(1327,75,0,222,'<h1>Arturia V Collection 7 - Software Instrument Bundle</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The ultimate collection of classic synth, organ, piano, and performance keyboards. 24 seminal instruments, </span><i>authentically recreated in software, and modernized with contemporary features. </i><br/><br/>Arturia V Collection 7 has grown into the premier collection of virtual instruments, featuring 24 timeless synths, organs, pianos, and more - lovingly recreated in software and modernized with features you could only dream the hardware had. <br/>\n<div>\n	<br/>\n</div>\n<div>\n	With V Collection 7 you can turn a classic monosynth into a polysynth at the flick of a switch. Load your own samples into a vintage sound engine with drag and drop. Add oscillators, add filters, add modulation and effects. You can enjoy these instruments however you want: in their original spec, with all the contemporary updates, or somewhere in between. The choice is yours.\n</div>\n<br/>\n<h3>Arturia V Control 7 Main Features</h3>\n<ul>\n</ul>\n<div class=\"col-md-12\">\n	<div class=\"list-striped cols-3\">\n		<ul>\n			<li>Includes 24 software titles: Mellotron V, Synthi V, CZ V, Analog Lab, Clavinet V, CMI V, DX7 V, Buchla Easel V, Synclavier V, B-3 V, Mini V, Piano V, Stage-73 V, Matrix-12 V, Farfisa V, Solina V, SEM V, Wurli V, Jup-8 V, ARP 2600 V, CS-80 V, Prophet V, VOX Continental V, Modular V</li>\n			<li>Each virtual instrument in the V Collection can be used as a stand-alone application or as a NKS (except Analog Lab,Mellotron V, Synthi V, CZ V and B-3 V), VST, AU or AAX plug-in</li>\n			<li>High resolution graphic interfaces, compatible with very large displays</li>\n			<li>All instruments share a common interface for browsing, editing (save, import, export, ...)</li>\n			<li>Easy MIDI mapping to any keyboard controller.</li>\n			<li>In app tutorials allowing to quickly understand the instruments.</li>\n			<li>Easy install and licence manager : Arturia Software Center.</li>\n			<li>More than 8000 high-quality and innovative sound presets.</li>\n			<li>Analog Lab - All presets of the V Collection 7 can be browsed and edited from a single interface</li>\n			<li>Arturia’s proprietary technologies, TAE® and Phi, ensure that each instrument sounds and behaves exactly like the original.</li>\n		</ul>\n	</div>\n</div>\n<ul>\n</ul>\n<br/>\n<h2>Included in V Collection 7</h2>\nV Collection 7, the latest incarnation of Analog Lab, gives you instant access to the 8,000+ preset sounds contained within all of the V Collection instruments, and lets you browse, navigate, and audition every one with ease. You’ll never be stuck for inspiration again.\n<br/><br/>\n<b>Mellotron V (new in V Collection 7)</b><br/>\nThis original instrument redefined what keyboard players could do, unlocking the doors to orchestral and choral sounds at the touch of a key.<br/><br/>\n<b>CZ V (new in V Collection 7)</b><br/>\nThe budget synth that became a legend in its own right. The instrument that brought the digital synth revolution to the masses is now at your command.<br/><br/>\n<b>Synthi V (new in V Collection 7)</b><br/>\nThe quirky British “silver machine” that put a new spin on modular synthesis, reborn in software with exciting new tricks up its sleeve.<br/><br/>\n<b>Analog Lab 4 (new in V Collection 7)</b><br/>\nPersonalize your own perfect keyboard, with over 8,000 amazing presets, perfect integration, effects, and a built-in live mode. Your go-to choice for inspiration.<br/><br/>\n<b>B-3 V 2 (new in V Collection 7)</b><br/>\nArturia\'s recreation of Hammond’s legendary organ has received a total sound engine overhaul, making it the most authentic, vibrant electric organ virtual instrument ever.<br/><br/>\n<b>Synthopedia (new in V Collection 7)</b><br/>\n800 brand new, modern sounds created for legacy V Collection instruments. The hottest synths and chart-topping keys are yours to explore.<br/><br/>\n<strong>ARP2600 V</strong><br/>\nThis classic earned its reputation as a staple for clear, bright leads and basses a la “Frankenstein” and “Birdland”, as well as sound design such as the voice of R2D2. Its semi-modular design featured normalized connections you can override with a patch cord, making it a great tool for learning and exploring synthesis. Our version has tons of enhancements including polyphony, tracking generator modules, 1601 sequencer, and effects.<br/><br/><strong>Buchla Easel V</strong><br/>Recreating Don Buchla’s leftfield analog synth from 1973, the Music Easel changed the way people created sounds with performance-focused parameters, putting the focus on the artistry of being a recording artist. Perfect for exploring alternative sound design, creating ambient, widescreen textures, and unfamiliar sequences. Taking Buchla’s experimental vision one step further, Arturia have incorporated Gravity, a physics-based synth engine into their software recreation, letting you take your music where no one has gone before. <br/><br/><strong>Clavinet</strong><br/>Arguably the most famous, influential electric keyboard of all time, the legacy of the Clavinet is everywhere. Released by Hohner in the mid-60s, its funky, energetic tone gave life to myriad genres over the decades. From disco to R&B, prog rock to pure, unadulterated pop, the percussive, soulful sound of this legendary performance keyboard is reborn in Clavinet V. Arturia’s physically modelled recreation lets you dig deeper into the instrument, changing the physical properties of the instrument, and adding classic amp and effects combos into the mix.<br/><br/><strong>CMI V</strong><br/>Known fondly as the mother of all samplers, and a groundbreaking additive synth, the Fairlight CMI truly redefined pop music production following its release in 1979. Arturia’s recreation builds on the features of the original by providing 10 multitimbral, polyphonic slots to design your sound, real-time waveform shaping, effects, a sequencer, and even a brand new “Spectral” synth that can scan and mix sections of audio, letting you create your own wavetable synth sounds. <br/><br/>\n<strong>CS-80 V</strong><br/>\nThe CS-80 distinguished itself by having two complete synth sound paths in parallel, making for rich complex sonic textures. Popularized by Toto, Vangelis, ELO, Stevie Wonder and many more, it brimmed with expressive controls rarely found elsewhere, including a ribbon controller and polyphonic aftertouch. We’ve included a new generation of creative features like additional modulation routings, multi-timbral voicing, arpeggiator, stereo delay and preset morphing.<br/><br/><strong>DX7 V<br/></strong>The Yamaha DX-7 needs no introduction, and its legacy is felt in charts around the world to this day. If you’ve ever listened to the radio, watched a film, or owned any 80s records, you’ll have heard the DX-7. Notoriously tricky to program, Arturia’s recreation simplifies the process by vastly improving the interface, and expands its synth capabilities with a mod matrix, customizable envelopes, extra waveforms, a 2nd LFO, effects, sequencer, arpeggiator, and more.  <br/><br/>\n<strong>Farfisa V</strong><br/>\nMuch lighter than a Hammond and more cutting than a Vox, the Farfisa transistor organ helped drive the effervescent sounds of ‘60s Top 40 hits, and has kept bubbling up across upbeat genres ever since. It also wanted to be a synth when it grew up, which we’ve aided by adding user-definable waveforms, DAW sync for tremolo/repeat, more envelope control and integral effects.<br/><br/>\n<strong>Jup-8 V</strong><br/>\nManaging to be simultaneously fat, airy and crystal clear, this classic polysynth was embraced by pop luminaries including Prince, Duran Duran, Moby, Depeche Mode and No Doubt. Distinguishing features included switchable 2- and 4-pole filters, hi-pass filters, VCO sync, and an arpeggiator. We’ve brought extra love by adding complex LFO combinations, modulation-targetable dynamic effects, and an advanced step sequencer that can be used as a mod source.<br/><br/>\n<strong>Matrix-12 V</strong><br/>\nOne of the finest analog poly synths ever made, the Matrix-12 featured the big brassy Oberheim sound, unparalleled matrix modulation, and unprecedented 15-mode filters. Each of the 12 voices could have its own sound assigned to any MIDI channel and key range, making for massive layered textures and complex splits. We’ve expanded it with even more mod sources and a 27 x 47 matrix.<br/><br/>\n<strong>Mini V</strong><br/>\nProbably the most famous synth in history and sporting a discography to match, this monosynth is legendary for its fat, warm basses and leads owing to its three VCOs and 12db/octave filter. We partnered with Bob Moog himself with massive updates including polyphony (a la Memorymoog), a dedicated modulation LFO, formant-based vocal filter, sample/hold, mod matrix, parameter automation, and preset morphing.<br/><br/>\n<strong>Modular V</strong><br/>\nThe Modular system started the entire electronic music revolution, and is still one of the most powerful and huge-sounding synths ever. While largely used for diatonic music, its patch-cord based interface yielded complete sonic and creative flexibility. We collaborated with Bob Moog to update this behemoth with programmable presets, polyphony, nine VCOs, three VCFs and rare original modules like the Bode 1620 frequency shifter.<br/><br/>\n<strong>Piano V</strong><br/>\nPiano V delivers nine world-class pianos, ranging from 9’ concert grands to studio uprights to unconventional designs. Rather than stacks of samples, they’re all based on our award-winning modeling technology applied to the sound and mechanics—strings, hammers, sound boards, mic positions and more. Finally there’s a piano emulation you’ll truly love playing. Just choose a preset and play, or customize your own.<br/><br/>\n<strong>Prophet V</strong><br/>\nProphet V combines the famous Prophet 5 with the later Prophet VS. As the first fully programmable polyphonic synth, the subtractive-synthesis Prophet 5 was everywhere in the late ‘70s. The VS used vector synthesis, with X-Y joystick morphing of its four oscillators—each containing one of 128 different digital waveforms. Our Hybrid mode adds matrix modulation to combine elements of both instruments for bold new sounds.<br/><br/>\n<strong>SEM V</strong><br/>\nTom Oberheim’s SEM was one of the first self-contained synth modules and was further distinguished by its unique 12db-octave multimode filter. His first polyphonic synth was actually a combination of individual SEMs connected to a digital scanning keyboard which, since each voice was slightly different, gave it a very alive sound. We’ve recreated an 8-voice version with added modulation matrix, noise, sub-oscillator, arpeggiator and portamento.<br/><br/>\n<strong>Solina V</strong><br/>\nBefore poly synths and samplers, the Solina string machine borrowed top-octave divider technology from organs and married it with animated choruses to deliver lush string textures that samples still can’t fully duplicate. We set up both the original mono and later stereo versions, included the phaser effect popularized by Jean-Michel Jarre, added voices inspired by the Polymoog and more, making it the perfect pad machine.<br/><br/>\n<strong>Stage-73 V</strong><br/>\nThe tine-based electric pianos of the ‘60s and ‘70s featured a rounder sound and longer sustain than the competing Wurlitzers. They’ve been used by a who’s who of keyboardists, especially for jazz, funk and ballads. We modeled the Stage 73 and Suitcase 73 right down to the tines, pickups and circuitry. We also included a tube amp model and classic effects for the full experience.<br/><br/>\n<strong>Synclavier V</strong><br/>\nThe Synclavier V faithfully recreates and improves on the elite digital synthesizer that powered some of the biggest hits and film soundtracks of the early ‘80s. Its unique fusion of additive and FM synthesis technologies made for a stunningly diverse and unique universe of cinematic pads and evolving timbres. We partnered with original designer Cameron Jones to faithfully build the only emulation ever attempted.<br/><br/>\n<strong>VOX Continental V</strong><br/>\nThe transistor-based Vox Continental became popular in the ‘60s as a much lighter and affordable alternative to Hammonds. While it borrowed Hammond’s drawbar construct, the Vox had an eager pop-ready sound all its own that was quickly adopted in the British Invasion and West Coast hit factories. We’ve included the later Jennings J70 engine alternative, and added full drawbars, extra waveforms, rotary cabinet, and effects.<br/><br/>\n<strong>Wurli V</strong><br/>\nThe reed-based electric piano was brighter and tighter that the Rhodes. Mellow at lower velocities, its voice took on a rougher bark as it was played harder. This made it a favored electric piano for rock and funk players—and another perfect example of something that our physical modeling nails that sampling can’t. We’ve added lots of tone-shaping options, guitar amp, rotary speaker and effects boxes.<br/><br/>'),(1328,75,1,222,'<h1>Arturia V Collection 7 - Software Instrument Bundle</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The ultimate collection of classic synth, organ, piano, and performance keyboards. 24 seminal instruments, </span><i>authentically recreated in software, and modernized with contemporary features. </i><br/><br/>Arturia V Collection 7 has grown into the premier collection of virtual instruments, featuring 24 timeless synths, organs, pianos, and more - lovingly recreated in software and modernized with features you could only dream the hardware had. <br/>\n<div>\n	<br/>\n</div>\n<div>\n	With V Collection 7 you can turn a classic monosynth into a polysynth at the flick of a switch. Load your own samples into a vintage sound engine with drag and drop. Add oscillators, add filters, add modulation and effects. You can enjoy these instruments however you want: in their original spec, with all the contemporary updates, or somewhere in between. The choice is yours.\n</div>\n<br/>\n<h3>Arturia V Control 7 Main Features</h3>\n<ul>\n</ul>\n<div class=\"col-md-12\">\n	<div class=\"list-striped cols-3\">\n		<ul>\n			<li>Includes 24 software titles: Mellotron V, Synthi V, CZ V, Analog Lab, Clavinet V, CMI V, DX7 V, Buchla Easel V, Synclavier V, B-3 V, Mini V, Piano V, Stage-73 V, Matrix-12 V, Farfisa V, Solina V, SEM V, Wurli V, Jup-8 V, ARP 2600 V, CS-80 V, Prophet V, VOX Continental V, Modular V</li>\n			<li>Each virtual instrument in the V Collection can be used as a stand-alone application or as a NKS (except Analog Lab,Mellotron V, Synthi V, CZ V and B-3 V), VST, AU or AAX plug-in</li>\n			<li>High resolution graphic interfaces, compatible with very large displays</li>\n			<li>All instruments share a common interface for browsing, editing (save, import, export, ...)</li>\n			<li>Easy MIDI mapping to any keyboard controller.</li>\n			<li>In app tutorials allowing to quickly understand the instruments.</li>\n			<li>Easy install and licence manager : Arturia Software Center.</li>\n			<li>More than 8000 high-quality and innovative sound presets.</li>\n			<li>Analog Lab - All presets of the V Collection 7 can be browsed and edited from a single interface</li>\n			<li>Arturia’s proprietary technologies, TAE® and Phi, ensure that each instrument sounds and behaves exactly like the original.</li>\n		</ul>\n	</div>\n</div>\n<ul>\n</ul>\n<br/>\n<h2>Included in V Collection 7</h2>\nV Collection 7, the latest incarnation of Analog Lab, gives you instant access to the 8,000+ preset sounds contained within all of the V Collection instruments, and lets you browse, navigate, and audition every one with ease. You’ll never be stuck for inspiration again.\n<br/><br/>\n<b>Mellotron V (new in V Collection 7)</b><br/>\nThis original instrument redefined what keyboard players could do, unlocking the doors to orchestral and choral sounds at the touch of a key.<br/><br/>\n<b>CZ V (new in V Collection 7)</b><br/>\nThe budget synth that became a legend in its own right. The instrument that brought the digital synth revolution to the masses is now at your command.<br/><br/>\n<b>Synthi V (new in V Collection 7)</b><br/>\nThe quirky British “silver machine” that put a new spin on modular synthesis, reborn in software with exciting new tricks up its sleeve.<br/><br/>\n<b>Analog Lab 4 (new in V Collection 7)</b><br/>\nPersonalize your own perfect keyboard, with over 8,000 amazing presets, perfect integration, effects, and a built-in live mode. Your go-to choice for inspiration.<br/><br/>\n<b>B-3 V 2 (new in V Collection 7)</b><br/>\nArturia\'s recreation of Hammond’s legendary organ has received a total sound engine overhaul, making it the most authentic, vibrant electric organ virtual instrument ever.<br/><br/>\n<b>Synthopedia (new in V Collection 7)</b><br/>\n800 brand new, modern sounds created for legacy V Collection instruments. The hottest synths and chart-topping keys are yours to explore.<br/><br/>\n<strong>ARP2600 V</strong><br/>\nThis classic earned its reputation as a staple for clear, bright leads and basses a la “Frankenstein” and “Birdland”, as well as sound design such as the voice of R2D2. Its semi-modular design featured normalized connections you can override with a patch cord, making it a great tool for learning and exploring synthesis. Our version has tons of enhancements including polyphony, tracking generator modules, 1601 sequencer, and effects.<br/><br/><strong>Buchla Easel V</strong><br/>Recreating Don Buchla’s leftfield analog synth from 1973, the Music Easel changed the way people created sounds with performance-focused parameters, putting the focus on the artistry of being a recording artist. Perfect for exploring alternative sound design, creating ambient, widescreen textures, and unfamiliar sequences. Taking Buchla’s experimental vision one step further, Arturia have incorporated Gravity, a physics-based synth engine into their software recreation, letting you take your music where no one has gone before. <br/><br/><strong>Clavinet</strong><br/>Arguably the most famous, influential electric keyboard of all time, the legacy of the Clavinet is everywhere. Released by Hohner in the mid-60s, its funky, energetic tone gave life to myriad genres over the decades. From disco to R&B, prog rock to pure, unadulterated pop, the percussive, soulful sound of this legendary performance keyboard is reborn in Clavinet V. Arturia’s physically modelled recreation lets you dig deeper into the instrument, changing the physical properties of the instrument, and adding classic amp and effects combos into the mix.<br/><br/><strong>CMI V</strong><br/>Known fondly as the mother of all samplers, and a groundbreaking additive synth, the Fairlight CMI truly redefined pop music production following its release in 1979. Arturia’s recreation builds on the features of the original by providing 10 multitimbral, polyphonic slots to design your sound, real-time waveform shaping, effects, a sequencer, and even a brand new “Spectral” synth that can scan and mix sections of audio, letting you create your own wavetable synth sounds. <br/><br/>\n<strong>CS-80 V</strong><br/>\nThe CS-80 distinguished itself by having two complete synth sound paths in parallel, making for rich complex sonic textures. Popularized by Toto, Vangelis, ELO, Stevie Wonder and many more, it brimmed with expressive controls rarely found elsewhere, including a ribbon controller and polyphonic aftertouch. We’ve included a new generation of creative features like additional modulation routings, multi-timbral voicing, arpeggiator, stereo delay and preset morphing.<br/><br/><strong>DX7 V<br/></strong>The Yamaha DX-7 needs no introduction, and its legacy is felt in charts around the world to this day. If you’ve ever listened to the radio, watched a film, or owned any 80s records, you’ll have heard the DX-7. Notoriously tricky to program, Arturia’s recreation simplifies the process by vastly improving the interface, and expands its synth capabilities with a mod matrix, customizable envelopes, extra waveforms, a 2nd LFO, effects, sequencer, arpeggiator, and more.  <br/><br/>\n<strong>Farfisa V</strong><br/>\nMuch lighter than a Hammond and more cutting than a Vox, the Farfisa transistor organ helped drive the effervescent sounds of ‘60s Top 40 hits, and has kept bubbling up across upbeat genres ever since. It also wanted to be a synth when it grew up, which we’ve aided by adding user-definable waveforms, DAW sync for tremolo/repeat, more envelope control and integral effects.<br/><br/>\n<strong>Jup-8 V</strong><br/>\nManaging to be simultaneously fat, airy and crystal clear, this classic polysynth was embraced by pop luminaries including Prince, Duran Duran, Moby, Depeche Mode and No Doubt. Distinguishing features included switchable 2- and 4-pole filters, hi-pass filters, VCO sync, and an arpeggiator. We’ve brought extra love by adding complex LFO combinations, modulation-targetable dynamic effects, and an advanced step sequencer that can be used as a mod source.<br/><br/>\n<strong>Matrix-12 V</strong><br/>\nOne of the finest analog poly synths ever made, the Matrix-12 featured the big brassy Oberheim sound, unparalleled matrix modulation, and unprecedented 15-mode filters. Each of the 12 voices could have its own sound assigned to any MIDI channel and key range, making for massive layered textures and complex splits. We’ve expanded it with even more mod sources and a 27 x 47 matrix.<br/><br/>\n<strong>Mini V</strong><br/>\nProbably the most famous synth in history and sporting a discography to match, this monosynth is legendary for its fat, warm basses and leads owing to its three VCOs and 12db/octave filter. We partnered with Bob Moog himself with massive updates including polyphony (a la Memorymoog), a dedicated modulation LFO, formant-based vocal filter, sample/hold, mod matrix, parameter automation, and preset morphing.<br/><br/>\n<strong>Modular V</strong><br/>\nThe Modular system started the entire electronic music revolution, and is still one of the most powerful and huge-sounding synths ever. While largely used for diatonic music, its patch-cord based interface yielded complete sonic and creative flexibility. We collaborated with Bob Moog to update this behemoth with programmable presets, polyphony, nine VCOs, three VCFs and rare original modules like the Bode 1620 frequency shifter.<br/><br/>\n<strong>Piano V</strong><br/>\nPiano V delivers nine world-class pianos, ranging from 9’ concert grands to studio uprights to unconventional designs. Rather than stacks of samples, they’re all based on our award-winning modeling technology applied to the sound and mechanics—strings, hammers, sound boards, mic positions and more. Finally there’s a piano emulation you’ll truly love playing. Just choose a preset and play, or customize your own.<br/><br/>\n<strong>Prophet V</strong><br/>\nProphet V combines the famous Prophet 5 with the later Prophet VS. As the first fully programmable polyphonic synth, the subtractive-synthesis Prophet 5 was everywhere in the late ‘70s. The VS used vector synthesis, with X-Y joystick morphing of its four oscillators—each containing one of 128 different digital waveforms. Our Hybrid mode adds matrix modulation to combine elements of both instruments for bold new sounds.