neutrino accelerator field fluctuation induced interference oscillations are unbelievably easy to make – and sound unbelievably good, too. Turn cute metal clangs into huge impacts of intergalactic proportions, aircondition rumble into ancient planetoid displacement machinery hum, and synthesizer waveforms into mutated cyborg production facility power plant drones. Then, animate the sound organically by moving the dry/wet morph and section dry/wet mixes just a little bit. Or go crazy and automate everything all over the place, of course.<br /><br />\n\n\n<h3>Musical Effects – Shimmering, Ambient, Lush, Beautiful</h3>\nGuitars, pianos, pads all love WORMHOLE. It does just that thing that you\'d typically reach for your really awesome vintage rack multi-effects units for, and feed them back into each other through the console...if they weren\'t out for service. Again. With unknown ETA due to the parts being unobtainium. And actually, WORMHOLE is the space-age version of that approach. No pitch-shifter induced disharmonic sidebands or graininess. Just pure, lushly blissfull glassy ambient fifths and octaves, micro-detuning shimmers, and more. Did we mention the dual, cascadable random modulated hall reverbs yet? <br /><br />\n\n\n<h3>Mixing Effects – Widening, Chorusing & More</h3>\nSince we gave WORMHOLE a really great pitch shifter, we figured: it would be smart to also make it do the L/R Detuning-Widening-Chorusing Thing. As we try to be smart as much as we can, we taught WORMHOLE how to do just that. The pitch-shifter has two dedicated L/R detuning modes and, taking the approach up another notch, we also created what we believe to be the first center-balanced widening delay. Together with the dry/wet morphing and the dual reverb engines, this makes for organic sounds from the sublimely subtle to the...well, NOT-so-subtle-at-all. <br /><br />\n\n<h3>Far-Out Electronic Musical Effects & Destruction</h3>\nCreate sounds that mimic oscillator sync using any sound as the source. Even after the fact. Apply super-high fidelity frequency shifting, create wild pumping textures that sound far more aggressive than possible with a compressor, use the WARP circuit for emulating sample rate reduction and for creating unique lo-fi tones in a hi-fi way. Or, more generally speaking: transform your sounds in otherworldly ways. That\'s WORMHOLE. If you dig modular synths (like we do), you\'ll love it.<br /><br />\n\n<h3>WORMHOLE is Fast and Easy to Use</h3>\nNone of this complexity translates into your workflow, though – the WORMHOLE user interface is strikingly simple, and the plug-in is a breeze to use. A huge selection of meticulously crafted factory presets and a weighted randomization feature make exploring space beyond the WORMHOLE superluminally fast. Easy to use MIDI Learn for all controls makes fine-tuning parameters easier than translocating into a parallel universe. Well, quite a bit easier, actually. Give the free trial a spin to experience this multi-dimensional joyride for yourself!<br /><br />'),(13160,75,1,2194,'<h2>Zynaptiq WORMHOLE Plug-In</h2>\n<span style=\"font-size:16px; font-style:italic;\">Real-Time Structural Audio Morphing</span><br /><br />Zynaptiq WORMHOLE is a multi-effects audio processor plug-in designed for sound designers, music producers and film composers. WORMHOLE can do everything from beautifully shimmering detuned guitar widening and glassy ambient octave-shift tails, to surreal ambiences, starship drones, alien, monster, and robot voices. Combining ultra-clean pitch/frequency shifting, eccentric spectral warping, dual lush reverbs, and unique dry/wet morphing, WORMHOLE delivers sounds so unearthly you’ll swear they’re from a parallel universe.<br /><br />\n<h3>WORMHOLE features at a glance: </h3>\n<ul>\n	<li>High-quality multieffects processing ranging from the sublime to the extreme.</li>\n	<li>WARP spectral inversion & warping module.</li>\n	<li>SHIFT unique topology combined pitch-/frequency-shifting module with SMOOTH, TIGHT and two DETUNE modes.</li>\n	<li>Dual lush randomized hall reverbs.</li>\n	<li>Unique dry/wet morphing. </li>\n	<li>Very wide +- 4 octaves pitch-shift and +-4000Hz frequency shift range, fully aliasing free, with 96dB/oct (!!) carrier and side-band attenuation.</li>\n	\n</ul>\n<br />\n\n<h3>Powerhouse</h3>\nWORMHOLE consists of 5 highly synergistic processing modules: the spectral WARP, the pitch/frequency SHIFT, the dual random modulated hall REVERB, a nifty little DELAY, and the dry/wet morphing FX BLEND sections. In combination with a flexible signal path, this makes WORMHOLE an ultra-fast and easy-to-use, high-end multieffects processor, that covers the full range from the subtle to the (very) extreme. Whether you\'re a sound designer, music producer or ambient artist, WORMHOLE is for you.<br /><br />\n\n<h3>So What Is This For?