<br/><br/>\n<strong>SEM V</strong><br/>\nTom Oberheim’s SEM was one of the first self-contained synth modules and was further distinguished by its unique 12db-octave multimode filter. His first polyphonic synth was actually a combination of individual SEMs connected to a digital scanning keyboard which, since each voice was slightly different, gave it a very alive sound. We’ve recreated an 8-voice version with added modulation matrix, noise, sub-oscillator, arpeggiator and portamento.<br/><br/>\n<strong>Solina V</strong><br/>\nBefore poly synths and samplers, the Solina string machine borrowed top-octave divider technology from organs and married it with animated choruses to deliver lush string textures that samples still can’t fully duplicate. We set up both the original mono and later stereo versions, included the phaser effect popularized by Jean-Michel Jarre, added voices inspired by the Polymoog and more, making it the perfect pad machine.<br/><br/>\n<strong>Stage-73 V</strong><br/>\nThe tine-based electric pianos of the ‘60s and ‘70s featured a rounder sound and longer sustain than the competing Wurlitzers. They’ve been used by a who’s who of keyboardists, especially for jazz, funk and ballads. We modeled the Stage 73 and Suitcase 73 right down to the tines, pickups and circuitry. We also included a tube amp model and classic effects for the full experience.<br/><br/>\n<strong>Synclavier V</strong><br/>\nThe Synclavier V faithfully recreates and improves on the elite digital synthesizer that powered some of the biggest hits and film soundtracks of the early ‘80s. Its unique fusion of additive and FM synthesis technologies made for a stunningly diverse and unique universe of cinematic pads and evolving timbres. We partnered with original designer Cameron Jones to faithfully build the only emulation ever attempted.<br/><br/>\n<strong>VOX Continental V</strong><br/>\nThe transistor-based Vox Continental became popular in the ‘60s as a much lighter and affordable alternative to Hammonds. While it borrowed Hammond’s drawbar construct, the Vox had an eager pop-ready sound all its own that was quickly adopted in the British Invasion and West Coast hit factories. We’ve included the later Jennings J70 engine alternative, and added full drawbars, extra waveforms, rotary cabinet, and effects.<br/><br/>\n<strong>Wurli V</strong><br/>\nThe reed-based electric piano was brighter and tighter that the Rhodes. Mellow at lower velocities, its voice took on a rougher bark as it was played harder. This made it a favored electric piano for rock and funk players—and another perfect example of something that our physical modeling nails that sampling can’t. We’ve added lots of tone-shaping options, guitar amp, rotary speaker and effects boxes.<br/><br/>'),(1329,85,0,222,'Arturia V Collection 7 - Software Instrument Bundle'),(1330,85,1,222,'Arturia V Collection 7 - Software Instrument Bundle'),(1331,76,0,222,''),(1332,76,1,222,''),(1333,75,0,223,'<h1>ASC AttackWall Deluxe Kit</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The ultimate studio acoustic treatment! The AttackWall Deluxe Kit features 2 MonitorStacks and 16 StudioTraps to give you the perfect acoustic environment to track, mix or master. The AttackWall Deluxe Kit works by eliminating early reflections and providing time-delayed backfill to eliminate the \"sound\" of your room. Trust us, once you hear your speakers in the AttackWall, you\'ll never hear them the same.</span><br/><br/>\nThe ASC AttackWall Deluxe Kit features a full 12 tube AttackWall along with an added 4 tube back wall of studio traps to create a rock-solid, reliable, repeatable, and accurate sonic space in which to track, mix, and master, regardless of room or speaker system. The system is completely modular, allowing you to “start small” and expand as the budget permits. The AttackWall is also  portable and repeatable. You can take your easily system to the next session or your next studio.<br/><br/>\n<h3>ASC AttackWall Deluxe Kit Features</h3>\n<ul>\n	<li>Includes (16) 9\" StudioTraps with Stands</li>\n	<li>Includes (2) 13\" MonitorStacks - 2 BasePlates, 2 Stands and 2 Tops</li>\n	<li>Any Room, Any Studio, Perfect Repeatability     </li>\n	<li>Portable and Convenient World Class Control Room    </li>\n	<li>Infinite Setup Possibilities from 2.0 to 5.2        </li>\n	<li>Use the Same StudioTraps for Gobo Recording         </li>\n	<li>Soffit Loaded Monitor Effect, Just Like a Downtown Studio      </li>\n	<li>Engineered for Performance by Art Noxon and Sam Lynn</li>\n</ul>\n<br/>\n<h3>The Repeatable Mixing Environment</h3>\nThe AttackWall is made up of Studio Traps and Monitor Traps, versatile acoustic tools created by ASC for the recording studio. The front half of the Studio Trap is treble range reflective and the back side is treble range absorptive. The entire surface of the Traps is bass range absorptive. Studio Traps are adjustable in height and are usually set up midway between the floor and ceiling, but they can be raised or lowered for different listening positions or line of sight requirements.\n<br/><br/>\n<h3>Portable and Powerful</h3>\nBy wrapping Studio Traps tightly around the sides and back of the console, and more loosely locating them behind the engineer, the AttackWall control booth is formed. Wider AttackWalls are formed around big consoles with midfield monitors, while narrower AttackWalls are used for smaller consoles with nearfield monitors. The AttackWall can also accommodate studios that use computer screens. In the treble range, the AttackWall eliminates undesirable early reflections while creating a desirable time delayed diffusive back fill, typical of the LEDE type studio. In the bass range, the drivers become wall loaded and decoupled from the room modes. The AttackWall satisfies all the requirements necessary for a professional control room. Engineers love the level of detail they can get with the AttackWall. They hear sound that couldn’t be heard before, even in some of the world’s biggest studios.\n<br/><br/>\n<h3>Record Anywhere, with Big Studio Results</h3>\nThe AttackWall loads bass just like the built-in main found in a downtown studio. StudioTraps fit tight to the sides of the speaker to create a corner-loading short horn. This increases the efficiency of the speaker and projects the bass. With the absorptive side of the StudioTraps facing inward there is no “horn coloration” added to the direct signal. The AttackWall setup results in a bass loading horn that is lined with treble range absorption. This type of horn loading is designed to be strong in the horizontal plane but weak in the vertical direction. The horn is vented above and below AttackWall just before the expanding bass wave hits the floor or ceiling. This gives a soft bounce effect as the bass wave wraps around the Wall and expands into the rest of the room.\n<br/><br/>\n<h3>The AttackWall System Components</h3>\n<strong>StudioTraps</strong><br/>\nUsed all over the world, ASC StudioTraps are based on the famous ASC TubeTrap, and are a powerful and versatile tool for the recording industry. These Traps not only absorb sound energy, but create diffusion to give the room a more defined and natural sound. The front half of the StudioTrap cylinder is treble reflective to give a bright, diffusive backscatter for recording with enhanced presence. The back half is treble absorptive for the traditional dry recording.<br/><br/>\n<strong>TubeTrap</strong>\nDeveloped as a corner loaded bass trap and voiced with a treble range diffusor panel. The TubeTrap has unique acoustic properties that are perfect for the studio environment. Used in mixing rooms, control rooms, live rooms, foley rooms, informed industry professionals insist on this product by name.<br/><br/>\n<strong>MonitorStand</strong>\nTired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\nNow you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each Stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n<br/><br/>\n<span class=\"colors_productprice\"><span><span style=\"font-weight: bold; font-style: italic;\"><span style=\"font-weight: bold; font-style: italic;\"><a href=\"http://www.rspeaudio.com/Attack_Wall_Webboutique_a/276.htm\"> <span class=\"colors_productprice\">Find out more and see who\'s using the ASC AttackWall</span>.</a></span></span></span></span><br/>\n<h3>Experience the perfect acoustic clarity and imaging the ASC AttackWall can offer. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an AttackWall for your studio.</h3>'),(1334,75,1,223,'<h1>ASC AttackWall Deluxe Kit</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The ultimate studio acoustic treatment! The AttackWall Deluxe Kit features 2 MonitorStacks and 16 StudioTraps to give you the perfect acoustic environment to track, mix or master. The AttackWall Deluxe Kit works by eliminating early reflections and providing time-delayed backfill to eliminate the \"sound\" of your room. Trust us, once you hear your speakers in the AttackWall, you\'ll never hear them the same.</span><br/><br/>\nThe ASC AttackWall Deluxe Kit features a full 12 tube AttackWall along with an added 4 tube back wall of studio traps to create a rock-solid, reliable, repeatable, and accurate sonic space in which to track, mix, and master, regardless of room or speaker system. The system is completely modular, allowing you to “start small” and expand as the budget permits. The AttackWall is also  portable and repeatable. You can take your easily system to the next session or your next studio.<br/><br/>\n<h3>ASC AttackWall Deluxe Kit Features</h3>\n<ul>\n	<li>Includes (16) 9\" StudioTraps with Stands</li>\n	<li>Includes (2) 13\" MonitorStacks - 2 BasePlates, 2 Stands and 2 Tops</li>\n	<li>Any Room, Any Studio, Perfect Repeatability     </li>\n	<li>Portable and Convenient World Class Control Room    </li>\n	<li>Infinite Setup Possibilities from 2.0 to 5.2        </li>\n	<li>Use the Same StudioTraps for Gobo Recording         </li>\n	<li>Soffit Loaded Monitor Effect, Just Like a Downtown Studio      </li>\n	<li>Engineered for Performance by Art Noxon and Sam Lynn</li>\n</ul>\n<br/>\n<h3>The Repeatable Mixing Environment</h3>\nThe AttackWall is made up of Studio Traps and Monitor Traps, versatile acoustic tools created by ASC for the recording studio. The front half of the Studio Trap is treble range reflective and the back side is treble range absorptive. The entire surface of the Traps is bass range absorptive. Studio Traps are adjustable in height and are usually set up midway between the floor and ceiling, but they can be raised or lowered for different listening positions or line of sight requirements.\n<br/><br/>\n<h3>Portable and Powerful</h3>\nBy wrapping Studio Traps tightly around the sides and back of the console, and more loosely locating them behind the engineer, the AttackWall control booth is formed. Wider AttackWalls are formed around big consoles with midfield monitors, while narrower AttackWalls are used for smaller consoles with nearfield monitors. The AttackWall can also accommodate studios that use computer screens. In the treble range, the AttackWall eliminates undesirable early reflections while creating a desirable time delayed diffusive back fill, typical of the LEDE type studio. In the bass range, the drivers become wall loaded and decoupled from the room modes. The AttackWall satisfies all the requirements necessary for a professional control room. Engineers love the level of detail they can get with the AttackWall. They hear sound that couldn’t be heard before, even in some of the world’s biggest studios.\n<br/><br/>\n<h3>Record Anywhere, with Big Studio Results</h3>\nThe AttackWall loads bass just like the built-in main found in a downtown studio. StudioTraps fit tight to the sides of the speaker to create a corner-loading short horn. This increases the efficiency of the speaker and projects the bass. With the absorptive side of the StudioTraps facing inward there is no “horn coloration” added to the direct signal. The AttackWall setup results in a bass loading horn that is lined with treble range absorption. This type of horn loading is designed to be strong in the horizontal plane but weak in the vertical direction. The horn is vented above and below AttackWall just before the expanding bass wave hits the floor or ceiling. This gives a soft bounce effect as the bass wave wraps around the Wall and expands into the rest of the room.\n<br/><br/>\n<h3>The AttackWall System Components</h3>\n<strong>StudioTraps</strong><br/>\nUsed all over the world, ASC StudioTraps are based on the famous ASC TubeTrap, and are a powerful and versatile tool for the recording industry. These Traps not only absorb sound energy, but create diffusion to give the room a more defined and natural sound. The front half of the StudioTrap cylinder is treble reflective to give a bright, diffusive backscatter for recording with enhanced presence. The back half is treble absorptive for the traditional dry recording.<br/><br/>\n<strong>TubeTrap</strong>\nDeveloped as a corner loaded bass trap and voiced with a treble range diffusor panel. The TubeTrap has unique acoustic properties that are perfect for the studio environment. Used in mixing rooms, control rooms, live rooms, foley rooms, informed industry professionals insist on this product by name.<br/><br/>\n<strong>MonitorStand</strong>\nTired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\nNow you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each Stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n<br/><br/>\n<span class=\"colors_productprice\"><span><span style=\"font-weight: bold; font-style: italic;\"><span style=\"font-weight: bold; font-style: italic;\"><a href=\"http://www.rspeaudio.com/Attack_Wall_Webboutique_a/276.htm\"> <span class=\"colors_productprice\">Find out more and see who\'s using the ASC AttackWall</span>.</a></span></span></span></span><br/>\n<h3>Experience the perfect acoustic clarity and imaging the ASC AttackWall can offer. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an AttackWall for your studio.</h3>'),(1335,85,0,223,'Acoustic Sciences Corporation ASC Typical Project Studio'),(1336,85,1,223,'Acoustic Sciences Corporation ASC Typical Project Studio'),(1337,76,0,223,''),(1338,76,1,223,''),(1339,75,0,224,'<h1>ASC AttackWall Standard Kit</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Our best-selling AttackWall System is the perfect way to acoustically treat your space and get professional results at a fraction of the price of construction. The AttackWall Standard kit features 2 MonitorStacks and 12 StudioTraps giving you the perfect studio acoustics, with professional results, extreme clarity and improved imaging. Plus it\'s modular and portable, so you get the same awesome results in any size studio.</span><br/><br/>\nIt may be the Standard Kit, but there\'s nothing standard about it. The ASC AttackWall Standard Kit provides a solid platform for mixing and mastering audio. Experience the benefits of Vertical Mode Control, Early Side/Front Reflection Control, Time Delayed Backfill, and Wall Loaded Mains with this popular AttackWall configuration.<br/><br/>\nThe AttackWall redefines world class mixing environments. It\'s a free standing workstation that consistently produces the most amazingly clear sonic space you\'ll ever work in. The AttackWall produces a reliable, repeatable, and accurate sonic space in which to track, mix, and master, regardless of room or speaker system. <br/><br/>\n<h3>ASC AttackWall Standard Kit Features</h3>\n<ul>\n	<li>Includes (12) 9\" StudioTraps with Stands</li>\n	<li>Includes (2) 13\" MonitorStacks - 2 BasePlates, 2 Stands and 2 Tops</li>\n	<li>Any Room, Any Studio, Perfect Repeatability     </li>\n	<li>Portable and Convenient World Class Control Room    </li>\n	<li>Infinite Setup Possibilities from 2.0 to 5.2        </li>\n	<li>Use the Same StudioTraps for Gobo Recording         </li>\n	<li>Soffit Loaded Monitor Effect, Just Like a Downtown Studio      </li>\n	<li>Engineered for Performance by Art Noxon and Sam Lynn</li>\n</ul>\n<br/>\n<h3>The Repeatable Mixing Environment</h3>\nThe AttackWall is made up of Studio Traps and Monitor Traps, versatile acoustic tools created by ASC for the recording studio. The front half of the Studio Trap is treble range reflective and the back side is treble range absorptive. The entire surface of the Traps is bass range absorptive. Studio Traps are adjustable in height and are usually set up midway between the floor and ceiling, but they can be raised or lowered for different listening positions or line of sight requirements.\n<br/><br/>\n<h3>Portable and Powerful</h3>\nBy wrapping Studio Traps tightly around the sides and back of the console, and more loosely locating them behind the engineer, the AttackWall control booth is formed. Wider AttackWalls are formed around big consoles with midfield monitors, while narrower AttackWalls are used for smaller consoles with nearfield monitors. The AttackWall can also accommodate studios that use computer screens. In the treble range, the AttackWall eliminates undesirable early reflections while creating a desirable time delayed diffusive back fill, typical of the LEDE type studio. In the bass range, the drivers become wall loaded and decoupled from the room modes. The AttackWall satisfies all the requirements necessary for a professional control room. Engineers love the level of detail they can get with the AttackWall. They hear sound that couldn’t be heard before, even in some of the world’s biggest studios.\n<br/><br/>\n<h3>Record Anywhere, with Big Studio Results</h3>\nThe AttackWall loads bass just like the built-in main found in a downtown studio. StudioTraps fit tight to the sides of the speaker to create a corner-loading short horn. This increases the efficiency of the speaker and projects the bass. With the absorptive side of the StudioTraps facing inward there is no “horn coloration” added to the direct signal. The AttackWall setup results in a bass loading horn that is lined with treble range absorption. This type of horn loading is designed to be strong in the horizontal plane but weak in the vertical direction. The horn is vented above and below AttackWall just before the expanding bass wave hits the floor or ceiling. This gives a soft bounce effect as the bass wave wraps around the Wall and expands into the rest of the room.\n<br/><br/>\n<h3>The AttackWall System Components</h3>\n<strong>StudioTraps</strong><br/>\nUsed all over the world, ASC StudioTraps are based on the famous ASC TubeTrap, and are a powerful and versatile tool for the recording industry. These Traps not only absorb sound energy, but create diffusion to give the room a more defined and natural sound. The front half of the StudioTrap cylinder is treble reflective to give a bright, diffusive backscatter for recording with enhanced presence. The back half is treble absorptive for the traditional dry recording.<br/><br/>\n<strong>TubeTrap</strong>\nDeveloped as a corner loaded bass trap and voiced with a treble range diffusor panel. The TubeTrap has unique acoustic properties that are perfect for the studio environment. Used in mixing rooms, control rooms, live rooms, foley rooms, informed industry professionals insist on this product by name.<br/><br/>\n<strong>MonitorStand</strong>\nTired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\nNow you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each Stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n<br/><br/>\n<span class=\"colors_productprice\"><span><span style=\"font-weight: bold; font-style: italic;\"><span style=\"font-weight: bold; font-style: italic;\"><a href=\"http://www.rspeaudio.com/Attack_Wall_Webboutique_a/276.htm\"> <span class=\"colors_productprice\">Find out more and see who\'s using the ASC AttackWall</span>.<br/></a></span></span></span></span><br/>\n<h3>Experience the perfect acoustic clarity and imaging the ASC AttackWall can offer. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an AttackWall for your studio.</h3>'),(1340,75,1,224,'<h1>ASC AttackWall Standard Kit</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Our best-selling AttackWall System is the perfect way to acoustically treat your space and get professional results at a fraction of the price of construction. The AttackWall Standard kit features 2 MonitorStacks and 12 StudioTraps giving you the perfect studio acoustics, with professional results, extreme clarity and improved imaging. Plus it\'s modular and portable, so you get the same awesome results in any size studio.</span><br/><br/>\nIt may be the Standard Kit, but there\'s nothing standard about it. The ASC AttackWall Standard Kit provides a solid platform for mixing and mastering audio. Experience the benefits of Vertical Mode Control, Early Side/Front Reflection Control, Time Delayed Backfill, and Wall Loaded Mains with this popular AttackWall configuration.<br/><br/>\nThe AttackWall redefines world class mixing environments. It\'s a free standing workstation that consistently produces the most amazingly clear sonic space you\'ll ever work in. The AttackWall produces a reliable, repeatable, and accurate sonic space in which to track, mix, and master, regardless of room or speaker system. <br/><br/>\n<h3>ASC AttackWall Standard Kit Features</h3>\n<ul>\n	<li>Includes (12) 9\" StudioTraps with Stands</li>\n	<li>Includes (2) 13\" MonitorStacks - 2 BasePlates, 2 Stands and 2 Tops</li>\n	<li>Any Room, Any Studio, Perfect Repeatability     </li>\n	<li>Portable and Convenient World Class Control Room    </li>\n	<li>Infinite Setup Possibilities from 2.0 to 5.2        </li>\n	<li>Use the Same StudioTraps for Gobo Recording         </li>\n	<li>Soffit Loaded Monitor Effect, Just Like a Downtown Studio      </li>\n	<li>Engineered for Performance by Art Noxon and Sam Lynn</li>\n</ul>\n<br/>\n<h3>The Repeatable Mixing Environment</h3>\nThe AttackWall is made up of Studio Traps and Monitor Traps, versatile acoustic tools created by ASC for the recording studio. The front half of the Studio Trap is treble range reflective and the back side is treble range absorptive. The entire surface of the Traps is bass range absorptive. Studio Traps are adjustable in height and are usually set up midway between the floor and ceiling, but they can be raised or lowered for different listening positions or line of sight requirements.\n<br/><br/>\n<h3>Portable and Powerful</h3>\nBy wrapping Studio Traps tightly around the sides and back of the console, and more loosely locating them behind the engineer, the AttackWall control booth is formed. Wider AttackWalls are formed around big consoles with midfield monitors, while narrower AttackWalls are used for smaller consoles with nearfield monitors. The AttackWall can also accommodate studios that use computer screens. In the treble range, the AttackWall eliminates undesirable early reflections while creating a desirable time delayed diffusive back fill, typical of the LEDE type studio. In the bass range, the drivers become wall loaded and decoupled from the room modes. The AttackWall satisfies all the requirements necessary for a professional control room. Engineers love the level of detail they can get with the AttackWall. They hear sound that couldn’t be heard before, even in some of the world’s biggest studios.\n<br/><br/>\n<h3>Record Anywhere, with Big Studio Results</h3>\nThe AttackWall loads bass just like the built-in main found in a downtown studio. StudioTraps fit tight to the sides of the speaker to create a corner-loading short horn. This increases the efficiency of the speaker and projects the bass. With the absorptive side of the StudioTraps facing inward there is no “horn coloration” added to the direct signal. The AttackWall setup results in a bass loading horn that is lined with treble range absorption. This type of horn loading is designed to be strong in the horizontal plane but weak in the vertical direction. The horn is vented above and below AttackWall just before the expanding bass wave hits the floor or ceiling. This gives a soft bounce effect as the bass wave wraps around the Wall and expands into the rest of the room.\n<br/><br/>\n<h3>The AttackWall System Components</h3>\n<strong>StudioTraps</strong><br/>\nUsed all over the world, ASC StudioTraps are based on the famous ASC TubeTrap, and are a powerful and versatile tool for the recording industry. These Traps not only absorb sound energy, but create diffusion to give the room a more defined and natural sound. The front half of the StudioTrap cylinder is treble reflective to give a bright, diffusive backscatter for recording with enhanced presence. The back half is treble absorptive for the traditional dry recording.<br/><br/>\n<strong>TubeTrap</strong>\nDeveloped as a corner loaded bass trap and voiced with a treble range diffusor panel. The TubeTrap has unique acoustic properties that are perfect for the studio environment. Used in mixing rooms, control rooms, live rooms, foley rooms, informed industry professionals insist on this product by name.<br/><br/>\n<strong>MonitorStand</strong>\nTired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\nNow you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each Stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n<br/><br/>\n<span class=\"colors_productprice\"><span><span style=\"font-weight: bold; font-style: italic;\"><span style=\"font-weight: bold; font-style: italic;\"><a href=\"http://www.rspeaudio.com/Attack_Wall_Webboutique_a/276.htm\"> <span class=\"colors_productprice\">Find out more and see who\'s using the ASC AttackWall</span>.<br/></a></span></span></span></span><br/>\n<h3>Experience the perfect acoustic clarity and imaging the ASC AttackWall can offer. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an AttackWall for your studio.</h3>'),(1341,85,0,224,'Acoustic Sciences Corporation ASC AttackWall Standard Kit'),(1342,85,1,224,'Acoustic Sciences Corporation ASC AttackWall Standard Kit'),(1343,76,0,224,''),(1344,76,1,224,''),(1345,75,0,225,'<h1>ASC AttackWall Starter Kit</h1>\n<i>The easiest way to get started with the ASC AttackWall and acoustically treat your space. The ASC AttackWall Starter Kit features 2 MonitorStacks and 4 StudioTraps to eliminate early reflections and greatly improve the imaging and clarity of your studio monitors.</i><br /><br />\nThe ASC AttackWall Starter Kit is a great way to get started and hear marked improvement in you acoustic environment. It will greatly enhance your stereo sound field and provide a significant improvement with vertical mode reduction. Add another box of 8 Studio Traps and bring your studio into Phase 1 Attack Wall status! The Attack Wall provides a world class mixing environment. It functions very differently than treating a room with “room acoustics”. The system is completely modular, allowing you to “start small” and expand as the budget permits. Attack Wall is portable and repeatable. You can take your system to the next session or your next studio.<br /><br />\n<h3>ASC AttackWall Starter Kit Features</h3>\n<ul>\n	<li>Includes (4) 9\" StudioTraps with Stands</li>\n	<li>Includes (2) 13\" MonitorStacks - 2 BasePlates, 2 Stands and 2 Tops</li>\n	<li>Any Room, Any Studio, Perfect Repeatability</li>\n	<li>Portable and Convenient World Class Control Room    </li>\n	<li>Infinite Setup Possibilities from 2.0 to 5.2        </li>\n	<li>Use the Same StudioTraps for Gobo Recording         </li>\n	<li>Soffit Loaded Monitor Effect, Just Like a Downtown Studio      </li>\n	<li>Engineered for Performance by Art Noxon and Sam Lynn</li>\n</ul>\n<br />\n<h3>The Repeatable Mixing Environment</h3>\nThe AttackWall is made up of Studio Traps and Monitor Traps, versatile acoustic tools created by ASC for the recording studio. The front half of the Studio Trap is treble range reflective and the back side is treble range absorptive. The entire surface of the Traps is bass range absorptive. Studio Traps are adjustable in height and are usually set up midway between the floor and ceiling, but they can be raised or lowered for different listening positions or line of sight requirements.\n<br /><br />\n<h3>Portable and Powerful</h3>\nBy wrapping Studio Traps tightly around the sides and back of the console, and more loosely locating them behind the engineer, the AttackWall control booth is formed. Wider AttackWalls are formed around big consoles with midfield monitors, while narrower AttackWalls are used for smaller consoles with nearfield monitors. The AttackWall can also accommodate studios that use computer screens. In the treble range, the AttackWall eliminates undesirable early reflections while creating a desirable time delayed diffusive back fill, typical of the LEDE type studio. In the bass range, the drivers become wall loaded and decoupled from the room modes. The AttackWall satisfies all the requirements necessary for a professional control room. Engineers love the level of detail they can get with the AttackWall. They hear sound that couldn’t be heard before, even in some of the world’s biggest studios.\n<br /><br />\n<h3>Record Anywhere, with Big Studio Results</h3>\nThe AttackWall loads bass just like the built-in main found in a downtown studio. StudioTraps fit tight to the sides of the speaker to create a corner-loading short horn. This increases the efficiency of the speaker and projects the bass. With the absorptive side of the StudioTraps facing inward there is no “horn coloration” added to the direct signal. The AttackWall setup results in a bass loading horn that is lined with treble range absorption. This type of horn loading is designed to be strong in the horizontal plane but weak in the vertical direction. The horn is vented above and below AttackWall just before the expanding bass wave hits the floor or ceiling. This gives a soft bounce effect as the bass wave wraps around the Wall and expands into the rest of the room.\n<br /><br />\n<h3>The AttackWall System Components</h3>\n<strong>StudioTraps</strong><br />\nUsed all over the world, ASC StudioTraps are based on the famous ASC TubeTrap, and are a powerful and versatile tool for the recording industry. These Traps not only absorb sound energy, but create diffusion to give the room a more defined and natural sound. The front half of the StudioTrap cylinder is treble reflective to give a bright, diffusive backscatter for recording with enhanced presence. The back half is treble absorptive for the traditional dry recording.<br /><br />\n<strong>TubeTrap</strong>\nDeveloped as a corner loaded bass trap and voiced with a treble range diffusor panel. The TubeTrap has unique acoustic properties that are perfect for the studio environment. Used in mixing rooms, control rooms, live rooms, foley rooms, informed industry professionals insist on this product by name.<br /><br />\n<strong>MonitorStand</strong>\nTired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\nNow you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each Stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n<br /><br />\n<span class=\"colors_productprice\"><span><span style=\"font-weight: bold; font-style: italic;\"><span style=\"font-weight: bold; font-style: italic;\"><a href=\"http://www.rspeaudio.com/Attack_Wall_Webboutique_a/276.htm\"> <span class=\"colors_productprice\">Find out more and see who\'s using the ASC AttackWall</span>.<br /></a></span></span></span></span><br />\n<h3>Experience the perfect acoustic clarity and imaging the ASC AttackWall can offer. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an AttackWall for your studio.</h3>'),(1346,75,1,225,'<h1>ASC AttackWall Starter Kit</h1>\n<i>The easiest way to get started with the ASC AttackWall and acoustically treat your space. The ASC AttackWall Starter Kit features 2 MonitorStacks and 4 StudioTraps to eliminate early reflections and greatly improve the imaging and clarity of your studio monitors.</i><br /><br />\nThe ASC AttackWall Starter Kit is a great way to get started and hear marked improvement in you acoustic environment. It will greatly enhance your stereo sound field and provide a significant improvement with vertical mode reduction. Add another box of 8 Studio Traps and bring your studio into Phase 1 Attack Wall status! The Attack Wall provides a world class mixing environment. It functions very differently than treating a room with “room acoustics”. The system is completely modular, allowing you to “start small” and expand as the budget permits. Attack Wall is portable and repeatable. You can take your system to the next session or your next studio.<br /><br />\n<h3>ASC AttackWall Starter Kit Features</h3>\n<ul>\n	<li>Includes (4) 9\" StudioTraps with Stands</li>\n	<li>Includes (2) 13\" MonitorStacks - 2 BasePlates, 2 Stands and 2 Tops</li>\n	<li>Any Room, Any Studio, Perfect Repeatability</li>\n	<li>Portable and Convenient World Class Control Room    </li>\n	<li>Infinite Setup Possibilities from 2.0 to 5.2        </li>\n	<li>Use the Same StudioTraps for Gobo Recording         </li>\n	<li>Soffit Loaded Monitor Effect, Just Like a Downtown Studio      </li>\n	<li>Engineered for Performance by Art Noxon and Sam Lynn</li>\n</ul>\n<br />\n<h3>The Repeatable Mixing Environment</h3>\nThe AttackWall is made up of Studio Traps and Monitor Traps, versatile acoustic tools created by ASC for the recording studio. The front half of the Studio Trap is treble range reflective and the back side is treble range absorptive. The entire surface of the Traps is bass range absorptive. Studio Traps are adjustable in height and are usually set up midway between the floor and ceiling, but they can be raised or lowered for different listening positions or line of sight requirements.\n<br /><br />\n<h3>Portable and Powerful</h3>\nBy wrapping Studio Traps tightly around the sides and back of the console, and more loosely locating them behind the engineer, the AttackWall control booth is formed. Wider AttackWalls are formed around big consoles with midfield monitors, while narrower AttackWalls are used for smaller consoles with nearfield monitors. The AttackWall can also accommodate studios that use computer screens. In the treble range, the AttackWall eliminates undesirable early reflections while creating a desirable time delayed diffusive back fill, typical of the LEDE type studio. In the bass range, the drivers become wall loaded and decoupled from the room modes. The AttackWall satisfies all the requirements necessary for a professional control room. Engineers love the level of detail they can get with the AttackWall. They hear sound that couldn’t be heard before, even in some of the world’s biggest studios.\n<br /><br />\n<h3>Record Anywhere, with Big Studio Results</h3>\nThe AttackWall loads bass just like the built-in main found in a downtown studio. StudioTraps fit tight to the sides of the speaker to create a corner-loading short horn. This increases the efficiency of the speaker and projects the bass. With the absorptive side of the StudioTraps facing inward there is no “horn coloration” added to the direct signal. The AttackWall setup results in a bass loading horn that is lined with treble range absorption. This type of horn loading is designed to be strong in the horizontal plane but weak in the vertical direction. The horn is vented above and below AttackWall just before the expanding bass wave hits the floor or ceiling. This gives a soft bounce effect as the bass wave wraps around the Wall and expands into the rest of the room.\n<br /><br />\n<h3>The AttackWall System Components</h3>\n<strong>StudioTraps</strong><br />\nUsed all over the world, ASC StudioTraps are based on the famous ASC TubeTrap, and are a powerful and versatile tool for the recording industry. These Traps not only absorb sound energy, but create diffusion to give the room a more defined and natural sound. The front half of the StudioTrap cylinder is treble reflective to give a bright, diffusive backscatter for recording with enhanced presence. The back half is treble absorptive for the traditional dry recording.<br /><br />\n<strong>TubeTrap</strong>\nDeveloped as a corner loaded bass trap and voiced with a treble range diffusor panel. The TubeTrap has unique acoustic properties that are perfect for the studio environment. Used in mixing rooms, control rooms, live rooms, foley rooms, informed industry professionals insist on this product by name.<br /><br />\n<strong>MonitorStand</strong>\nTired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\nNow you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each Stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n<br /><br />\n<span class=\"colors_productprice\"><span><span style=\"font-weight: bold; font-style: italic;\"><span style=\"font-weight: bold; font-style: italic;\"><a href=\"http://www.rspeaudio.com/Attack_Wall_Webboutique_a/276.htm\"> <span class=\"colors_productprice\">Find out more and see who\'s using the ASC AttackWall</span>.<br /></a></span></span></span></span><br />\n<h3>Experience the perfect acoustic clarity and imaging the ASC AttackWall can offer. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an AttackWall for your studio.</h3>'),(1347,85,0,225,'Acoustic Sciences Corporation ASC AttackWall Starter Kit'),(1348,85,1,225,'Acoustic Sciences Corporation ASC AttackWall Starter Kit'),(1349,76,0,225,''),(1350,76,1,225,''),(1351,75,0,226,'Tired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\n\nNow you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each Stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n\nVertical Mode Control\nStudio monitors are nested into a Monitor Stack, comprised of specially built TUBETRAPS. A typical monitor on a stand is located about half way between the floor and the ceiling. The floor/ceiling bounce returns back to the monitor in a phase. This imposes a phase cancel effect on the speaker’s efficiency, typically, the first cut is 74 Hz for 8’ ceilings, then, the engineer boosts 74 Hz in the mix unnecessarily.\n\nThe Monitor Stack upsets the vertical symmetry in the room\nThe lower Trap absorbs bass, the upper Trap is short of the ceiling and vents bass. The combination eliminates the phase cancel effect and the engineer works in a linear environment.Whether part of an ASC ATTACK Wall system or in a stand-alone configuration, ASC MonitorStands give you more than just simple support for the physical placement of your monitoring system. The ASC MonitorStand dramatically improves the monitor and room accuracy.'),(1352,75,1,226,'Tired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\n\nNow you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each Stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n\nVertical Mode Control\nStudio monitors are nested into a Monitor Stack, comprised of specially built TUBETRAPS. A typical monitor on a stand is located about half way between the floor and the ceiling. The floor/ceiling bounce returns back to the monitor in a phase. This imposes a phase cancel effect on the speaker’s efficiency, typically, the first cut is 74 Hz for 8’ ceilings, then, the engineer boosts 74 Hz in the mix unnecessarily.\n\nThe Monitor Stack upsets the vertical symmetry in the room\nThe lower Trap absorbs bass, the upper Trap is short of the ceiling and vents bass. The combination eliminates the phase cancel effect and the engineer works in a linear environment.Whether part of an ASC ATTACK Wall system or in a stand-alone configuration, ASC MonitorStands give you more than just simple support for the physical placement of your monitoring system. The ASC MonitorStand dramatically improves the monitor and room accuracy.'),(1353,85,0,226,'Acoustic Sciences Corporation ASC Monitor Stand'),(1354,85,1,226,'Acoustic Sciences Corporation ASC Monitor Stand'),(1355,76,0,226,''),(1356,76,1,226,''),(1357,75,0,227,'<h2>ASC Monitor Stand Base 11 Inch Diameter, 90hz</h2>\nThe 11\" diameter ASC MonitorStand is designed for mid-field speakers (priced per speaker stand) and will make a significant improvement with the sound of any speaker and room.\n<div>\n	<br />\n	<div>\n		Tired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><span style=\"font-weight: bold;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=277#speakerstands\" class=\"colors_productprice\">You can read a technical explanation here.</a></span></span></span>\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><br /></span></span>\n	</div>\n	<div>\n		Now you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Whether part of an ASC ATTACK Wall system or in a stand-alone configuration, ASC MonitorStands give you more than just simple support for the physical placement of your monitoring system. The ASC MonitorStand dramatically improves your monitor and room accuracy.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		You can read more about how ASC and the TubeTrap system can <span class=\"colors_productprice\" style=\"font-weight: bold; font-style: italic; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=276\" class=\"colors_productprice\">improve your studio acoustics here</a></span>.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Available Options:\n	</div>\n	<div>\n		9 Inch Diameter, bass control down to 110hz\n	</div>\n	<div>\n		11 Inch Diameter, bass control down to 90hz\n	</div>\n	<div>\n		13 Inch Diameter, bass control down to 55hz\n	</div>\n	<div>\n		16 Inch Diameter, bass control down to 70hz\n	</div>\n	<div>\n		20 Inch Diameter, bass control down to 40hz\n	</div>\n	<div>\n		24 Inch Diameter, bass control down to 25hz\n	</div>\n</div>'),(1358,75,1,227,'<h2>ASC Monitor Stand Base 11 Inch Diameter, 90hz</h2>\nThe 11\" diameter ASC MonitorStand is designed for mid-field speakers (priced per speaker stand) and will make a significant improvement with the sound of any speaker and room.\n<div>\n	<br />\n	<div>\n		Tired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><span style=\"font-weight: bold;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=277#speakerstands\" class=\"colors_productprice\">You can read a technical explanation here.</a></span></span></span>\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><br /></span></span>\n	</div>\n	<div>\n		Now you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Whether part of an ASC ATTACK Wall system or in a stand-alone configuration, ASC MonitorStands give you more than just simple support for the physical placement of your monitoring system. The ASC MonitorStand dramatically improves your monitor and room accuracy.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		You can read more about how ASC and the TubeTrap system can <span class=\"colors_productprice\" style=\"font-weight: bold; font-style: italic; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=276\" class=\"colors_productprice\">improve your studio acoustics here</a></span>.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Available Options:\n	</div>\n	<div>\n		9 Inch Diameter, bass control down to 110hz\n	</div>\n	<div>\n		11 Inch Diameter, bass control down to 90hz\n	</div>\n	<div>\n		13 Inch Diameter, bass control down to 55hz\n	</div>\n	<div>\n		16 Inch Diameter, bass control down to 70hz\n	</div>\n	<div>\n		20 Inch Diameter, bass control down to 40hz\n	</div>\n	<div>\n		24 Inch Diameter, bass control down to 25hz\n	</div>\n</div>'),(1359,85,0,227,'ASC Monitor Stand Base 11 Inch Diameter, 90hz'),(1360,85,1,227,'ASC Monitor Stand Base 11 Inch Diameter, 90hz'),(1361,76,0,227,''),(1362,76,1,227,''),(1363,75,0,228,'<h2>ASC Monitor Stand Base with Top, 11 Inch Diameter, 90hz</h2>\n\nThe 11\" diameter ASC MonitorStand is designed for near-field speakers (priced per speaker stand) and will make a significant improvement with the sound of any speaker and room.\n<div>\n	<br />\n	<div>\n		Tired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><span style=\"font-weight: bold;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=277#speakerstands\" class=\"colors_productprice\">You can read a technical explanation here.</a></span></span></span>\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><br /></span></span>\n	</div>\n	<div>\n		Now you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Whether part of an ASC ATTACK Wall system or in a stand-alone configuration, ASC MonitorStands give you more than just simple support for the physical placement of your monitoring system. The ASC MonitorStand dramatically improves your monitor and room accuracy.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		You can read more about how ASC and the TubeTrap system can <span class=\"colors_productprice\" style=\"font-weight: bold; font-style: italic; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=276\" class=\"colors_productprice\">improve your studio acoustics here</a></span>.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Available Options:\n	</div>\n	<div>\n		9 Inch Diameter, bass control down to 110hz\n	</div>\n	<div>\n		11 Inch Diameter, bass control down to 90hz\n	</div>\n	<div>\n		13 Inch Diameter, bass control down to 55hz\n	</div>\n	<div>\n		16 Inch Diameter, bass control down to 70hz\n	</div>\n	<div>\n		20 Inch Diameter, bass control down to 40hz\n	</div>\n	<div>\n		24 Inch Diameter, bass control down to 25hz\n	</div>\n</div>'),(1364,75,1,228,'<h2>ASC Monitor Stand Base with Top, 11 Inch Diameter, 90hz</h2>\n\nThe 11\" diameter ASC MonitorStand is designed for near-field speakers (priced per speaker stand) and will make a significant improvement with the sound of any speaker and room.\n<div>\n	<br />\n	<div>\n		Tired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><span style=\"font-weight: bold;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=277#speakerstands\" class=\"colors_productprice\">You can read a technical explanation here.</a></span></span></span>\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><br /></span></span>\n	</div>\n	<div>\n		Now you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Whether part of an ASC ATTACK Wall system or in a stand-alone configuration, ASC MonitorStands give you more than just simple support for the physical placement of your monitoring system. The ASC MonitorStand dramatically improves your monitor and room accuracy.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		You can read more about how ASC and the TubeTrap system can <span class=\"colors_productprice\" style=\"font-weight: bold; font-style: italic; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=276\" class=\"colors_productprice\">improve your studio acoustics here</a></span>.