</h3>\nWhile WORMHOLE excels at making the usually time-consuming workflows of creating high-quality Sci-Fi sounds and creature voices fast, easy, fun and extremely hi-fi, it actually covers a very broad range of applications – including musical sweetening and ambient effects from the grungy to the shimmering and lush, bread-and-butter mixing effects like creating suboctaves, widening, chorusing, filtering, harmonic shaping and reverberation, and some seriously psychedelic electronica colors and mangling effects. Here are some of the things WORMHOLE is great at.<br /><br />\n\n<h3>Alien, Robot and Monster Voices & Space-Age Transmission FX</h3>\nWORMHOLE is insanely good for making all sorts of creature and robotic voices, as well as making them sound like the gravitometric faster-than-light transceiver went out-of-range. The WARP and SHIFT sections provide the mangling, while the dry/wet morphing ensures intelligibility (even with extreme transformations) and serves to fine-tune the alienification amount – reigning even the strongest processing back in if so desired. Or use the morphing to gradually transition from clean to mutated in an otherwise impossible, cool way. <br /><br />\n\n\n<h3>Surreal Soundscapes and SFX</h3>\nWith WORMHOLE, spaceship atmospheres and neutrino accelerator field fluctuation induced interference oscillations are unbelievably easy to make – and sound unbelievably good, too. Turn cute metal clangs into huge impacts of intergalactic proportions, aircondition rumble into ancient planetoid displacement machinery hum, and synthesizer waveforms into mutated cyborg production facility power plant drones. Then, animate the sound organically by moving the dry/wet morph and section dry/wet mixes just a little bit. Or go crazy and automate everything all over the place, of course.<br /><br />\n\n\n<h3>Musical Effects – Shimmering, Ambient, Lush, Beautiful</h3>\nGuitars, pianos, pads all love WORMHOLE. It does just that thing that you\'d typically reach for your really awesome vintage rack multi-effects units for, and feed them back into each other through the console...if they weren\'t out for service. Again. With unknown ETA due to the parts being unobtainium. And actually, WORMHOLE is the space-age version of that approach. No pitch-shifter induced disharmonic sidebands or graininess. Just pure, lushly blissfull glassy ambient fifths and octaves, micro-detuning shimmers, and more. Did we mention the dual, cascadable random modulated hall reverbs yet? <br /><br />\n\n\n<h3>Mixing Effects – Widening, Chorusing & More</h3>\nSince we gave WORMHOLE a really great pitch shifter, we figured: it would be smart to also make it do the L/R Detuning-Widening-Chorusing Thing. As we try to be smart as much as we can, we taught WORMHOLE how to do just that. The pitch-shifter has two dedicated L/R detuning modes and, taking the approach up another notch, we also created what we believe to be the first center-balanced widening delay. Together with the dry/wet morphing and the dual reverb engines, this makes for organic sounds from the sublimely subtle to the...well, NOT-so-subtle-at-all. <br /><br />\n\n<h3>Far-Out Electronic Musical Effects & Destruction</h3>\nCreate sounds that mimic oscillator sync using any sound as the source. Even after the fact. Apply super-high fidelity frequency shifting, create wild pumping textures that sound far more aggressive than possible with a compressor, use the WARP circuit for emulating sample rate reduction and for creating unique lo-fi tones in a hi-fi way. Or, more generally speaking: transform your sounds in otherworldly ways. That\'s WORMHOLE. If you dig modular synths (like we do), you\'ll love it.<br /><br />\n\n<h3>WORMHOLE is Fast and Easy to Use</h3>\nNone of this complexity translates into your workflow, though – the WORMHOLE user interface is strikingly simple, and the plug-in is a breeze to use. A huge selection of meticulously crafted factory presets and a weighted randomization feature make exploring space beyond the WORMHOLE superluminally fast. Easy to use MIDI Learn for all controls makes fine-tuning parameters easier than translocating into a parallel universe. Well, quite a bit easier, actually. Give the free trial a spin to experience this multi-dimensional joyride for yourself!<br /><br />'),(13161,85,0,2194,'Zynaptiq WORMHOLE Plug-In'),(13162,85,1,2194,'Zynaptiq WORMHOLE Plug-In'),(13163,76,0,2194,''),(13164,76,1,2194,''),(13165,75,0,2195,'<h1>Zynaptiq ZAP II Plug-In Bundle</h1>\n<span style=\"font-size:16px; font-style:italic;\">The Ultimate Plug-In Bundle from Zynaptiq</span><br /><br />\nZynaptiq ZAP II <span style=\"background-color: initial;\">combines all eight of Zynaptiq\'s AI and source separation based plugins into a single, value-packed processing suite. Restore your sound\'s natural frequency response, remove reverb and masking effects, reduce codec/denoiser artifacts, and modify pitches within mixed music on the fly. Create unheard new hybrid sounds, drones and morphing transitions, and boost or attenuate drums in mixed music. Add punch to your drum stems, mutate, beautify, cross-filter or polish your sounds, and even add the only ultra-lush, musical reverb that tracks your audio’s harmonics. All in real-time, with a lightning fast workflow, and with award-winning quality. Add the future of audio processing to your toolkit now with ZAP II – The Zynaptiq Audio Processors Bundle, Version 2</span><br />\n<br />\n<h3>ZAP II Bundle Includes</h3>\n<h4>UNVEIL: De-Reverberation & Signal Focusing Processor.