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Available Options:\n	</div>\n	<div>\n		9 Inch Diameter, bass control down to 110hz\n	</div>\n	<div>\n		11 Inch Diameter, bass control down to 90hz\n	</div>\n	<div>\n		13 Inch Diameter, bass control down to 55hz\n	</div>\n	<div>\n		16 Inch Diameter, bass control down to 70hz\n	</div>\n	<div>\n		20 Inch Diameter, bass control down to 40hz\n	</div>\n	<div>\n		24 Inch Diameter, bass control down to 25hz\n	</div>\n</div>'),(1365,85,0,228,'ASC Monitor Stand Base with Top, 11 Inch Diameter, 90hz'),(1366,85,1,228,'ASC Monitor Stand Base with Top, 11 Inch Diameter, 90hz'),(1367,76,0,228,''),(1368,76,1,228,''),(1369,75,0,229,'<h2>ASC Monitor Stand Base 13 Inch Diameter, 70hz</h2>\n\nThe 13\" diameter ASC MonitorStand is designed for mid-field speakers (priced per speaker stand) and will make a significant improvement with the sound of any speaker and room.\n<div>\n	<br />\n	<div>\n		Tired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><span style=\"font-weight: bold;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=277#speakerstands\" class=\"colors_productprice\">You can read a technical explanation here.</a></span></span></span>\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><br /></span></span>\n	</div>\n	<div>\n		Now you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Whether part of an ASC ATTACK Wall system or in a stand-alone configuration, ASC MonitorStands give you more than just simple support for the physical placement of your monitoring system. The ASC MonitorStand dramatically improves your monitor and room accuracy.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		You can read more about how ASC and the TubeTrap system can <span class=\"colors_productprice\" style=\"font-weight: bold; font-style: italic; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=276\" class=\"colors_productprice\">improve your studio acoustics here</a></span>.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Available Options:\n	</div>\n	<div>\n		9 Inch Diameter, bass control down to 110hz\n	</div>\n	<div>\n		11 Inch Diameter, bass control down to 90hz\n	</div>\n	<div>\n		13 Inch Diameter, bass control down to 70hz\n	</div>\n	<div>\n		16 Inch Diameter, bass control down to 55hz\n	</div>\n	<div>\n		20 Inch Diameter, bass control down to 40hz\n	</div>\n	<div>\n		24 Inch Diameter, bass control down to 25hz\n	</div>\n</div>'),(1370,75,1,229,'<h2>ASC Monitor Stand Base 13 Inch Diameter, 70hz</h2>\n\nThe 13\" diameter ASC MonitorStand is designed for mid-field speakers (priced per speaker stand) and will make a significant improvement with the sound of any speaker and room.\n<div>\n	<br />\n	<div>\n		Tired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><span style=\"font-weight: bold;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=277#speakerstands\" class=\"colors_productprice\">You can read a technical explanation here.</a></span></span></span>\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><br /></span></span>\n	</div>\n	<div>\n		Now you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Whether part of an ASC ATTACK Wall system or in a stand-alone configuration, ASC MonitorStands give you more than just simple support for the physical placement of your monitoring system. The ASC MonitorStand dramatically improves your monitor and room accuracy.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		You can read more about how ASC and the TubeTrap system can <span class=\"colors_productprice\" style=\"font-weight: bold; font-style: italic; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=276\" class=\"colors_productprice\">improve your studio acoustics here</a></span>.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Available Options:\n	</div>\n	<div>\n		9 Inch Diameter, bass control down to 110hz\n	</div>\n	<div>\n		11 Inch Diameter, bass control down to 90hz\n	</div>\n	<div>\n		13 Inch Diameter, bass control down to 70hz\n	</div>\n	<div>\n		16 Inch Diameter, bass control down to 55hz\n	</div>\n	<div>\n		20 Inch Diameter, bass control down to 40hz\n	</div>\n	<div>\n		24 Inch Diameter, bass control down to 25hz\n	</div>\n</div>'),(1371,85,0,229,'ASC Monitor Stand Base 13 Inch Diameter, 70hz'),(1372,85,1,229,'ASC Monitor Stand Base 13 Inch Diameter, 70hz'),(1373,76,0,229,''),(1374,76,1,229,''),(1375,75,0,230,'<h2>ASC Monitor Stand Base 16 Inch Diameter, 55hz</h2>\n\nThe 16\" diameter ASC MonitorStand is designed for mid-field speakers (priced per speaker stand) and will make a significant improvement with the sound of any speaker and room.\n<div>\n	<br />\n	<div>\n		Tired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><span style=\"font-weight: bold;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=277#speakerstands\" class=\"colors_productprice\">You can read a technical explanation here.</a></span></span></span>\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><br /></span></span>\n	</div>\n	<div>\n		Now you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Whether part of an ASC ATTACK Wall system or in a stand-alone configuration, ASC MonitorStands give you more than just simple support for the physical placement of your monitoring system. The ASC MonitorStand dramatically improves your monitor and room accuracy.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		You can read more about how ASC and the TubeTrap system can <span class=\"colors_productprice\" style=\"font-weight: bold; font-style: italic; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=276\" class=\"colors_productprice\">improve your studio acoustics here</a></span>.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Available Options:\n	</div>\n	<div>\n		9 Inch Diameter, bass control down to 110hz\n	</div>\n	<div>\n		11 Inch Diameter, bass control down to 90hz\n	</div>\n	<div>\n		13 Inch Diameter, bass control down to 70hz\n	</div>\n	<div>\n		16 Inch Diameter, bass control down to 55hz\n	</div>\n	<div>\n		20 Inch Diameter, bass control down to 40hz\n	</div>\n	<div>\n		24 Inch Diameter, bass control down to 25hz\n	</div>\n</div>'),(1376,75,1,230,'<h2>ASC Monitor Stand Base 16 Inch Diameter, 55hz</h2>\n\nThe 16\" diameter ASC MonitorStand is designed for mid-field speakers (priced per speaker stand) and will make a significant improvement with the sound of any speaker and room.\n<div>\n	<br />\n	<div>\n		Tired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><span style=\"font-weight: bold;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=277#speakerstands\" class=\"colors_productprice\">You can read a technical explanation here.</a></span></span></span>\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><br /></span></span>\n	</div>\n	<div>\n		Now you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Whether part of an ASC ATTACK Wall system or in a stand-alone configuration, ASC MonitorStands give you more than just simple support for the physical placement of your monitoring system. The ASC MonitorStand dramatically improves your monitor and room accuracy.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		You can read more about how ASC and the TubeTrap system can <span class=\"colors_productprice\" style=\"font-weight: bold; font-style: italic; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=276\" class=\"colors_productprice\">improve your studio acoustics here</a></span>.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Available Options:\n	</div>\n	<div>\n		9 Inch Diameter, bass control down to 110hz\n	</div>\n	<div>\n		11 Inch Diameter, bass control down to 90hz\n	</div>\n	<div>\n		13 Inch Diameter, bass control down to 70hz\n	</div>\n	<div>\n		16 Inch Diameter, bass control down to 55hz\n	</div>\n	<div>\n		20 Inch Diameter, bass control down to 40hz\n	</div>\n	<div>\n		24 Inch Diameter, bass control down to 25hz\n	</div>\n</div>'),(1377,85,0,230,'ASC Monitor Stand Base 16 Inch Diameter, 55hz'),(1378,85,1,230,'ASC Monitor Stand Base 16 Inch Diameter, 55hz'),(1379,76,0,230,''),(1380,76,1,230,''),(1381,75,0,231,'<h2>ASC Monitor Stand Base with Top 16 Inch Diameter, 55hz</h2>\n\nThe 16\" diameter ASC MonitorStand is designed for mid-field speakers (priced per speaker stand) and will make a significant improvement with the sound of any speaker and room.\n<div>\n	<br />\n	<div>\n		Tired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><span style=\"font-weight: bold;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=277#speakerstands\" class=\"colors_productprice\">You can read a technical explanation here.</a></span></span></span>\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><br /></span></span>\n	</div>\n	<div>\n		Now you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Whether part of an ASC ATTACK Wall system or in a stand-alone configuration, ASC MonitorStands give you more than just simple support for the physical placement of your monitoring system. The ASC MonitorStand dramatically improves your monitor and room accuracy.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		You can read more about how ASC and the TubeTrap system can <span class=\"colors_productprice\" style=\"font-weight: bold; font-style: italic; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=276\" class=\"colors_productprice\">improve your studio acoustics here</a></span>.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Available Options:\n	</div>\n	<div>\n		9 Inch Diameter, bass control down to 110hz\n	</div>\n	<div>\n		11 Inch Diameter, bass control down to 90hz\n	</div>\n	<div>\n		13 Inch Diameter, bass control down to 70hz\n	</div>\n	<div>\n		16 Inch Diameter, bass control down to 55hz\n	</div>\n	<div>\n		20 Inch Diameter, bass control down to 40hz\n	</div>\n	<div>\n		24 Inch Diameter, bass control down to 25hz\n	</div>\n</div>'),(1382,75,1,231,'<h2>ASC Monitor Stand Base with Top 16 Inch Diameter, 55hz</h2>\n\nThe 16\" diameter ASC MonitorStand is designed for mid-field speakers (priced per speaker stand) and will make a significant improvement with the sound of any speaker and room.\n<div>\n	<br />\n	<div>\n		Tired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><span style=\"font-weight: bold;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=277#speakerstands\" class=\"colors_productprice\">You can read a technical explanation here.</a></span></span></span>\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><br /></span></span>\n	</div>\n	<div>\n		Now you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Whether part of an ASC ATTACK Wall system or in a stand-alone configuration, ASC MonitorStands give you more than just simple support for the physical placement of your monitoring system. The ASC MonitorStand dramatically improves your monitor and room accuracy.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		You can read more about how ASC and the TubeTrap system can <span class=\"colors_productprice\" style=\"font-weight: bold; font-style: italic; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=276\" class=\"colors_productprice\">improve your studio acoustics here</a></span>.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Available Options:\n	</div>\n	<div>\n		9 Inch Diameter, bass control down to 110hz\n	</div>\n	<div>\n		11 Inch Diameter, bass control down to 90hz\n	</div>\n	<div>\n		13 Inch Diameter, bass control down to 70hz\n	</div>\n	<div>\n		16 Inch Diameter, bass control down to 55hz\n	</div>\n	<div>\n		20 Inch Diameter, bass control down to 40hz\n	</div>\n	<div>\n		24 Inch Diameter, bass control down to 25hz\n	</div>\n</div>'),(1383,85,0,231,'ASC Monitor Stand Base with Top 16 Inch Diameter, 55hz'),(1384,85,1,231,'ASC Monitor Stand Base with Top 16 Inch Diameter, 55hz'),(1385,76,0,231,''),(1386,76,1,231,''),(1387,75,0,232,'<h2>ASC Monitor Stand Base 20 Inch Diameter, 40hz</h2>\n\nThe 20\" diameter ASC MonitorStand is designed for larger mid-field speakers (priced per speaker stand) and will make a significant improvement with the sound of any speaker and room.\n<div>\n	<br />\n	<div>\n		Tired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><span style=\"font-weight: bold;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=277#speakerstands\" class=\"colors_productprice\">You can read a technical explanation here.</a></span></span></span>\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><br /></span></span>\n	</div>\n	<div>\n		Now you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Whether part of an ASC ATTACK Wall system or in a stand-alone configuration, ASC MonitorStands give you more than just simple support for the physical placement of your monitoring system. The ASC MonitorStand dramatically improves your monitor and room accuracy.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		You can read more about how ASC and the TubeTrap system can <span class=\"colors_productprice\" style=\"font-weight: bold; font-style: italic; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=276\" class=\"colors_productprice\">improve your studio acoustics here</a></span>.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Available Options:\n	</div>\n	<div>\n		9 Inch Diameter, bass control down to 110hz\n	</div>\n	<div>\n		11 Inch Diameter, bass control down to 90hz\n	</div>\n	<div>\n		13 Inch Diameter, bass control down to 55hz\n	</div>\n	<div>\n		16 Inch Diameter, bass control down to 70hz\n	</div>\n	<div>\n		20 Inch Diameter, bass control down to 40hz\n	</div>\n	<div>\n		24 Inch Diameter, bass control down to 25hz\n	</div>\n</div>'),(1388,75,1,232,'<h2>ASC Monitor Stand Base 20 Inch Diameter, 40hz</h2>\n\nThe 20\" diameter ASC MonitorStand is designed for larger mid-field speakers (priced per speaker stand) and will make a significant improvement with the sound of any speaker and room.\n<div>\n	<br />\n	<div>\n		Tired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><span style=\"font-weight: bold;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=277#speakerstands\" class=\"colors_productprice\">You can read a technical explanation here.</a></span></span></span>\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><br /></span></span>\n	</div>\n	<div>\n		Now you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Whether part of an ASC ATTACK Wall system or in a stand-alone configuration, ASC MonitorStands give you more than just simple support for the physical placement of your monitoring system. The ASC MonitorStand dramatically improves your monitor and room accuracy.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		You can read more about how ASC and the TubeTrap system can <span class=\"colors_productprice\" style=\"font-weight: bold; font-style: italic; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=276\" class=\"colors_productprice\">improve your studio acoustics here</a></span>.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Available Options:\n	</div>\n	<div>\n		9 Inch Diameter, bass control down to 110hz\n	</div>\n	<div>\n		11 Inch Diameter, bass control down to 90hz\n	</div>\n	<div>\n		13 Inch Diameter, bass control down to 55hz\n	</div>\n	<div>\n		16 Inch Diameter, bass control down to 70hz\n	</div>\n	<div>\n		20 Inch Diameter, bass control down to 40hz\n	</div>\n	<div>\n		24 Inch Diameter, bass control down to 25hz\n	</div>\n</div>'),(1389,85,0,232,'ASC Monitor Stand Base 20 Inch Diameter, 40hz'),(1390,85,1,232,'ASC Monitor Stand Base 20 Inch Diameter, 40hz'),(1391,76,0,232,''),(1392,76,1,232,''),(1393,75,0,233,'<h2>ASC Monitor Stand Base with Top, 20 Inch Diameter, 40hz</h2>\n\nThe 20\" diameter ASC MonitorStand is designed for larger mid-field speakers (priced per speaker stand) and will make a significant improvement with the sound of any speaker and room.\n<div>\n	<br />\n	<div>\n		Tired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><span style=\"font-weight: bold;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=277#speakerstands\" class=\"colors_productprice\">You can read a technical explanation here.</a></span></span></span>\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><br /></span></span>\n	</div>\n	<div>\n		Now you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Whether part of an ASC ATTACK Wall system or in a stand-alone configuration, ASC MonitorStands give you more than just simple support for the physical placement of your monitoring system. The ASC MonitorStand dramatically improves your monitor and room accuracy.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		You can read more about how ASC and the TubeTrap system can <span class=\"colors_productprice\" style=\"font-weight: bold; font-style: italic; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=276\" class=\"colors_productprice\">improve your studio acoustics here</a></span>.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Available Options:\n	</div>\n	<div>\n		9 Inch Diameter, bass control down to 110hz\n	</div>\n	<div>\n		11 Inch Diameter, bass control down to 90hz\n	</div>\n	<div>\n		13 Inch Diameter, bass control down to 55hz\n	</div>\n	<div>\n		16 Inch Diameter, bass control down to 70hz\n	</div>\n	<div>\n		20 Inch Diameter, bass control down to 40hz\n	</div>\n	<div>\n		24 Inch Diameter, bass control down to 25hz\n	</div>\n	<span style=\"font-size 14pt; font-style:italic;\">Product price is for monitor stand base and top only. Does not include wood platform (only necessary with upward firing speakers)</span>\n</div>'),(1394,75,1,233,'<h2>ASC Monitor Stand Base with Top, 20 Inch Diameter, 40hz</h2>\n\nThe 20\" diameter ASC MonitorStand is designed for larger mid-field speakers (priced per speaker stand) and will make a significant improvement with the sound of any speaker and room.\n<div>\n	<br />\n	<div>\n		Tired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><span style=\"font-weight: bold;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=277#speakerstands\" class=\"colors_productprice\">You can read a technical explanation here.</a></span></span></span>\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><br /></span></span>\n	</div>\n	<div>\n		Now you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Whether part of an ASC ATTACK Wall system or in a stand-alone configuration, ASC MonitorStands give you more than just simple support for the physical placement of your monitoring system. The ASC MonitorStand dramatically improves your monitor and room accuracy.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		You can read more about how ASC and the TubeTrap system can <span class=\"colors_productprice\" style=\"font-weight: bold; font-style: italic; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=276\" class=\"colors_productprice\">improve your studio acoustics here</a></span>.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Available Options:\n	</div>\n	<div>\n		9 Inch Diameter, bass control down to 110hz\n	</div>\n	<div>\n		11 Inch Diameter, bass control down to 90hz\n	</div>\n	<div>\n		13 Inch Diameter, bass control down to 55hz\n	</div>\n	<div>\n		16 Inch Diameter, bass control down to 70hz\n	</div>\n	<div>\n		20 Inch Diameter, bass control down to 40hz\n	</div>\n	<div>\n		24 Inch Diameter, bass control down to 25hz\n	</div>\n	<span style=\"font-size 14pt; font-style:italic;\">Product price is for monitor stand base and top only. Does not include wood platform (only necessary with upward firing speakers)</span>\n</div>'),(1395,85,0,233,'ASC Monitor Stand Base with Top, 20 Inch Diameter, 40hz'),(1396,85,1,233,'ASC Monitor Stand Base with Top, 20 Inch Diameter, 40hz'),(1397,76,0,233,''),(1398,76,1,233,''),(1399,75,0,234,'<h2>ASC Monitor Stand Base 9 Inch Diameter, 110hz</h2>\n\nThe 9\" diameter ASC MonitorStand is designed for mid-field speakers (priced per speaker stand) and will make a significant improvement with the sound of any speaker and room.\n<div>\n	<br />\n	<div>\n		Tired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><span style=\"font-weight: bold;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=277#speakerstands\" class=\"colors_productprice\">You can read a technical explanation here.</a></span></span></span>\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><br /></span></span>\n	</div>\n	<div>\n		Now you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Whether part of an ASC ATTACK Wall system or in a stand-alone configuration, ASC MonitorStands give you more than just simple support for the physical placement of your monitoring system. The ASC MonitorStand dramatically improves your monitor and room accuracy.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		You can read more about how ASC and the TubeTrap system can <span class=\"colors_productprice\" style=\"font-weight: bold; font-style: italic; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=276\" class=\"colors_productprice\">improve your studio acoustics here</a></span>.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Available Options:\n	</div>\n	<div>\n		9 Inch Diameter, bass control down to 110hz\n	</div>\n	<div>\n		11 Inch Diameter, bass control down to 90hz\n	</div>\n	<div>\n		13 Inch Diameter, bass control down to 55hz\n	</div>\n	<div>\n		16 Inch Diameter, bass control down to 70hz\n	</div>\n	<div>\n		20 Inch Diameter, bass control down to 40hz\n	</div>\n	<div>\n		24 Inch Diameter, bass control down to 25hz\n	</div>\n</div>'),(1400,75,1,234,'<h2>ASC Monitor Stand Base 9 Inch Diameter, 110hz</h2>\n\nThe 9\" diameter ASC MonitorStand is designed for mid-field speakers (priced per speaker stand) and will make a significant improvement with the sound of any speaker and room.\n<div>\n	<br />\n	<div>\n		Tired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><span style=\"font-weight: bold;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=277#speakerstands\" class=\"colors_productprice\">You can read a technical explanation here.</a></span></span></span>\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><br /></span></span>\n	</div>\n	<div>\n		Now you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Whether part of an ASC ATTACK Wall system or in a stand-alone configuration, ASC MonitorStands give you more than just simple support for the physical placement of your monitoring system. The ASC MonitorStand dramatically improves your monitor and room accuracy.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		You can read more about how ASC and the TubeTrap system can <span class=\"colors_productprice\" style=\"font-weight: bold; font-style: italic; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=276\" class=\"colors_productprice\">improve your studio acoustics here</a></span>.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Available Options:\n	</div>\n	<div>\n		9 Inch Diameter, bass control down to 110hz\n	</div>\n	<div>\n		11 Inch Diameter, bass control down to 90hz\n	</div>\n	<div>\n		13 Inch Diameter, bass control down to 55hz\n	</div>\n	<div>\n		16 Inch Diameter, bass control down to 70hz\n	</div>\n	<div>\n		20 Inch Diameter, bass control down to 40hz\n	</div>\n	<div>\n		24 Inch Diameter, bass control down to 25hz\n	</div>\n</div>'),(1401,85,0,234,'ASC Monitor Stand Base 9 Inch Diameter, 110hz'),(1402,85,1,234,'ASC Monitor Stand Base 9 Inch Diameter, 110hz'),(1403,76,0,234,''),(1404,76,1,234,''),(1405,75,0,235,'<h2>ASC Monitor Stand Base 9 Inch Diameter, 110hz</h2>\n\nThe 9\" diameter ASC MonitorStand is designed for larger mid-field speakers (priced per speaker stand) and will make a significant improvement with the sound of any speaker and room.\n<div>\n	<br />\n	<div>\n		Tired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><span style=\"font-weight: bold;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=277#speakerstands\" class=\"colors_productprice\">You can read a technical explanation here.</a></span></span></span>\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><br /></span></span>\n	</div>\n	<div>\n		Now you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Whether part of an ASC ATTACK Wall system or in a stand-alone configuration, ASC MonitorStands give you more than just simple support for the physical placement of your monitoring system. The ASC MonitorStand dramatically improves your monitor and room accuracy.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		You can read more about how ASC and the TubeTrap system can <span class=\"colors_productprice\" style=\"font-weight: bold; font-style: italic; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=276\" class=\"colors_productprice\">improve your studio acoustics here</a></span>.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Available Options:\n	</div>\n	<div>\n		9 Inch Diameter, bass control down to 110hz\n	</div>\n	<div>\n		11 Inch Diameter, bass control down to 90hz\n	</div>\n	<div>\n		13 Inch Diameter, bass control down to 55hz\n	</div>\n	<div>\n		16 Inch Diameter, bass control down to 70hz\n	</div>\n	<div>\n		20 Inch Diameter, bass control down to 40hz\n	</div>\n	<div>\n		24 Inch Diameter, bass control down to 25hz\n	</div>\n</div>'),(1406,75,1,235,'<h2>ASC Monitor Stand Base 9 Inch Diameter, 110hz</h2>\n\nThe 9\" diameter ASC MonitorStand is designed for larger mid-field speakers (priced per speaker stand) and will make a significant improvement with the sound of any speaker and room.\n<div>\n	<br />\n	<div>\n		Tired of floor-ceiling reflections and vertical resonant modes wreaking havoc with your monitor response?\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><span style=\"font-weight: bold;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=277#speakerstands\" class=\"colors_productprice\">You can read a technical explanation here.</a></span></span></span>\n	</div>\n	<div>\n		<span class=\"colors_productprice\"><span style=\"font-style: italic; text-decoration: underline;\"><br /></span></span>\n	</div>\n	<div>\n		Now you can achieve the broadband acoustic improvement offered by ASC TubeTraps in your MonitorStands. This is a specially adapted set of TubeTraps designed just for monitors. The MonitorStand has no built-in reflectors, unless they are specifically requested. Each stand is custom sized to fit your studio requirements, and can be ordered with top and bottom, or just bottom configurations.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Whether part of an ASC ATTACK Wall system or in a stand-alone configuration, ASC MonitorStands give you more than just simple support for the physical placement of your monitoring system. The ASC MonitorStand dramatically improves your monitor and room accuracy.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		You can read more about how ASC and the TubeTrap system can <span class=\"colors_productprice\" style=\"font-weight: bold; font-style: italic; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Articles.asp?ID=276\" class=\"colors_productprice\">improve your studio acoustics here</a></span>.\n	</div>\n	<div>\n		<br />\n	</div>\n	<div>\n		Available Options:\n	</div>\n	<div>\n		9 Inch Diameter, bass control down to 110hz\n	</div>\n	<div>\n		11 Inch Diameter, bass control down to 90hz\n	</div>\n	<div>\n		13 Inch Diameter, bass control down to 55hz\n	</div>\n	<div>\n		16 Inch Diameter, bass control down to 70hz\n	</div>\n	<div>\n		20 Inch Diameter, bass control down to 40hz\n	</div>\n	<div>\n		24 Inch Diameter, bass control down to 25hz\n	</div>\n</div>'),(1407,85,0,235,'ASC Monitor Stand Base and Top 9 Inch Diameter, 110hz'),(1408,85,1,235,'ASC Monitor Stand Base and Top 9 Inch Diameter, 110hz'),(1409,76,0,235,''),(1410,76,1,235,''),(1411,75,0,236,'<h2>ASC MonitorStack 11 Inch Diameter - 2 BasePlates, 2 Bases and 2 Tops</h2><i>\n11\" Diameter MonitorStacks are designed for smaller near-field speakers and include a pair of MonitorStand tops, bases and Baseplates to dramatically improve monitor and room accuracy.\n</i><br /><br />\nASC MonitorStacks are broadband absorptive speaker stands comprised of specially built TubeTraps that sandwich your studio monitor between a top and bottom tube. <br /><br />\n\nA typical monitor on a stand is located about half way between the floor and the ceiling. The floor/ceiling bounce returns back to the monitor in a phase. This imposes a phase cancel effect on the speaker’s efficiency, typically, the first cut is 74 Hz for 8’ ceilings, then, the engineer boosts 74 Hz in the mix unnecessarily. <br /><br />\n\n\nThe Monitor Stack upsets the vertical symmetry in the room. Two types of MonitorStands are used in the construction of your \"MonitorStack\": Tops and Bases.  Standard sizing for Tops is 18\" height, and standard sizing for Bases is 42\" height. The lower Trap absorbs bass, the upper Trap is short of the ceiling and vents bass. The combination works well with the majority of mixing setups, eliminates the phase cancel effect and allows the engineer to work in a linear environment. <br /><br />\n\nTops are smaller, and allow the bass wavefront to be mildly absorbed and then rapidly weakened through expansion and diffusion over the top of the stack.  As of 2016, MonitorStand Tops are equipped with an IsoThermal upgrade, nearly doubling their absorbing power below 200 Hz.<br /><br />\n\n	Bases are large, structurally reinforced units designed to withstand the weight of today\'s self amplified reference loudspeakers.  The absorptive properties are also optimized for the function of eliminating floor-to-ceiling resonance: individually sealed pressure chambers contained within each unit allow for maximized absorption, independent of proximity to the loudspeaker.  Combined with the complimentary IsoThermal upgrade, this provides for extremely rapid damping of vertical energy in the plane of the speaker.\n<br /><br />\n\nWhether part of an AttackWall system or in a stand-alone configuration, ASC MonitorStacks give you more than just simple support for the physical placement of your monitoring system.\n<br /><br />\nChoose from 5 stock colors or from over 50 custom fabrics for an additional charge.<br /><br /><h3>MonitorStacks Include</h3><ul><li>(2) MonitorStand Bases - 42\" height</li><li>(2) MonitorStand Tops - 18\" height</li><li>(2) MonitorStand Baseplates - MDF finished in textured black lacquer with high-density rubber foot pads</li></ul><br />'),(1412,75,1,236,'<h2>ASC MonitorStack 11 Inch Diameter - 2 BasePlates, 2 Bases and 2 Tops</h2><i>\n11\" Diameter MonitorStacks are designed for smaller near-field speakers and include a pair of MonitorStand tops, bases and Baseplates to dramatically improve monitor and room accuracy.\n</i><br /><br />\nASC MonitorStacks are broadband absorptive speaker stands comprised of specially built TubeTraps that sandwich your studio monitor between a top and bottom tube. <br /><br />\n\nA typical monitor on a stand is located about half way between the floor and the ceiling. The floor/ceiling bounce returns back to the monitor in a phase. This imposes a phase cancel effect on the speaker’s efficiency, typically, the first cut is 74 Hz for 8’ ceilings, then, the engineer boosts 74 Hz in the mix unnecessarily. <br /><br />\n\n\nThe Monitor Stack upsets the vertical symmetry in the room. Two types of MonitorStands are used in the construction of your \"MonitorStack\": Tops and Bases.  Standard sizing for Tops is 18\" height, and standard sizing for Bases is 42\" height. The lower Trap absorbs bass, the upper Trap is short of the ceiling and vents bass. The combination works well with the majority of mixing setups, eliminates the phase cancel effect and allows the engineer to work in a linear environment. <br /><br />\n\nTops are smaller, and allow the bass wavefront to be mildly absorbed and then rapidly weakened through expansion and diffusion over the top of the stack.  As of 2016, MonitorStand Tops are equipped with an IsoThermal upgrade, nearly doubling their absorbing power below 200 Hz.<br /><br />\n\n	Bases are large, structurally reinforced units designed to withstand the weight of today\'s self amplified reference loudspeakers.  The absorptive properties are also optimized for the function of eliminating floor-to-ceiling resonance: individually sealed pressure chambers contained within each unit allow for maximized absorption, independent of proximity to the loudspeaker.  Combined with the complimentary IsoThermal upgrade, this provides for extremely rapid damping of vertical energy in the plane of the speaker.\n<br /><br />\n\nWhether part of an AttackWall system or in a stand-alone configuration, ASC MonitorStacks give you more than just simple support for the physical placement of your monitoring system.\n<br /><br />\nChoose from 5 stock colors or from over 50 custom fabrics for an additional charge.<br /><br /><h3>MonitorStacks Include</h3><ul><li>(2) MonitorStand Bases - 42\" height</li><li>(2) MonitorStand Tops - 18\" height</li><li>(2) MonitorStand Baseplates - MDF finished in textured black lacquer with high-density rubber foot pads</li></ul><br />'),(1413,85,0,236,'ASC MonitorStack 11 Inch Diameter'),(1414,85,1,236,'ASC MonitorStack 11 Inch Diameter'),(1415,76,0,236,''),(1416,76,1,236,''),(1417,75,0,237,'<h2>ASC MonitorStack 13 Inch Diameter - 2 BasePlates, 2 Bases and 2 Tops</h2><i>\n13\" Diameter MonitorStacks</i><i> are designed for larger near-field speakers and</i><i> include a pair of MonitorStand tops, bases and Baseplates to dramatically improve monitor and room accuracy.\n</i><br /><br />\nASC MonitorStacks are broadband absorptive speaker stands comprised of specially built TubeTraps that sandwich your studio monitor between a top and bottom tube. <br /><br />\n\nA typical monitor on a stand is located about half way between the floor and the ceiling. The floor/ceiling bounce returns back to the monitor in a phase. This imposes a phase cancel effect on the speaker’s efficiency, typically, the first cut is 74 Hz for 8’ ceilings, then, the engineer boosts 74 Hz in the mix unnecessarily. <br /><br />\n\n\nThe Monitor Stack upsets the vertical symmetry in the room. Two types of MonitorStands are used in the construction of your \"MonitorStack\": Tops and Bases.  Standard sizing for Tops is 18\" height, and standard sizing for Bases is 42\" height. The lower Trap absorbs bass, the upper Trap is short of the ceiling and vents bass. The combination works well with the majority of mixing setups, eliminates the phase cancel effect and allows the engineer to work in a linear environment. <br /><br />\n\nTops are smaller, and allow the bass wavefront to be mildly absorbed and then rapidly weakened through expansion and diffusion over the top of the stack.  As of 2016, MonitorStand Tops are equipped with an IsoThermal upgrade, nearly doubling their absorbing power below 200 Hz.<br /><br />\n\n	Bases are large, structurally reinforced units designed to withstand the weight of today\'s self amplified reference loudspeakers.  The absorptive properties are also optimized for the function of eliminating floor-to-ceiling resonance: individually sealed pressure chambers contained within each unit allow for maximized absorption, independent of proximity to the loudspeaker.  Combined with the complimentary IsoThermal upgrade, this provides for extremely rapid damping of vertical energy in the plane of the speaker.\n<br /><br />\n\nWhether part of an AttackWall system or in a stand-alone configuration, ASC MonitorStacks give you more than just simple support for the physical placement of your monitoring system.\n<br /><br />\nChoose from 5 stock colors or from over 50 custom fabrics for an additional charge.<br /><br /><h3>MonitorStacks Include</h3><ul><li>(2) MonitorStand Bases - 42\" height</li><li>(2) MonitorStand Tops - 18\" height</li><li>(2) MonitorStand Baseplates - MDF finished in textured black lacquer with high-density rubber foot pads</li></ul><br />'),(1418,75,1,237,'<h2>ASC MonitorStack 13 Inch Diameter - 2 BasePlates, 2 Bases and 2 Tops</h2><i>\n13\" Diameter MonitorStacks</i><i> are designed for larger near-field speakers and</i><i> include a pair of MonitorStand tops, bases and Baseplates to dramatically improve monitor and room accuracy.\n</i><br /><br />\nASC MonitorStacks are broadband absorptive speaker stands comprised of specially built TubeTraps that sandwich your studio monitor between a top and bottom tube. <br /><br />\n\nA typical monitor on a stand is located about half way between the floor and the ceiling. The floor/ceiling bounce returns back to the monitor in a phase. This imposes a phase cancel effect on the speaker’s efficiency, typically, the first cut is 74 Hz for 8’ ceilings, then, the engineer boosts 74 Hz in the mix unnecessarily. <br /><br />\n\n\nThe Monitor Stack upsets the vertical symmetry in the room. Two types of MonitorStands are used in the construction of your \"MonitorStack\": Tops and Bases.  Standard sizing for Tops is 18\" height, and standard sizing for Bases is 42\" height. The lower Trap absorbs bass, the upper Trap is short of the ceiling and vents bass. The combination works well with the majority of mixing setups, eliminates the phase cancel effect and allows the engineer to work in a linear environment. <br /><br />\n\nTops are smaller, and allow the bass wavefront to be mildly absorbed and then rapidly weakened through expansion and diffusion over the top of the stack.  As of 2016, MonitorStand Tops are equipped with an IsoThermal upgrade, nearly doubling their absorbing power below 200 Hz.<br /><br />\n\n	Bases are large, structurally reinforced units designed to withstand the weight of today\'s self amplified reference loudspeakers.  The absorptive properties are also optimized for the function of eliminating floor-to-ceiling resonance: individually sealed pressure chambers contained within each unit allow for maximized absorption, independent of proximity to the loudspeaker.  Combined with the complimentary IsoThermal upgrade, this provides for extremely rapid damping of vertical energy in the plane of the speaker.\n<br /><br />\n\nWhether part of an AttackWall system or in a stand-alone configuration, ASC MonitorStacks give you more than just simple support for the physical placement of your monitoring system.\n<br /><br />\nChoose from 5 stock colors or from over 50 custom fabrics for an additional charge.<br /><br /><h3>MonitorStacks Include</h3><ul><li>(2) MonitorStand Bases - 42\" height</li><li>(2) MonitorStand Tops - 18\" height</li><li>(2) MonitorStand Baseplates - MDF finished in textured black lacquer with high-density rubber foot pads</li></ul><br />'),(1419,85,0,237,'ASC MonitorStack 13 Inch Diameter'),(1420,85,1,237,'ASC MonitorStack 13 Inch Diameter'),(1421,76,0,237,''),(1422,76,1,237,''),(1423,75,0,238,'<h2>ASC MonitorStack 16 Inch Diameter - 2 BasePlates, 2 Bases and 2 Tops</h2><i>\n16\" Diameter MonitorStacks </i><i>are designed for mid-field speakers and </i><i>include a pair of MonitorStand tops, bases and Baseplates to dramatically improve monitor and room accuracy.\n</i><br /><br />\nASC MonitorStacks are broadband absorptive speaker stands comprised of specially built TubeTraps that sandwich your studio monitor between a top and bottom tube. <br /><br />\n\nA typical monitor on a stand is located about half way between the floor and the ceiling. The floor/ceiling bounce returns back to the monitor in a phase. This imposes a phase cancel effect on the speaker’s efficiency, typically, the first cut is 74 Hz for 8’ ceilings, then, the engineer boosts 74 Hz in the mix unnecessarily. <br /><br />\n\n\nThe Monitor Stack upsets the vertical symmetry in the room. Two types of MonitorStands are used in the construction of your \"MonitorStack\": Tops and Bases.  Standard sizing for Tops is 18\" height, and standard sizing for Bases is 42\" height. The lower Trap absorbs bass, the upper Trap is short of the ceiling and vents bass. The combination works well with the majority of mixing setups, eliminates the phase cancel effect and allows the engineer to work in a linear environment. <br /><br />\n\nTops are smaller, and allow the bass wavefront to be mildly absorbed and then rapidly weakened through expansion and diffusion over the top of the stack.  As of 2016, MonitorStand Tops are equipped with an IsoThermal upgrade, nearly doubling their absorbing power below 200 Hz.<br /><br />\n\n	Bases are large, structurally reinforced units designed to withstand the weight of today\'s self amplified reference loudspeakers.  The absorptive properties are also optimized for the function of eliminating floor-to-ceiling resonance: individually sealed pressure chambers contained within each unit allow for maximized absorption, independent of proximity to the loudspeaker.  Combined with the complimentary IsoThermal upgrade, this provides for extremely rapid damping of vertical energy in the plane of the speaker.\n<br /><br />\n\nWhether part of an AttackWall system or in a stand-alone configuration, ASC MonitorStacks give you more than just simple support for the physical placement of your monitoring system.\n<br /><br />\nChoose from 5 stock colors or from over 50 custom fabrics for an additional charge.<br /><br /><h3>MonitorStacks Include</h3><ul><li>(2) MonitorStand Bases - 42\" height</li><li>(2) MonitorStand Tops - 18\" height</li><li>(2) MonitorStand Baseplates - MDF finished in textured black lacquer with high-density rubber foot pads</li></ul><br />'),(1424,75,1,238,'<h2>ASC MonitorStack 16 Inch Diameter - 2 BasePlates, 2 Bases and 2 Tops</h2><i>\n16\" Diameter MonitorStacks </i><i>are designed for mid-field speakers and </i><i>include a pair of MonitorStand tops, bases and Baseplates to dramatically improve monitor and room accuracy.\n</i><br /><br />\nASC MonitorStacks are broadband absorptive speaker stands comprised of specially built TubeTraps that sandwich your studio monitor between a top and bottom tube. <br /><br />\n\nA typical monitor on a stand is located about half way between the floor and the ceiling. The floor/ceiling bounce returns back to the monitor in a phase. This imposes a phase cancel effect on the speaker’s efficiency, typically, the first cut is 74 Hz for 8’ ceilings, then, the engineer boosts 74 Hz in the mix unnecessarily. <br /><br />\n\n\nThe Monitor Stack upsets the vertical symmetry in the room. Two types of MonitorStands are used in the construction of your \"MonitorStack\": Tops and Bases.  Standard sizing for Tops is 18\" height, and standard sizing for Bases is 42\" height. The lower Trap absorbs bass, the upper Trap is short of the ceiling and vents bass. The combination works well with the majority of mixing setups, eliminates the phase cancel effect and allows the engineer to work in a linear environment. <br /><br />\n\nTops are smaller, and allow the bass wavefront to be mildly absorbed and then rapidly weakened through expansion and diffusion over the top of the stack.  As of 2016, MonitorStand Tops are equipped with an IsoThermal upgrade, nearly doubling their absorbing power below 200 Hz.<br /><br />\n\n	Bases are large, structurally reinforced units designed to withstand the weight of today\'s self amplified reference loudspeakers.  The absorptive properties are also optimized for the function of eliminating floor-to-ceiling resonance: individually sealed pressure chambers contained within each unit allow for maximized absorption, independent of proximity to the loudspeaker.  Combined with the complimentary IsoThermal upgrade, this provides for extremely rapid damping of vertical energy in the plane of the speaker.\n<br /><br />\n\nWhether part of an AttackWall system or in a stand-alone configuration, ASC MonitorStacks give you more than just simple support for the physical placement of your monitoring system.\n<br /><br />\nChoose from 5 stock colors or from over 50 custom fabrics for an additional charge.<br /><br /><h3>MonitorStacks Include</h3><ul><li>(2) MonitorStand Bases - 42\" height</li><li>(2) MonitorStand Tops - 18\" height</li><li>(2) MonitorStand Baseplates - MDF finished in textured black lacquer with high-density rubber foot pads</li></ul><br />'),(1425,85,0,238,'ASC MonitorStack 16 Inch Diameter'),(1426,85,1,238,'ASC MonitorStack 16 Inch Diameter'),(1427,76,0,238,''),(1428,76,1,238,''),(1429,75,0,239,'<b><inline style=\"font-size: 28px;\">ASC MonitorStand Base Plates- 11 Inch (Pair)</inline></b><br /><br /><i>The ASC MonitorStand Base Plates are specifically designed to \nstabilize 11 inch ASC MonitorStands and fit tightly against ASC \nTubeTraps<br /></i><br />The Acoustic Sciences Corporation MonitorStand Base Plates are made out \nof a MDF (composite wood), finished in textured black lacquer. The \nbottom of the base plate has high-density rubber foot pads for improved \nisolation and stability.. <i> </i><br /><br />The ASC MonitorStand Base \nPlates attach to the ASC MonitorStands using the screw on the bottom of \nthe ASC MonitorStand. The heavy duty stabilizing plates keeps \nMonitorStands secure no matter the surface, and the six one inch rubber \nfeet keep the MonitorStand from sliding around no matter the surface. \nThe ASC Stabilizer Base Plates are specifically designed to secure ASC \nMonitorStands and fit tightly against ASC TubeTraps, no matter the size \nof the ASC TubeTrap. The ASC BasePlates come in 9\",11\",13\",16\",20\"<br />'),(1430,75,1,239,'<b><inline style=\"font-size: 28px;\">ASC MonitorStand Base Plates- 11 Inch (Pair)</inline></b><br /><br /><i>The ASC MonitorStand Base Plates are specifically designed to \nstabilize 11 inch ASC MonitorStands and fit tightly against ASC \nTubeTraps<br /></i><br />The Acoustic Sciences Corporation MonitorStand Base Plates are made out \nof a MDF (composite wood), finished in textured black lacquer. The \nbottom of the base plate has high-density rubber foot pads for improved \nisolation and stability.. <i> </i><br /><br />The ASC MonitorStand Base \nPlates attach to the ASC MonitorStands using the screw on the bottom of \nthe ASC MonitorStand. The heavy duty stabilizing plates keeps \nMonitorStands secure no matter the surface, and the six one inch rubber \nfeet keep the MonitorStand from sliding around no matter the surface. \nThe ASC Stabilizer Base Plates are specifically designed to secure ASC \nMonitorStands and fit tightly against ASC TubeTraps, no matter the size \nof the ASC TubeTrap. The ASC BasePlates come in 9\",11\",13\",16\",20\"<br />'),(1431,85,0,239,'ASC MonitorStand Base Plates - 11 Inch (Pair)'),(1432,85,1,239,'ASC MonitorStand Base Plates - 11 Inch (Pair)'),(1433,76,0,239,''),(1434,76,1,239,''),(1435,75,0,240,'<b><inline style=\"font-size: 28px;\">ASC MonitorStand Base Plates- 13 Inch (Pair)</inline></b><br /><br /><i>The ASC MonitorStand Base Plates are specifically designed to \nstabilize 13 inch ASC MonitorStands and fit tightly against ASC \nTubeTraps<br /></i><br />The Acoustic Sciences Corporation MonitorStand Base Plates are made out \nof a MDF (composite wood), finished in textured black lacquer. The \nbottom of the base plate has high-density rubber foot pads for improved \nisolation and stability.. <i> </i><br /><br />The ASC MonitorStand Base \nPlates attach to the ASC MonitorStands using the screw on the bottom of \nthe ASC MonitorStand. The heavy duty stabilizing plates keeps \nMonitorStands secure no matter the surface, and the six one inch rubber \nfeet keep the