</h4>\nBoost or suppress reverb in your recordings, and fine-tune overall clarity, with award-winning quality.\n<br /><br />\n<h4>UNFILTER: Adaptive Tonal Contour Linearization.</h4>\nRemove resonances, roll-offs, comb-filtering and solve any other type of EQ problem including mastering applications automatically, with award-winning precision and quality.\n<br /><br />\n<h4>UNCHIRP: Codec Artifact Removal & Transient Retrieval.</h4>\n	Restore audio compromised by poor encoding, and add clarity, definition and punch to your recordings.\n<br /><br />\n<h4>PITCHMAP: Re-Write Mixed Music In Real-Time.</h4>\n	Change the harmonies and melodies of polyphonic recordings, samples, loops, or even full mixes on the fly, while correcting tuning and suppressing individual sounds based on their pitch at the same time.\n<br /><br />\n<h4>MORPH 2: Real-Time Structural Audio Morphing.</h4>\n	Apply high-end morphing algorithms to two input sounds to create a new one that has features of both – and create a whole universe of new sounds.\n<br /><br />\n<h4>UNMIX::DRUMS: Boost Or Attenuate Drums In Mixed Music.</h4>\n	Boost or cut the drums in a mix or sample frequency dependently, or add potentially illegal amounts of punch to your drum stems.\n<br /><br />\n<h4>ADAPTIVERB: Harmonic Tracking Resynthesis Reverb.</h4>\n	Arguably the most unique reverb, texture synthesizer and cross-filter available.\n<br /><br />\n<h4>WORMHOLE: Otherworldly Audio Effects Processor.</h4>\n	High-quality multi-effects processing ranging from the sublime to the extreme. Creature/robot voices, sci-fi SFX and drones, or wide, shimmering, glassy ambient guitars with pitch-shifted tails? You got it!\n<br /><br />'),(13166,75,1,2195,'<h1>Zynaptiq ZAP II Plug-In Bundle</h1>\n<span style=\"font-size:16px; font-style:italic;\">The Ultimate Plug-In Bundle from Zynaptiq</span><br /><br />\nZynaptiq ZAP II <span style=\"background-color: initial;\">combines all eight of Zynaptiq\'s AI and source separation based plugins into a single, value-packed processing suite. Restore your sound\'s natural frequency response, remove reverb and masking effects, reduce codec/denoiser artifacts, and modify pitches within mixed music on the fly. Create unheard new hybrid sounds, drones and morphing transitions, and boost or attenuate drums in mixed music. Add punch to your drum stems, mutate, beautify, cross-filter or polish your sounds, and even add the only ultra-lush, musical reverb that tracks your audio’s harmonics. All in real-time, with a lightning fast workflow, and with award-winning quality. Add the future of audio processing to your toolkit now with ZAP II – The Zynaptiq Audio Processors Bundle, Version 2</span><br />\n<br />\n<h3>ZAP II Bundle Includes</h3>\n<h4>UNVEIL: De-Reverberation & Signal Focusing Processor.</h4>\nBoost or suppress reverb in your recordings, and fine-tune overall clarity, with award-winning quality.\n<br /><br />\n<h4>UNFILTER: Adaptive Tonal Contour Linearization.</h4>\nRemove resonances, roll-offs, comb-filtering and solve any other type of EQ problem including mastering applications automatically, with award-winning precision and quality.\n<br /><br />\n<h4>UNCHIRP: Codec Artifact Removal & Transient Retrieval.</h4>\n	Restore audio compromised by poor encoding, and add clarity, definition and punch to your recordings.\n<br /><br />\n<h4>PITCHMAP: Re-Write Mixed Music In Real-Time.</h4>\n	Change the harmonies and melodies of polyphonic recordings, samples, loops, or even full mixes on the fly, while correcting tuning and suppressing individual sounds based on their pitch at the same time.\n<br /><br />\n<h4>MORPH 2: Real-Time Structural Audio Morphing.</h4>\n	Apply high-end morphing algorithms to two input sounds to create a new one that has features of both – and create a whole universe of new sounds.\n<br /><br />\n<h4>UNMIX::DRUMS: Boost Or Attenuate Drums In Mixed Music.</h4>\n	Boost or cut the drums in a mix or sample frequency dependently, or add potentially illegal amounts of punch to your drum stems.\n<br /><br />\n<h4>ADAPTIVERB: Harmonic Tracking Resynthesis Reverb.</h4>\n	Arguably the most unique reverb, texture synthesizer and cross-filter available.\n<br /><br />\n<h4>WORMHOLE: Otherworldly Audio Effects Processor.</h4>\n	High-quality multi-effects processing ranging from the sublime to the extreme. Creature/robot voices, sci-fi SFX and drones, or wide, shimmering, glassy ambient guitars with pitch-shifted tails? You got it!\n<br /><br />'),(13167,85,0,2195,'Zynaptiq ZAP Plug-In Bundle'),(13168,85,1,2195,'Zynaptiq ZAP Plug-In Bundle'),(13169,76,0,2195,''),(13170,76,1,2195,'');