MonitorStand from sliding around no matter the surface. \nThe ASC Stabilizer Base Plates are specifically designed to secure ASC \nMonitorStands and fit tightly against ASC TubeTraps, no matter the size \nof the ASC TubeTrap. The ASC BasePlates come in 9\",11\",13\",16\",20\"<br />'),(1436,75,1,240,'<b><inline style=\"font-size: 28px;\">ASC MonitorStand Base Plates- 13 Inch (Pair)</inline></b><br /><br /><i>The ASC MonitorStand Base Plates are specifically designed to \nstabilize 13 inch ASC MonitorStands and fit tightly against ASC \nTubeTraps<br /></i><br />The Acoustic Sciences Corporation MonitorStand Base Plates are made out \nof a MDF (composite wood), finished in textured black lacquer. The \nbottom of the base plate has high-density rubber foot pads for improved \nisolation and stability.. <i> </i><br /><br />The ASC MonitorStand Base \nPlates attach to the ASC MonitorStands using the screw on the bottom of \nthe ASC MonitorStand. The heavy duty stabilizing plates keeps \nMonitorStands secure no matter the surface, and the six one inch rubber \nfeet keep the MonitorStand from sliding around no matter the surface. \nThe ASC Stabilizer Base Plates are specifically designed to secure ASC \nMonitorStands and fit tightly against ASC TubeTraps, no matter the size \nof the ASC TubeTrap. The ASC BasePlates come in 9\",11\",13\",16\",20\"<br />'),(1437,85,0,240,'ASC MonitorStand Base Plates- 13 Inch (Pair)'),(1438,85,1,240,'ASC MonitorStand Base Plates- 13 Inch (Pair)'),(1439,76,0,240,''),(1440,76,1,240,''),(1441,75,0,241,'<b><inline style=\"font-size: 28px;\">ASC MonitorStand Base Plates- 16 Inch (Pair)</inline></b><br /><br /><i>The ASC MonitorStand Base Plates are specifically designed to \nstabilize 16 inch ASC MonitorStands and fit tightly against ASC \nTubeTraps<br /></i><br />The Acoustic Sciences Corporation MonitorStand Base Plates are made out \nof a MDF (composite wood), finished in textured black lacquer. The \nbottom of the base plate has high-density rubber foot pads for improved \nisolation and stability.. <i> </i><br /><br />The ASC MonitorStand Base Plates attach to the ASC MonitorStands using the screw on the bottom of the ASC MonitorStand. The heavy duty stabilizing plates keeps MonitorStands secure no matter the surface, and the six one inch rubber feet keep the MonitorStand from sliding around no matter the surface. The ASC Stabilizer Base Plates are specifically designed to secure ASC MonitorStands and fit tightly against ASC TubeTraps, no matter the size of the ASC TubeTrap. The ASC BasePlates come in 9\",11\",13\",16\",20\"<br />'),(1442,75,1,241,'<b><inline style=\"font-size: 28px;\">ASC MonitorStand Base Plates- 16 Inch (Pair)</inline></b><br /><br /><i>The ASC MonitorStand Base Plates are specifically designed to \nstabilize 16 inch ASC MonitorStands and fit tightly against ASC \nTubeTraps<br /></i><br />The Acoustic Sciences Corporation MonitorStand Base Plates are made out \nof a MDF (composite wood), finished in textured black lacquer. The \nbottom of the base plate has high-density rubber foot pads for improved \nisolation and stability.. <i> </i><br /><br />The ASC MonitorStand Base Plates attach to the ASC MonitorStands using the screw on the bottom of the ASC MonitorStand. The heavy duty stabilizing plates keeps MonitorStands secure no matter the surface, and the six one inch rubber feet keep the MonitorStand from sliding around no matter the surface. The ASC Stabilizer Base Plates are specifically designed to secure ASC MonitorStands and fit tightly against ASC TubeTraps, no matter the size of the ASC TubeTrap. The ASC BasePlates come in 9\",11\",13\",16\",20\"<br />'),(1443,85,0,241,'ASC MonitorStand Base Plates- 16 Inch (Pair)'),(1444,85,1,241,'ASC MonitorStand Base Plates- 16 Inch (Pair)'),(1445,76,0,241,''),(1446,76,1,241,''),(1447,75,0,242,'<b><inline style=\"font-size: 28px;\">ASC MonitorStand Base Plates- 20 Inch (Pair)</inline></b><br /><br /><i>The ASC MonitorStand Base Plates are specifically designed to \nstabilize 20 inch ASC MonitorStands and fit tightly against ASC \nTubeTraps<br /></i><br />The Acoustic Sciences Corporation MonitorStand Base Plates are made out \nof a MDF (composite wood), finished in textured black lacquer. The \nbottom of the base plate has high-density rubber foot pads for improved \nisolation and stability.. <i> </i><br /><br />The ASC MonitorStand Base \nPlates attach to the ASC MonitorStands using the screw on the bottom of \nthe ASC MonitorStand. The heavy duty stabilizing plates keeps \nMonitorStands secure no matter the surface, and the six one inch rubber \nfeet keep the MonitorStand from sliding around no matter the surface. \nThe ASC Stabilizer Base Plates are specifically designed to secure ASC \nMonitorStands and fit tightly against ASC TubeTraps, no matter the size \nof the ASC TubeTrap. The ASC BasePlates come in 9\",11\",13\",16\",20\"<br />'),(1448,75,1,242,'<b><inline style=\"font-size: 28px;\">ASC MonitorStand Base Plates- 20 Inch (Pair)</inline></b><br /><br /><i>The ASC MonitorStand Base Plates are specifically designed to \nstabilize 20 inch ASC MonitorStands and fit tightly against ASC \nTubeTraps<br /></i><br />The Acoustic Sciences Corporation MonitorStand Base Plates are made out \nof a MDF (composite wood), finished in textured black lacquer. The \nbottom of the base plate has high-density rubber foot pads for improved \nisolation and stability.. <i> </i><br /><br />The ASC MonitorStand Base \nPlates attach to the ASC MonitorStands using the screw on the bottom of \nthe ASC MonitorStand. The heavy duty stabilizing plates keeps \nMonitorStands secure no matter the surface, and the six one inch rubber \nfeet keep the MonitorStand from sliding around no matter the surface. \nThe ASC Stabilizer Base Plates are specifically designed to secure ASC \nMonitorStands and fit tightly against ASC TubeTraps, no matter the size \nof the ASC TubeTrap. The ASC BasePlates come in 9\",11\",13\",16\",20\"<br />'),(1449,85,0,242,'ASC MonitorStand Base Plates- 20 Inch (Pair)'),(1450,85,1,242,'ASC MonitorStand Base Plates- 20 Inch (Pair)'),(1451,76,0,242,''),(1452,76,1,242,''),(1453,75,0,243,'<b><inline style=\"font-size: 28px;\">ASC MonitorStand Base Plates- 9 Inch (Pair)</inline></b><br /><br /><i>The ASC MonitorStand Base Plates are specifically designed to \nstabilize 9 inch ASC MonitorStands and fit tightly against ASC \nTubeTraps<br /></i><br />The Acoustic Sciences Corporation MonitorStand Base Plates are made out \nof a MDF (composite wood), finished in textured black lacquer. The \nbottom of the base plate has high-density rubber foot pads for improved \nisolation and stability.. <i> </i><br /><br />The ASC MonitorStand Base \nPlates attach to the ASC MonitorStands using the screw on the bottom of \nthe ASC MonitorStand. The heavy duty stabilizing plates keeps \nMonitorStands secure no matter the surface, and the six one inch rubber \nfeet keep the MonitorStand from sliding around no matter the surface. \nThe ASC Stabilizer Base Plates are specifically designed to secure ASC \nMonitorStands and fit tightly against ASC TubeTraps, no matter the size \nof the ASC TubeTrap. The ASC BasePlates come in 9\",11\",13\",16\",20\"<br />'),(1454,75,1,243,'<b><inline style=\"font-size: 28px;\">ASC MonitorStand Base Plates- 9 Inch (Pair)</inline></b><br /><br /><i>The ASC MonitorStand Base Plates are specifically designed to \nstabilize 9 inch ASC MonitorStands and fit tightly against ASC \nTubeTraps<br /></i><br />The Acoustic Sciences Corporation MonitorStand Base Plates are made out \nof a MDF (composite wood), finished in textured black lacquer. The \nbottom of the base plate has high-density rubber foot pads for improved \nisolation and stability.. <i> </i><br /><br />The ASC MonitorStand Base \nPlates attach to the ASC MonitorStands using the screw on the bottom of \nthe ASC MonitorStand. The heavy duty stabilizing plates keeps \nMonitorStands secure no matter the surface, and the six one inch rubber \nfeet keep the MonitorStand from sliding around no matter the surface. \nThe ASC Stabilizer Base Plates are specifically designed to secure ASC \nMonitorStands and fit tightly against ASC TubeTraps, no matter the size \nof the ASC TubeTrap. The ASC BasePlates come in 9\",11\",13\",16\",20\"<br />'),(1455,85,0,243,'ASC MonitorStand Base Plates- 9 Inch (Pair)'),(1456,85,1,243,'ASC MonitorStand Base Plates- 9 Inch (Pair)'),(1457,76,0,243,''),(1458,76,1,243,''),(1459,75,0,244,'<h2>ASC Nano AttackWall Deluxe - Desktop Acoustic Environment</h2>\n<i>A portable, modular, mini AttackWall acoustic environment that easily recreates world-class studio acoustics on your desktop.</i><br /><br />The ASC Nano AttackWall Desktop Acoustic Environment takes all the features of the world-famous ASC AttackWall and shrinks it down into a portable desktop package. The Nano AttackWall Starter Kit includes six custom-designed, desktop NanoTraps and provides a solid studio acoustics platform for mixing and mastering audio. Experience the acoustic benefits of Vertical Mode Control, Early Side/Front Reflection Control, and Acoustic Soffit Loading for Nearfield Monitors with this popular Nano AttackWall configuration.<br /><br />The Nano AttackWall consistently produces the most amazingly clear sonic space you\'ll ever work in. It produces a reliable, repeatable, and accurate sonic space in which to track, mix, and master, regardless of room or speaker system. The best part is that it\'s extremely portable, and requires no construction or nailing into the wall, so you can take it with you when you move or work in another studio. <br /><br />Available in a variety of custom colors to match your studios decor.<br /><br />For even more acoustic isolation, the Nano AttackWall can be paired with <a href=\"https://www.rspeaudio.com/isoacoustics-s/2404.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">isoAcoustic monitor stands</a> or <a href=\"https://www.rspeaudio.com/IsoAcoustics-ISO-PUCK-p/isoacoustics-iso-puck-2.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">isoAcoustics ISO-PUCKS</a>. <br /><br />\n<h3>ASC Nano AttackWall Standard Kit Features</h3>\n<ul>\n	<li>Includes (12) NanoTraps</li>\n	<li>Desktop Monitor isolator tops</li>\n	<li>Small footprint, desktop acoustic environment</li>\n	<li>Any Room, Any Studio, Perfect Repeatability     </li>\n	<li>Portable and Convenient World Class Control Room    </li>\n	<li>Infinite Setup Possibilities, get as many or as few tubes as you need</li>\n	<li>Acoustic Soffit Loading for Nearfield Monitors, Just Like a Downtown Studio      </li>\n	<li>Engineered for Performance by Art Noxon and Sam Lynn</li>\n</ul>\n<br />\n<h3>ASC Nano AttackWall Specs</h3>\n<ul style=\"letter-spacing: normal;\">\n	<li>6.125\" Diameter and 20\" Tall</li>\n	<li>Weight: 52oz</li>\n	<li>DC Flow Resistance: 460 Rayls mks</li>\n	<li>DC Resistivity: 2300 Ohms (acoustic)</li>\n</ul>\n<br />\n<h3>NanoTrap Construction</h3>\nThe NanoTrap like all TubeTraps, is a fiber sealed sound trap, but it\'s tall and narrow so it\'s easy to setup without taking up too much space on your desktop. It sits on a wide soft-rubber ring and steel counter weight for increased stability, making sure it stays where you put it. The NanoTrap is 6\" in diameter and 20\" tall. A chamber in the top adds wide band resonant absoption in the octave of middle C. Its shell is double wall welded diamond perf stainless steel inside of which is an acoustically transparent low flow resistance folded seal. The assembly is sonically dead all the way around.<br /><br />\n<h3>The Repeatable Mixing Environment</h3>\nThe Nano AttackWall is made up of custom desktop NanoTraps, a versatile acoustic tool created by ASC specifically for the recording studio. The NanoTrap is designed to be treble and bass range absorptive, which creates a perfect acoustic environment around the mix position, eliminating reflections, buildup or any other sounds of the room.\n<br /><br />\n<h3>Portable and Powerful</h3>\nBy wrapping NanoTraps tightly around the edges of the workstation desk, the Nano AttackWall control booth is formed. In the treble range, this Nano AttackWall booth eliminates undesirable early reflections. In the bass range, the drivers become wall loaded and decoupled from the room modes. Engineers love the level of detail and specifically the imaging they can get within the Nano AttackWall. They hear sounds that couldn’t be heard before, even in some of the world’s biggest studios.\n<br /><br />\n<h3>Record Anywhere, with Big Studio Results</h3>\nThe Nano AttackWall loads bass just like the built-in mains found in a downtown studio. NanoTraps fit tight to the sides of the speaker to create a corner-loading short horn. This increases the efficiency of the speaker and projects the bass. The Nano AttackWall setup results in a bass loading horn that is lined with treble range absorption. This type of horn loading is designed to be strong in the horizontal plane but weak in the vertical direction. The horn is vented above and below AttackWall just before the expanding bass wave hits the floor or ceiling. This gives a soft bounce effect as the bass wave wraps around the Wall and expands into the rest of the room.\n<br /><br />\n<span class=\"colors_productprice\"><span><span style=\"font-weight: bold; font-style: italic;\"><span style=\"font-weight: bold; font-style: italic;\"><a href=\"http://www.rspeaudio.com/Attack_Wall_Webboutique_a/276.htm\"> <span class=\"colors_productprice\">Find out more and see who\'s using the ASC AttackWall</span>.<br /></a></span></span></span></span><br />\n<h3>Experience the perfect acoustic clarity and imaging of the ASC Nano AttackWall on your desktop. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an AttackWall for your studio.</h3>'),(1460,75,1,244,'<h2>ASC Nano AttackWall Deluxe - Desktop Acoustic Environment</h2>\n<i>A portable, modular, mini AttackWall acoustic environment that easily recreates world-class studio acoustics on your desktop.</i><br /><br />The ASC Nano AttackWall Desktop Acoustic Environment takes all the features of the world-famous ASC AttackWall and shrinks it down into a portable desktop package. The Nano AttackWall Starter Kit includes six custom-designed, desktop NanoTraps and provides a solid studio acoustics platform for mixing and mastering audio. Experience the acoustic benefits of Vertical Mode Control, Early Side/Front Reflection Control, and Acoustic Soffit Loading for Nearfield Monitors with this popular Nano AttackWall configuration.<br /><br />The Nano AttackWall consistently produces the most amazingly clear sonic space you\'ll ever work in. It produces a reliable, repeatable, and accurate sonic space in which to track, mix, and master, regardless of room or speaker system. The best part is that it\'s extremely portable, and requires no construction or nailing into the wall, so you can take it with you when you move or work in another studio. <br /><br />Available in a variety of custom colors to match your studios decor.<br /><br />For even more acoustic isolation, the Nano AttackWall can be paired with <a href=\"https://www.rspeaudio.com/isoacoustics-s/2404.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">isoAcoustic monitor stands</a> or <a href=\"https://www.rspeaudio.com/IsoAcoustics-ISO-PUCK-p/isoacoustics-iso-puck-2.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">isoAcoustics ISO-PUCKS</a>. <br /><br />\n<h3>ASC Nano AttackWall Standard Kit Features</h3>\n<ul>\n	<li>Includes (12) NanoTraps</li>\n	<li>Desktop Monitor isolator tops</li>\n	<li>Small footprint, desktop acoustic environment</li>\n	<li>Any Room, Any Studio, Perfect Repeatability     </li>\n	<li>Portable and Convenient World Class Control Room    </li>\n	<li>Infinite Setup Possibilities, get as many or as few tubes as you need</li>\n	<li>Acoustic Soffit Loading for Nearfield Monitors, Just Like a Downtown Studio      </li>\n	<li>Engineered for Performance by Art Noxon and Sam Lynn</li>\n</ul>\n<br />\n<h3>ASC Nano AttackWall Specs</h3>\n<ul style=\"letter-spacing: normal;\">\n	<li>6.125\" Diameter and 20\" Tall</li>\n	<li>Weight: 52oz</li>\n	<li>DC Flow Resistance: 460 Rayls mks</li>\n	<li>DC Resistivity: 2300 Ohms (acoustic)</li>\n</ul>\n<br />\n<h3>NanoTrap Construction</h3>\nThe NanoTrap like all TubeTraps, is a fiber sealed sound trap, but it\'s tall and narrow so it\'s easy to setup without taking up too much space on your desktop. It sits on a wide soft-rubber ring and steel counter weight for increased stability, making sure it stays where you put it. The NanoTrap is 6\" in diameter and 20\" tall. A chamber in the top adds wide band resonant absoption in the octave of middle C. Its shell is double wall welded diamond perf stainless steel inside of which is an acoustically transparent low flow resistance folded seal. The assembly is sonically dead all the way around.<br /><br />\n<h3>The Repeatable Mixing Environment</h3>\nThe Nano AttackWall is made up of custom desktop NanoTraps, a versatile acoustic tool created by ASC specifically for the recording studio. The NanoTrap is designed to be treble and bass range absorptive, which creates a perfect acoustic environment around the mix position, eliminating reflections, buildup or any other sounds of the room.\n<br /><br />\n<h3>Portable and Powerful</h3>\nBy wrapping NanoTraps tightly around the edges of the workstation desk, the Nano AttackWall control booth is formed. In the treble range, this Nano AttackWall booth eliminates undesirable early reflections. In the bass range, the drivers become wall loaded and decoupled from the room modes. Engineers love the level of detail and specifically the imaging they can get within the Nano AttackWall. They hear sounds that couldn’t be heard before, even in some of the world’s biggest studios.\n<br /><br />\n<h3>Record Anywhere, with Big Studio Results</h3>\nThe Nano AttackWall loads bass just like the built-in mains found in a downtown studio. NanoTraps fit tight to the sides of the speaker to create a corner-loading short horn. This increases the efficiency of the speaker and projects the bass. The Nano AttackWall setup results in a bass loading horn that is lined with treble range absorption. This type of horn loading is designed to be strong in the horizontal plane but weak in the vertical direction. The horn is vented above and below AttackWall just before the expanding bass wave hits the floor or ceiling. This gives a soft bounce effect as the bass wave wraps around the Wall and expands into the rest of the room.\n<br /><br />\n<span class=\"colors_productprice\"><span><span style=\"font-weight: bold; font-style: italic;\"><span style=\"font-weight: bold; font-style: italic;\"><a href=\"http://www.rspeaudio.com/Attack_Wall_Webboutique_a/276.htm\"> <span class=\"colors_productprice\">Find out more and see who\'s using the ASC AttackWall</span>.<br /></a></span></span></span></span><br />\n<h3>Experience the perfect acoustic clarity and imaging of the ASC Nano AttackWall on your desktop. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an AttackWall for your studio.</h3>'),(1461,85,0,244,'ASC Nano AttackWall Deluxe - Desktop Acoustic Environment'),(1462,85,1,244,'ASC Nano AttackWall Deluxe - Desktop Acoustic Environment'),(1463,76,0,244,''),(1464,76,1,244,''),(1465,75,0,245,'<h2>ASC Nano AttackWall Standard - Desktop Acoustic Environment</h2>\n<i>A portable, modular, mini AttackWall acoustic environment that easily recreates world-class studio acoustics on your desktop.</i><br /><br />The ASC Nano AttackWall Desktop Acoustic Environment takes all the features of the world-famous ASC AttackWall and shrinks it down into a portable desktop package. The Nano AttackWall Starter Kit includes six custom-designed, desktop NanoTraps and provides a solid studio acoustics platform for mixing and mastering audio. Experience the acoustic benefits of Vertical Mode Control, Early Side/Front Reflection Control, and Acoustic Soffit Loading for Nearfield Monitors with this popular Nano AttackWall configuration.<br /><br />The Nano AttackWall consistently produces the most amazingly clear sonic space you\'ll ever work in. It produces a reliable, repeatable, and accurate sonic space in which to track, mix, and master, regardless of room or speaker system. The best part is that it\'s extremely portable, and requires no construction or nailing into the wall, so you can take it with you when you move or work in another studio. <br /><br />Available in a variety of custom colors to match your studios decor.<br /><br />For even more acoustic isolation, the Nano AttackWall can be paired with <a href=\"https://www.rspeaudio.com/isoacoustics-s/2404.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">isoAcoustic monitor stands</a> or <a href=\"https://www.rspeaudio.com/IsoAcoustics-ISO-PUCK-p/isoacoustics-iso-puck-2.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">isoAcoustics ISO-PUCKS</a>. <br /><br />\n<h3>ASC Nano AttackWall Standard Kit Features</h3>\n<ul>\n	<li>Includes (12) NanoTraps</li>\n	<li>Small footprint, desktop acoustic environment</li>\n	<li>Any Room, Any Studio, Perfect Repeatability</li>\n	<li>Portable and Convenient World Class Control Room</li>\n	<li>Infinite Setup Possibilities, get as many or as few tubes as you need</li>\n	<li>Acoustic Soffit Loading for Nearfield Monitors, Just Like a Downtown Studio</li>\n	<li>Engineered for Performance by Art Noxon and Sam Lynn</li>\n</ul>\n<br />\n<h3>ASC Nano AttackWall Specs</h3>\n<ul style=\"letter-spacing: normal;\">\n	<li>6.125\" Diameter and 20\" Tall</li>\n	<li>Weight: 52oz</li>\n	<li>DC Flow Resistance: 460 Rayls mks</li>\n	<li>DC Resistivity: 2300 Ohms (acoustic)</li>\n</ul>\n<br />\n<h3>NanoTrap Construction</h3>\nThe NanoTrap like all TubeTraps, is a fiber sealed sound trap, but it\'s tall and narrow so it\'s easy to setup without taking up too much space on your desktop. It sits on a wide soft-rubber ring and steel counter weight for increased stability, making sure it stays where you put it. The NanoTrap is 6\" in diameter and 20\" tall. A chamber in the top adds wide band resonant absoption in the octave of middle C. Its shell is double wall welded diamond perf stainless steel inside of which is an acoustically transparent low flow resistance folded seal. The assembly is sonically dead all the way around.<br /><br />\n<h3>The Repeatable Mixing Environment</h3>\nThe Nano AttackWall is made up of custom desktop NanoTraps, a versatile acoustic tool created by ASC specifically for the recording studio. The NanoTrap is designed to be treble and bass range absorptive, which creates a perfect acoustic environment around the mix position, eliminating reflections, buildup or any other sounds of the room.\n<br /><br />\n<h3>Portable and Powerful</h3>\nBy wrapping NanoTraps tightly around the edges of the workstation desk, the Nano AttackWall control booth is formed. In the treble range, this Nano AttackWall booth eliminates undesirable early reflections. In the bass range, the drivers become wall loaded and decoupled from the room modes. Engineers love the level of detail and specifically the imaging they can get within the Nano AttackWall. They hear sounds that couldn’t be heard before, even in some of the world’s biggest studios.\n<br /><br />\n<h3>Record Anywhere, with Big Studio Results</h3>\nThe Nano AttackWall loads bass just like the built-in mains found in a downtown studio. NanoTraps fit tight to the sides of the speaker to create a corner-loading short horn. This increases the efficiency of the speaker and projects the bass. The Nano AttackWall setup results in a bass loading horn that is lined with treble range absorption. This type of horn loading is designed to be strong in the horizontal plane but weak in the vertical direction. The horn is vented above and below AttackWall just before the expanding bass wave hits the floor or ceiling. This gives a soft bounce effect as the bass wave wraps around the Wall and expands into the rest of the room.\n<br /><br /><span><span style=\"font-weight: bold; font-style: italic;\"><span style=\"font-weight: bold; font-style: italic;\"><a href=\"http://www.rspeaudio.com/Attack_Wall_Webboutique_a/276.htm\"> <span class=\"colors_productprice\">Find out more and see who\'s using the ASC AttackWall</span>.<br /></a></span></span></span><br />\n<h3>Experience the perfect acoustic clarity and imaging of the ASC Nano AttackWall on your desktop. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an AttackWall for your studio.</h3>'),(1466,75,1,245,'<h2>ASC Nano AttackWall Standard - Desktop Acoustic Environment</h2>\n<i>A portable, modular, mini AttackWall acoustic environment that easily recreates world-class studio acoustics on your desktop.</i><br /><br />The ASC Nano AttackWall Desktop Acoustic Environment takes all the features of the world-famous ASC AttackWall and shrinks it down into a portable desktop package. The Nano AttackWall Starter Kit includes six custom-designed, desktop NanoTraps and provides a solid studio acoustics platform for mixing and mastering audio. Experience the acoustic benefits of Vertical Mode Control, Early Side/Front Reflection Control, and Acoustic Soffit Loading for Nearfield Monitors with this popular Nano AttackWall configuration.<br /><br />The Nano AttackWall consistently produces the most amazingly clear sonic space you\'ll ever work in. It produces a reliable, repeatable, and accurate sonic space in which to track, mix, and master, regardless of room or speaker system. The best part is that it\'s extremely portable, and requires no construction or nailing into the wall, so you can take it with you when you move or work in another studio. <br /><br />Available in a variety of custom colors to match your studios decor.<br /><br />For even more acoustic isolation, the Nano AttackWall can be paired with <a href=\"https://www.rspeaudio.com/isoacoustics-s/2404.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">isoAcoustic monitor stands</a> or <a href=\"https://www.rspeaudio.com/IsoAcoustics-ISO-PUCK-p/isoacoustics-iso-puck-2.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">isoAcoustics ISO-PUCKS</a>. <br /><br />\n<h3>ASC Nano AttackWall Standard Kit Features</h3>\n<ul>\n	<li>Includes (12) NanoTraps</li>\n	<li>Small footprint, desktop acoustic environment</li>\n	<li>Any Room, Any Studio, Perfect Repeatability</li>\n	<li>Portable and Convenient World Class Control Room</li>\n	<li>Infinite Setup Possibilities, get as many or as few tubes as you need</li>\n	<li>Acoustic Soffit Loading for Nearfield Monitors, Just Like a Downtown Studio</li>\n	<li>Engineered for Performance by Art Noxon and Sam Lynn</li>\n</ul>\n<br />\n<h3>ASC Nano AttackWall Specs</h3>\n<ul style=\"letter-spacing: normal;\">\n	<li>6.125\" Diameter and 20\" Tall</li>\n	<li>Weight: 52oz</li>\n	<li>DC Flow Resistance: 460 Rayls mks</li>\n	<li>DC Resistivity: 2300 Ohms (acoustic)</li>\n</ul>\n<br />\n<h3>NanoTrap Construction</h3>\nThe NanoTrap like all TubeTraps, is a fiber sealed sound trap, but it\'s tall and narrow so it\'s easy to setup without taking up too much space on your desktop. It sits on a wide soft-rubber ring and steel counter weight for increased stability, making sure it stays where you put it. The NanoTrap is 6\" in diameter and 20\" tall. A chamber in the top adds wide band resonant absoption in the octave of middle C. Its shell is double wall welded diamond perf stainless steel inside of which is an acoustically transparent low flow resistance folded seal. The assembly is sonically dead all the way around.<br /><br />\n<h3>The Repeatable Mixing Environment</h3>\nThe Nano AttackWall is made up of custom desktop NanoTraps, a versatile acoustic tool created by ASC specifically for the recording studio. The NanoTrap is designed to be treble and bass range absorptive, which creates a perfect acoustic environment around the mix position, eliminating reflections, buildup or any other sounds of the room.\n<br /><br />\n<h3>Portable and Powerful</h3>\nBy wrapping NanoTraps tightly around the edges of the workstation desk, the Nano AttackWall control booth is formed. In the treble range, this Nano AttackWall booth eliminates undesirable early reflections. In the bass range, the drivers become wall loaded and decoupled from the room modes. Engineers love the level of detail and specifically the imaging they can get within the Nano AttackWall. They hear sounds that couldn’t be heard before, even in some of the world’s biggest studios.\n<br /><br />\n<h3>Record Anywhere, with Big Studio Results</h3>\nThe Nano AttackWall loads bass just like the built-in mains found in a downtown studio. NanoTraps fit tight to the sides of the speaker to create a corner-loading short horn. This increases the efficiency of the speaker and projects the bass. The Nano AttackWall setup results in a bass loading horn that is lined with treble range absorption. This type of horn loading is designed to be strong in the horizontal plane but weak in the vertical direction. The horn is vented above and below AttackWall just before the expanding bass wave hits the floor or ceiling. This gives a soft bounce effect as the bass wave wraps around the Wall and expands into the rest of the room.\n<br /><br /><span><span style=\"font-weight: bold; font-style: italic;\"><span style=\"font-weight: bold; font-style: italic;\"><a href=\"http://www.rspeaudio.com/Attack_Wall_Webboutique_a/276.htm\"> <span class=\"colors_productprice\">Find out more and see who\'s using the ASC AttackWall</span>.<br /></a></span></span></span><br />\n<h3>Experience the perfect acoustic clarity and imaging of the ASC Nano AttackWall on your desktop. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an AttackWall for your studio.</h3>'),(1467,85,0,245,'ASC Nano AttackWall Standard - Desktop Acoustic Environment'),(1468,85,1,245,'ASC Nano AttackWall Standard - Desktop Acoustic Environment'),(1469,76,0,245,''),(1470,76,1,245,''),(1471,75,0,246,'<h2>ASC Nano AttackWall Starter - Desktop Acoustic Environment</h2>\n<span style=\"font-size: 16px; font-style: italic;\">A portable, modular,  mini AttackWall acoustic environment that easily recreates world-class studio acoustics on your desktop.</span><br /><br />The ASC Nano AttackWall Desktop Acoustic Environment takes all the features of the world-famous ASC AttackWall and shrinks it down into a portable desktop package.  The Nano AttackWall Starter Kit includes six custom-designed, desktop NanoTraps and provides a solid studio acoustics platform for mixing and mastering audio. Experience the acoustic benefits of Vertical Mode Control, Early Side/Front Reflection Control, and Acoustic Soffit Loading for Nearfield Monitors with this popular Nano AttackWall configuration.<br /><br />\nThe Nano AttackWall consistently produces the most amazingly clear sonic space you\'ll ever work in. It produces a reliable, repeatable, and accurate sonic space in which to track, mix, and master, regardless of room or speaker system. The best part is that it\'s extremely portable, and requires no construction or nailing into the wall, so you can take it with you when you move or work in another studio. <br /><br />Available in a variety of custom colors to match your studios decor.<br /><br />For even more acoustic isolation, the Nano AttackWall can be paired with <a href=\"https://www.rspeaudio.com/isoacoustics-s/2404.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">isoAcoustic monitor stands</a> or <a href=\"https://www.rspeaudio.com/IsoAcoustics-ISO-PUCK-p/isoacoustics-iso-puck-2.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">isoAcoustics ISO-PUCKS</a>. <br /><br />\n<h3>ASC Nano AttackWall Standard Kit Features</h3>\n<ul>\n	<li>Includes (6) NanoTraps</li>\n	<li>Small footprint, desktop acoustic environment</li>\n	<li>Any Room, Any Studio, Perfect Repeatability     </li>\n	<li>Portable and Convenient World Class Control Room    </li>\n	<li>Infinite Setup Possibilities, get as many or as few tubes as you need</li>\n	<li>Acoustic Soffit Loading for Nearfield Monitors, Just Like a Downtown Studio      </li>\n	<li>Engineered for Performance by Art Noxon and Sam Lynn</li>\n</ul>\n<br />\n<h3>ASC Nano AttackWall Specs</h3>\n<ul style=\"letter-spacing: normal;\">\n	<li>6.125\" Diameter and 20\" Tall</li>\n	<li>Weight: 52oz</li>\n	<li>DC Flow Resistance: 460 Rayls mks</li>\n	<li>DC Resistivity: 2300 Ohms (acoustic)</li>\n</ul>\n<br />\n<h3>NanoTrap Construction</h3>\nThe NanoTrap like all TubeTraps, is a fiber sealed sound trap, but it\'s tall and narrow so it\'s easy to setup without taking up too much space on your desktop. It sits on a wide soft-rubber ring and steel counter weight for increased stability, making sure it stays where you put it. The NanoTrap is 6\" in diameter and 20\" tall. A chamber in the top adds wide band resonant absoption in the octave of middle C. Its shell is double wall welded diamond perf stainless steel inside of which is an acoustically transparent low flow resistance folded seal. The assembly is sonically dead all the way around.\n<br /><br />\n<h3>The Repeatable Mixing Environment</h3>\nThe Nano AttackWall is made up of custom desktop NanoTraps, a versatile acoustic tool created by ASC specifically for the recording studio. The NanoTrap is designed to be treble and bass range absorptive, which creates a perfect acoustic environment around the mix position, eliminating reflections, buildup or any other sounds of the room.\n<br /><br />\n<h3>Portable and Powerful</h3>\nBy wrapping NanoTraps tightly around the edges of the workstation desk, the Nano AttackWall control booth is formed. In the treble range, this Nano AttackWall booth eliminates undesirable early reflections. In the bass range, the drivers become wall loaded and decoupled from the room modes. Engineers love the level of detail and specifically the imaging they can get within the Nano AttackWall. They hear sounds that couldn’t be heard before, even in some of the world’s biggest studios.\n<br /><br />\n<h3>Record Anywhere, with Big Studio Results</h3>\nThe Nano AttackWall loads bass just like the built-in mains found in a downtown studio. NanoTraps fit tight to the sides of the speaker to create a corner-loading short horn. This increases the efficiency of the speaker and projects the bass. The Nano AttackWall setup results in a bass loading horn that is lined with treble range absorption. This type of horn loading is designed to be strong in the horizontal plane but weak in the vertical direction. The horn is vented above and below AttackWall just before the expanding bass wave hits the floor or ceiling. This gives a soft bounce effect as the bass wave wraps around the Wall and expands into the rest of the room.\n<br /><br />\n<span class=\"colors_productprice\"><span><span style=\"font-weight: bold; font-style: italic;\"><span style=\"font-weight: bold; font-style: italic;\"><a href=\"http://www.rspeaudio.com/Attack_Wall_Webboutique_a/276.htm\"> <span class=\"colors_productprice\">Find out more and see who\'s using the ASC AttackWall</span>.<br /></a></span></span></span></span><br />\n<h3>Experience the perfect acoustic clarity and imaging of the ASC Nano AttackWall on your desktop. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an AttackWall for your studio.</h3>'),(1472,75,1,246,'<h2>ASC Nano AttackWall Starter - Desktop Acoustic Environment</h2>\n<span style=\"font-size: 16px; font-style: italic;\">A portable, modular,  mini AttackWall acoustic environment that easily recreates world-class studio acoustics on your desktop.</span><br /><br />The ASC Nano AttackWall Desktop Acoustic Environment takes all the features of the world-famous ASC AttackWall and shrinks it down into a portable desktop package.  The Nano AttackWall Starter Kit includes six custom-designed, desktop NanoTraps and provides a solid studio acoustics platform for mixing and mastering audio. Experience the acoustic benefits of Vertical Mode Control, Early Side/Front Reflection Control, and Acoustic Soffit Loading for Nearfield Monitors with this popular Nano AttackWall configuration.<br /><br />\nThe Nano AttackWall consistently produces the most amazingly clear sonic space you\'ll ever work in. It produces a reliable, repeatable, and accurate sonic space in which to track, mix, and master, regardless of room or speaker system. The best part is that it\'s extremely portable, and requires no construction or nailing into the wall, so you can take it with you when you move or work in another studio. <br /><br />Available in a variety of custom colors to match your studios decor.<br /><br />For even more acoustic isolation, the Nano AttackWall can be paired with <a href=\"https://www.rspeaudio.com/isoacoustics-s/2404.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">isoAcoustic monitor stands</a> or <a href=\"https://www.rspeaudio.com/IsoAcoustics-ISO-PUCK-p/isoacoustics-iso-puck-2.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">isoAcoustics ISO-PUCKS</a>. <br /><br />\n<h3>ASC Nano AttackWall Standard Kit Features</h3>\n<ul>\n	<li>Includes (6) NanoTraps</li>\n	<li>Small footprint, desktop acoustic environment</li>\n	<li>Any Room, Any Studio, Perfect Repeatability     </li>\n	<li>Portable and Convenient World Class Control Room    </li>\n	<li>Infinite Setup Possibilities, get as many or as few tubes as you need</li>\n	<li>Acoustic Soffit Loading for Nearfield Monitors, Just Like a Downtown Studio      </li>\n	<li>Engineered for Performance by Art Noxon and Sam Lynn</li>\n</ul>\n<br />\n<h3>ASC Nano AttackWall Specs</h3>\n<ul style=\"letter-spacing: normal;\">\n	<li>6.125\" Diameter and 20\" Tall</li>\n	<li>Weight: 52oz</li>\n	<li>DC Flow Resistance: 460 Rayls mks</li>\n	<li>DC Resistivity: 2300 Ohms (acoustic)</li>\n</ul>\n<br />\n<h3>NanoTrap Construction</h3>\nThe NanoTrap like all TubeTraps, is a fiber sealed sound trap, but it\'s tall and narrow so it\'s easy to setup without taking up too much space on your desktop. It sits on a wide soft-rubber ring and steel counter weight for increased stability, making sure it stays where you put it. The NanoTrap is 6\" in diameter and 20\" tall. A chamber in the top adds wide band resonant absoption in the octave of middle C. Its shell is double wall welded diamond perf stainless steel inside of which is an acoustically transparent low flow resistance folded seal. The assembly is sonically dead all the way around.\n<br /><br />\n<h3>The Repeatable Mixing Environment</h3>\nThe Nano AttackWall is made up of custom desktop NanoTraps, a versatile acoustic tool created by ASC specifically for the recording studio. The NanoTrap is designed to be treble and bass range absorptive, which creates a perfect acoustic environment around the mix position, eliminating reflections, buildup or any other sounds of the room.\n<br /><br />\n<h3>Portable and Powerful</h3>\nBy wrapping NanoTraps tightly around the edges of the workstation desk, the Nano AttackWall control booth is formed. In the treble range, this Nano AttackWall booth eliminates undesirable early reflections. In the bass range, the drivers become wall loaded and decoupled from the room modes. Engineers love the level of detail and specifically the imaging they can get within the Nano AttackWall. They hear sounds that couldn’t be heard before, even in some of the world’s biggest studios.\n<br /><br />\n<h3>Record Anywhere, with Big Studio Results</h3>\nThe Nano AttackWall loads bass just like the built-in mains found in a downtown studio. NanoTraps fit tight to the sides of the speaker to create a corner-loading short horn. This increases the efficiency of the speaker and projects the bass. The Nano AttackWall setup results in a bass loading horn that is lined with treble range absorption. This type of horn loading is designed to be strong in the horizontal plane but weak in the vertical direction. The horn is vented above and below AttackWall just before the expanding bass wave hits the floor or ceiling. This gives a soft bounce effect as the bass wave wraps around the Wall and expands into the rest of the room.\n<br /><br />\n<span class=\"colors_productprice\"><span><span style=\"font-weight: bold; font-style: italic;\"><span style=\"font-weight: bold; font-style: italic;\"><a href=\"http://www.rspeaudio.com/Attack_Wall_Webboutique_a/276.htm\"> <span class=\"colors_productprice\">Find out more and see who\'s using the ASC AttackWall</span>.<br /></a></span></span></span></span><br />\n<h3>Experience the perfect acoustic clarity and imaging of the ASC Nano AttackWall on your desktop. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an AttackWall for your studio.</h3>'),(1473,85,0,246,'ASC Nano AttackWall Starter - Desktop Acoustic Environment'),(1474,85,1,246,'ASC Nano AttackWall Starter - Desktop Acoustic Environment'),(1475,76,0,246,''),(1476,76,1,246,''),(1477,75,0,247,'<h1>ASC StudioTrap Quick Sound Field - Standard Kit</h1>\n<p>\n	<i>Consisting of 8 StudioTraps, the Quick Sound Field Standard Kit is a modular, portable way to get the perfect acoustic environment around your microphone</i>\n</p>\n<p>\nThe Quick Sound Field is a nearfield acoustic environment that improves the quality of the signal at the mic. It uses StudioTraps to surround and separate both mic and talent from the room. The QSF creates a controlled and very stable acoustic workstation and completes the missing link, the acoustic part of the mic environment in today\'s digital studio.\n</p>\n<h3>Quick Sound Field Features</h3>\n<ul>\n	<li>Extremely portable, as well as being quick and easy to set up at different heights.</li>\n	<li>Provide useful separation and control of room reflections.</li>\n	<li>Reflective/Absorptive sides provide great versatility.</li>\n	<li>Diffuse Haas-window reflections to reinforce signal strength at microphone</li>\n	<li>Full absorption/venting below 600 Hz</li>\n	<li>Reduction in room effect upon microphone (with absorptive side facing outward) further enhancing signal-to-noise ratio</li>\n	<li>Availiable in 5 standard colors and over 50 custom colors. (charge applies for custom colors)</li>\n	<li>30 day, 100% satisfaction guarantee</li>\n	<li>Sturdy hand crafted construction, built in the USA</li>\n</ul>\n<br />\n<h3>Control Your Signal From Talent To Mic</h3>\n<p>\n	The QSF is the acoustic technique which adds abundant, clean, low level early reflections to the direct signal at the mic. This creates reverberant-free, very life-like and robust, natural sounding tracks. It is the same “sound fusion” recording technique recommended by F. Alton Everest in his Critical Listening workbook in 1982, who later discovered the QSF in 1991 and endorsed it in his 3rd edition of The Master Handbook of Acoustics in 1993.\n</p>\n<p>\n	Sonic structure inside the QSF is so consistent, you can break the kit down, put it away, and days later you can casually set it back up anywhere and get the same sound you had before.\n</p>\n<p>\n	The Quick Sound Field is created by an arrangement of Studio Traps, whose number varies between 8 for vocals and up to 20 for large trap sets. Recording engineer Bruce Swedien uses 14 StudioTraps in his QSF, and he “never leaves home without them.\"\n</p>\n<p>\n	The StudioTrap is a two sided acoustic cylinder. The front half is live, treble diffusive and the back half is dead, treble absorptive. The silver dot marks the center of the live, the treble diffusive side. The StudioTrap is a free standing, adjustable height, portable studio acoustic, useful in any room to form gobos or to soften walls and corners.\n</p>\n<p>\n	Originally patented in the early \'80s, and ubiquitously also known to engineers, producers and artists as simply,\"TubeTraps\" (owing to their tall and slender cylindrical shape), many recording engineers as well as numerous custom-designed commercial studios use them to achieve better recording (and mixing) results.\n</p>\n<p>\n	One of the strongest benefits of the Quick Sound Field is it\'s ability to be moved around into an ATTACK Wall, a legendary producing space. When you\'re done recording your talent with the QSF, move it into the control room and place it around the speakers, and watch and hear the mic placement in the mix become more clear then it\'s ever been before, while it simultaneously improves the sound from your speakers.\n</p>\n<p>\nSummarizing his affection for ASC\'s products, the famous producer Bruce Swedien wrapped up a recent interview by once again offering his personal endorsement of the Eugene, OR firm\'s products, \"ASC\'s StudioTraps have been one of my \'secret weapons\' all these years. They are an incredible product—durable, portable, extremely flexible and most important, they give me the ability to achieve precise, repeatable sound results with whatever microphones I choose, wherever I work. I haven\'t done a project without them.\" These projects include albums by Michael Jackson, Jennifer Lopez, and LL Cool J.\n</p>\n<h3>Why Do You Need a Quick Sound Field?</h3>\n<p>\n	The QSF is a nearfield acoustic environment that improves the quality of the signal at the mic. It uses StudioTraps to surround and separate both mic and talent from the room. The QSF creates a controlled and very stable acoustic workstation and completes the missing link, the acoustic part of the mic environment in todays digital studio. Sonic structure inside the QSF is so consistent, you can break the kit down, put it away, days later you can casually set it back up anywhere and get the same sound you had before.\n</p>\n<p>\n	The Quick Sound Field is an amazing resource for producers. Ask your talent to step into the opening at the base of the QSF setup and drop your mic into the middle. The mic becomes decoupled from the room. That means that you can finally free your tracks from that close mic, proximity sound effect. Dig out your good figure 8 or omni, don’t be afraid to back it off the talent, up and away into that dense set of early reflections that live, alive and well, inside the QSF.\n</p>\n<p>\n	And then, ask your talent to project, to play into and fill up the QSF space in front of them. And also, to feel free to move around, because the sound inside that space doesn’t change at the mic, it just stays there, rock solid. Best of all is that what the talent hears is what it sounds like on playback. And, yes it pans, mixes and runs through the effects rack just like ay other dry signal, except better. Remember: “you gotta hear it to believe it.” So, call us now for an audition.\n</p>\n<h3>The ASC Quick Sound Field is the simplest, most portable way to get the perfect recording environment. Cal or Live Chat with an RSPE Sales Representative to find out how the Quick Sound Field can help your studio!</h3>'),(1478,75,1,247,'<h1>ASC StudioTrap Quick Sound Field - Standard Kit</h1>\n<p>\n	<i>Consisting of 8 StudioTraps, the Quick Sound Field Standard Kit is a modular, portable way to get the perfect acoustic environment around your microphone</i>\n</p>\n<p>\nThe Quick Sound Field is a nearfield acoustic environment that improves the quality of the signal at the mic. It uses StudioTraps to surround and separate both mic and talent from the room. The QSF creates a controlled and very stable acoustic workstation and completes the missing link, the acoustic part of the mic environment in today\'s digital studio.\n</p>\n<h3>Quick Sound Field Features</h3>\n<ul>\n	<li>Extremely portable, as well as being quick and easy to set up at different heights.</li>\n	<li>Provide useful separation and control of room reflections.</li>\n	<li>Reflective/Absorptive sides provide great versatility.</li>\n	<li>Diffuse Haas-window reflections to reinforce signal strength at microphone</li>\n	<li>Full absorption/venting below 600 Hz</li>\n	<li>Reduction in room effect upon microphone (with absorptive side facing outward) further enhancing signal-to-noise ratio</li>\n	<li>Availiable in 5 standard colors and over 50 custom colors. (charge applies for custom colors)</li>\n	<li>30 day, 100% satisfaction guarantee</li>\n	<li>Sturdy hand crafted construction, built in the USA</li>\n</ul>\n<br />\n<h3>Control Your Signal From Talent To Mic</h3>\n<p>\n	The QSF is the acoustic technique which adds abundant, clean, low level early reflections to the direct signal at the mic. This creates reverberant-free, very life-like and robust, natural sounding tracks. It is the same “sound fusion” recording technique recommended by F. Alton Everest in his Critical Listening workbook in 1982, who later discovered the QSF in 1991 and endorsed it in his 3rd edition of The Master Handbook of Acoustics in 1993.\n</p>\n<p>\n	Sonic structure inside the QSF is so consistent, you can break the kit down, put it away, and days later you can casually set it back up anywhere and get the same sound you had before.\n</p>\n<p>\n	The Quick Sound Field is created by an arrangement of Studio Traps, whose number varies between 8 for vocals and up to 20 for large trap sets. Recording engineer Bruce Swedien uses 14 StudioTraps in his QSF, and he “never leaves home without them.\"\n</p>\n<p>\n	The StudioTrap is a two sided acoustic cylinder. The front half is live, treble diffusive and the back half is dead, treble absorptive. The silver dot marks the center of the live, the treble diffusive side. The StudioTrap is a free standing, adjustable height, portable studio acoustic, useful in any room to form gobos or to soften walls and corners.\n</p>\n<p>\n	Originally patented in the early \'80s, and ubiquitously also known to engineers, producers and artists as simply,\"TubeTraps\" (owing to their tall and slender cylindrical shape), many recording engineers as well as numerous custom-designed commercial studios use them to achieve better recording (and mixing) results.\n</p>\n<p>\n	One of the strongest benefits of the Quick Sound Field is it\'s ability to be moved around into an ATTACK Wall, a legendary producing space. When you\'re done recording your talent with the QSF, move it into the control room and place it around the speakers, and watch and hear the mic placement in the mix become more clear then it\'s ever been before, while it simultaneously improves the sound from your speakers.\n</p>\n<p>\nSummarizing his affection for ASC\'s products, the famous producer Bruce Swedien wrapped up a recent interview by once again offering his personal endorsement of the Eugene, OR firm\'s products, \"ASC\'s StudioTraps have been one of my \'secret weapons\' all these years. They are an incredible product—durable, portable, extremely flexible and most important, they give me the ability to achieve precise, repeatable sound results with whatever microphones I choose, wherever I work. I haven\'t done a project without them.\" These projects include albums by Michael Jackson, Jennifer Lopez, and LL Cool J.\n</p>\n<h3>Why Do You Need a Quick Sound Field?</h3>\n<p>\n	The QSF is a nearfield acoustic environment that improves the quality of the signal at the mic. It uses StudioTraps to surround and separate both mic and talent from the room. The QSF creates a controlled and very stable acoustic workstation and completes the missing link, the acoustic part of the mic environment in todays digital studio. Sonic structure inside the QSF is so consistent, you can break the kit down, put it away, days later you can casually set it back up anywhere and get the same sound you had before.\n</p>\n<p>\n	The Quick Sound Field is an amazing resource for producers. Ask your talent to step into the opening at the base of the QSF setup and drop your mic into the middle. The mic becomes decoupled from the room. That means that you can finally free your tracks from that close mic, proximity sound effect. Dig out your good figure 8 or omni, don’t be afraid to back it off the talent, up and away into that dense set of early reflections that live, alive and well, inside the QSF.\n</p>\n<p>\n	And then, ask your talent to project, to play into and fill up the QSF space in front of them. And also, to feel free to move around, because the sound inside that space doesn’t change at the mic, it just stays there, rock solid. Best of all is that what the talent hears is what it sounds like on playback. And, yes it pans, mixes and runs through the effects rack just like ay other dry signal, except better. Remember: “you gotta hear it to believe it.” So, call us now for an audition.\n</p>\n<h3>The ASC Quick Sound Field is the simplest, most portable way to get the perfect recording environment. Cal or Live Chat with an RSPE Sales Representative to find out how the Quick Sound Field can help your studio!</h3>'),(1479,85,0,247,'ASC StudioTrap Quick Sound Field - Standard Kit'),(1480,85,1,247,'ASC StudioTrap Quick Sound Field - Standard Kit'),(1481,76,0,247,''),(1482,76,1,247,''),(1483,75,0,248,'<h1>ASC StudioTrap Quick Sound Field - Starter Kit</h1>\n<p>\n	<i>Consisting of 4 StudioTraps, the Quick Sound Field Starter Kit is a modular, portable way to get a great acoustic environment around your microphone</i>\n</p>\n<p>\nThe Quick Sound Field is a nearfield acoustic environment that improves the quality of the signal at the mic. It uses StudioTraps to surround and separate both mic and talent from the room. The QSF creates a controlled and very stable acoustic workstation and completes the missing link, the acoustic part of the mic environment in today\'s digital studio.\n</p>\n<h3>Quick Sound Field Features</h3>\n<ul>\n	<li>Extremely portable, as well as being quick and easy to set up at different heights.</li>\n	<li>Provide useful separation and control of room reflections.</li>\n	<li>Reflective/Absorptive sides provide great versatility.</li>\n	<li>Diffuse Haas-window reflections to reinforce signal strength at microphone</li>\n	<li>Full absorption/venting below 600 Hz</li>\n	<li>Reduction in room effect upon microphone (with absorptive side facing outward) further enhancing signal-to-noise ratio</li>\n	<li>Available in 5 standard colors and over 50 custom colors. (charge applies for custom colors)</li>\n	<li>30 day, 100% satisfaction guarantee</li>\n	<li>Sturdy hand crafted construction, built in the USA</li>\n</ul>\n<br />\n<h3>Control Your Signal From Talent To Mic</h3>\n<p>\n	The QSF is the acoustic technique which adds abundant, clean, low level early reflections to the direct signal at the mic. This creates reverberant-free, very life-like and robust, natural sounding tracks. It is the same “sound fusion” recording technique recommended by F. Alton Everest in his Critical Listening workbook in 1982, who later discovered the QSF in 1991 and endorsed it in his 3rd edition of The Master Handbook of Acoustics in 1993.\n</p>\n<p>\n	Sonic structure inside the QSF is so consistent, you can break the kit down, put it away, and days later you can casually set it back up anywhere and get the same sound you had before.\n</p>\n<p>\n	The Quick Sound Field is created by an arrangement of Studio Traps, whose number varies between 8 for vocals and up to 20 for large trap sets. Recording engineer Bruce Swedien uses 14 StudioTraps in his QSF, and he “never leaves home without them.\"\n</p>\n<p>\n	The StudioTrap is a two sided acoustic cylinder. The front half is live, treble diffusive and the back half is dead, treble absorptive. The silver dot marks the center of the live, the treble diffusive side. The StudioTrap is a free standing, adjustable height, portable studio acoustic, useful in any room to form gobos or to soften walls and corners.\n</p>\n<p>\n	Originally patented in the early \'80s, and ubiquitously also known to engineers, producers and artists as simply,\"TubeTraps\" (owing to their tall and slender cylindrical shape), many recording engineers as well as numerous custom-designed commercial studios use them to achieve better recording (and mixing) results.\n</p>\n<p>\n	One of the strongest benefits of the Quick Sound Field is it\'s ability to be moved around into an ATTACK Wall, a legendary producing space. When you\'re done recording your talent with the QSF, move it into the control room and place it around the speakers, and watch and hear the mic placement in the mix become more clear then it\'s ever been before, while it simultaneously improves the sound from your speakers.\n</p>\n<p>\nSummarizing his affection for ASC\'s products, the famous producer Bruce Swedien wrapped up a recent interview by once again offering his personal endorsement of the Eugene, OR firm\'s products, \"ASC\'s StudioTraps have been one of my \'secret weapons\' all these years. They are an incredible product—durable, portable, extremely flexible and most important, they give me the ability to achieve precise, repeatable sound results with whatever microphones I choose, wherever I work. I haven\'t done a project without them.\" These projects include albums by Michael Jackson, Jennifer Lopez, and LL Cool J.\n</p>\n<h3>Why Do You Need a Quick Sound Field?</h3>\n<p>\n	The QSF is a nearfield acoustic environment that improves the quality of the signal at the mic. It uses StudioTraps to surround and separate both mic and talent from the room. The QSF creates a controlled and very stable acoustic workstation and completes the missing link, the acoustic part of the mic environment in todays digital studio. Sonic structure inside the QSF is so consistent, you can break the kit down, put it away, days later you can casually set it back up anywhere and get the same sound you had before.\n</p>\n<p>\n	The Quick Sound Field is an amazing resource for producers. Ask your talent to step into the opening at the base of the QSF setup and drop your mic into the middle. The mic becomes decoupled from the room. That means that you can finally free your tracks from that close mic, proximity sound effect. Dig out your good figure 8 or omni, don’t be afraid to back it off the talent, up and away into that dense set of early reflections that live, alive and well, inside the QSF.\n</p>\n<p>\n	And then, ask your talent to project, to play into and fill up the QSF space in front of them. And also, to feel free to move around, because the sound inside that space doesn’t change at the mic, it just stays there, rock solid. Best of all is that what the talent hears is what it sounds like on playback. And, yes it pans, mixes and runs through the effects rack just like ay other dry signal, except better. Remember: “you gotta hear it to believe it.” So, call us now for an audition.\n</p>\n<h3>The ASC Quick Sound Field is the simplest, most portable way to get the perfect recording environment. Cal or Live Chat with an RSPE Sales Representative to find out how the Quick Sound Field can help your studio!</h3>'),(1484,75,1,248,'<h1>ASC StudioTrap Quick Sound Field - Starter Kit</h1>\n<p>\n	<i>Consisting of 4 StudioTraps, the Quick Sound Field Starter Kit is a modular, portable way to get a great acoustic environment around your microphone</i>\n</p>\n<p>\nThe Quick Sound Field is a nearfield acoustic environment that improves the quality of the signal at the mic. It uses StudioTraps to surround and separate both mic and talent from the room. The QSF creates a controlled and very stable acoustic workstation and completes the missing link, the acoustic part of the mic environment in today\'s digital studio.\n</p>\n<h3>Quick Sound Field Features</h3>\n<ul>\n	<li>Extremely portable, as well as being quick and easy to set up at different heights.</li>\n	<li>Provide useful separation and control of room reflections.</li>\n	<li>Reflective/Absorptive sides provide great versatility.</li>\n	<li>Diffuse Haas-window reflections to reinforce signal strength at microphone</li>\n	<li>Full absorption/venting below 600 Hz</li>\n	<li>Reduction in room effect upon microphone (with absorptive side facing outward) further enhancing signal-to-noise ratio</li>\n	<li>Available in 5 standard colors and over 50 custom colors. (charge applies for custom colors)</li>\n	<li>30 day, 100% satisfaction guarantee</li>\n	<li>Sturdy hand crafted construction, built in the USA</li>\n</ul>\n<br />\n<h3>Control Your Signal From Talent To Mic</h3>\n<p>\n	The QSF is the acoustic technique which adds abundant, clean, low level early reflections to the direct signal at the mic. This creates reverberant-free, very life-like and robust, natural sounding tracks. It is the same “sound fusion” recording technique recommended by F. Alton Everest in his Critical Listening workbook in 1982, who later discovered the QSF in 1991 and endorsed it in his 3rd edition of The Master Handbook of Acoustics in 1993.\n</p>\n<p>\n	Sonic structure inside the QSF is so consistent, you can break the kit down, put it away, and days later you can casually set it back up anywhere and get the same sound you had before.\n</p>\n<p>\n	The Quick Sound Field is created by an arrangement of Studio Traps, whose number varies between 8 for vocals and up to 20 for large trap sets. Recording engineer Bruce Swedien uses 14 StudioTraps in his QSF, and he “never leaves home without them.\"\n</p>\n<p>\n	The StudioTrap is a two sided acoustic cylinder. The front half is live, treble diffusive and the back half is dead, treble absorptive. The silver dot marks the center of the live, the treble diffusive side. The StudioTrap is a free standing, adjustable height, portable studio acoustic, useful in any room to form gobos or to soften walls and corners.\n</p>\n<p>\n	Originally patented in the early \'80s, and ubiquitously also known to engineers, producers and artists as simply,\"TubeTraps\" (owing to their tall and slender cylindrical shape), many recording engineers as well as numerous custom-designed commercial studios use them to achieve better recording (and mixing) results.\n</p>\n<p>\n	One of the strongest benefits of the Quick Sound Field is it\'s ability to be moved around into an ATTACK Wall, a legendary producing space. When you\'re done recording your talent with the QSF, move it into the control room and place it around the speakers, and watch and hear the mic placement in the mix become more clear then it\'s ever been before, while it simultaneously improves the sound from your speakers.\n</p>\n<p>\nSummarizing his affection for ASC\'s products, the famous producer Bruce Swedien wrapped up a recent interview by once again offering his personal endorsement of the Eugene, OR firm\'s products, \"ASC\'s StudioTraps have been one of my \'secret weapons\' all these years. They are an incredible product—durable, portable, extremely flexible and most important, they give me the ability to achieve precise, repeatable sound results with whatever microphones I choose, wherever I work. I haven\'t done a project without them.\" These projects include albums by Michael Jackson, Jennifer Lopez, and LL Cool J.\n</p>\n<h3>Why Do You Need a Quick Sound Field?</h3>\n<p>\n	The QSF is a nearfield acoustic environment that improves the quality of the signal at the mic. It uses StudioTraps to surround and separate both mic and talent from the room. The QSF creates a controlled and very stable acoustic workstation and completes the missing link, the acoustic part of the mic environment in todays digital studio. Sonic structure inside the QSF is so consistent, you can break the kit down, put it away, days later you can casually set it back up anywhere and get the same sound you had before.\n</p>\n<p>\n	The Quick Sound Field is an amazing resource for producers. Ask your talent to step into the opening at the base of the QSF setup and drop your mic into the middle. The mic becomes decoupled from the room. That means that you can finally free your tracks from that close mic, proximity sound effect. Dig out your good figure 8 or omni, don’t be afraid to back it off the talent, up and away into that dense set of early reflections that live, alive and well, inside the QSF.\n</p>\n<p>\n	And then, ask your talent to project, to play into and fill up the QSF space in front of them. And also, to feel free to move around, because the sound inside that space doesn’t change at the mic, it just stays there, rock solid. Best of all is that what the talent hears is what it sounds like on playback. And, yes it pans, mixes and runs through the effects rack just like ay other dry signal, except better. Remember: “you gotta hear it to believe it.” So, call us now for an audition.\n</p>\n<h3>The ASC Quick Sound Field is the simplest, most portable way to get the perfect recording environment. Cal or Live Chat with an RSPE Sales Representative to find out how the Quick Sound Field can help your studio!</h3>'),(1485,85,0,248,'ASC StudioTrap Quick Sound Field - Starter Kit'),(1486,85,1,248,'ASC StudioTrap Quick Sound Field - Starter Kit'),(1487,76,0,248,''),(1488,76,1,248,''),(1489,75,0,249,'<h2>ASC SoundPlank Acoustic Panel</h2>\nThe ACS SoundPlank Acoustic Panel addresses noise control of a room while enhancing the quality of the sound that remains by blending absorption with diffusion. It\'s perfect for absorbing excess bass while keeping the acoustics bright and alive. Reverberation and echo signals are controlled while a fine-grained, diffusive reflection pattern fills the room. The resulting acoustic signature is smooth and uniform throughout. SoundPlanks are typically used in live rooms, mixing rooms, foley studios, even mastering suites. Many variations are possible, limited only by the need for a flat surface for mounting. They can be wall or ceiling mounted, or panelized for easy installation. They can also be ordered in varying lengths and thicknesses to form visually appealing patterns or accomplish specific absorption frequencies.\n<br /><br />The ASC SoundPlank is all about slowing down room reflections without completely wiping them out. The resulting sound is natural and \"live\" without being harsh or out of control.<br /><br /><i>* Please note price is for individual plank</i><br /><br />\n<h3>SoundPlank Features:</h3>\n<ul>\n	<li>Strong and durable with excellent acoustics</li>\n	<li>Easily mounts on ceilings or walls with a single screw</li>\n	<li>Maintains ambience and treble diffusion</li>\n	<li>Low cost acoustic treatment without the clutter</li>\n	<li>Tons of color options - Won’t clash with existing decor</li>\n</ul>\n<br />\n<h3>How SoundPlank Works:</h3>\nSoundPlanks work by combining a patented Tweeter Diffuser Strip with a mid/hi absorbing fiberglass membrane. As the incoming sound hits the SoundPlank, the the high frequency is diffused back into the room by the Tweeter Diffusing Strip and the mid/hi frequencies are absorbed into the SoundPlank itself, while the mid range frequencies bounce off the bare wall in between panels and are diffused back into the room. The result is a drastic reduction in reverberation and echo, a reduction in bass buildup and an enhancement \nof the sound that remains in the room.\n<br /><br /><img src=\"/v/vspfiles/assets/images/soundplank-how-it-works.jpg\" /><br /><br />\n<h3>Incredible Finish Quality:</h3>\nThe standard SoundPlank measures 6” by 60” in length by 2” thick. There is much more than a simple fabric covered fiberglass block here, SoundPlanks are fully encapsulated by an acoustically transparent membrane to prevent glass fibers from entering your room. Each Plank also comes with ASC\'s patented diffuser strip built-in and special end hardening to improve durability. Finally, each Plank is covered with fully adhered Guilford fabric, available in a variety of stock and custom colors. ASC’s own fabrication technicians will hand build and meticulously assemble each Plank to a quality standard only available from ASC.\n<br /><br />\n<h3>SoundPlank Easy Installation</h3>\nThe SoundPlank is typically suspended from a single screw, which fits into a factory installed grommet on the back. In some cases where the Plank could be bumped into, screws are installed directly through the face of the SoundPlank. \n<br /><br />\n<h3>SoundPlank Applications:</h3>\n<ul>\n	<li>Mix Rooms</li>\n	<li>Live Rooms</li>\n	<li>Mastering Suites</li>\n	<li>Foley Studios</li>\n	<li>Voice Over Studios</li>\n	<li>High-End Listening Rooms</li>\n	<li>Churches</li>\n	<li>Gymnasiums</li>\n	<li>Home Theaters</li>\n	<li>Restaurants</li>\n	<li>High-End Listening Rooms</li>\n</ul>'),(1490,75,1,249,'<h2>ASC SoundPlank Acoustic Panel</h2>\nThe ACS SoundPlank Acoustic Panel addresses noise control of a room while enhancing the quality of the sound that remains by blending absorption with diffusion. It\'s perfect for absorbing excess bass while keeping the acoustics bright and alive. Reverberation and echo signals are controlled while a fine-grained, diffusive reflection pattern fills the room. The resulting acoustic signature is smooth and uniform throughout. SoundPlanks are typically used in live rooms, mixing rooms, foley studios, even mastering suites. Many variations are possible, limited only by the need for a flat surface for mounting. They can be wall or ceiling mounted, or panelized for easy installation. They can also be ordered in varying lengths and thicknesses to form visually appealing patterns or accomplish specific absorption frequencies.\n<br /><br />The ASC SoundPlank is all about slowing down room reflections without completely wiping them out. The resulting sound is natural and \"live\" without being harsh or out of control.<br /><br /><i>* Please note price is for individual plank</i><br /><br />\n<h3>SoundPlank Features:</h3>\n<ul>\n	<li>Strong and durable with excellent acoustics</li>\n	<li>Easily mounts on ceilings or walls with a single screw</li>\n	<li>Maintains ambience and treble diffusion</li>\n	<li>Low cost acoustic treatment without the clutter</li>\n	<li>Tons of color options - Won’t clash with existing decor</li>\n</ul>\n<br />\n<h3>How SoundPlank Works:</h3>\nSoundPlanks work by combining a patented Tweeter Diffuser Strip with a mid/hi absorbing fiberglass membrane. As the incoming sound hits the SoundPlank, the the high frequency is diffused back into the room by the Tweeter Diffusing Strip and the mid/hi frequencies are absorbed into the SoundPlank itself, while the mid range frequencies bounce off the bare wall in between panels and are diffused back into the room. The result is a drastic reduction in reverberation and echo, a reduction in bass buildup and an enhancement \nof the sound that remains in the room.\n<br /><br /><img src=\"/v/vspfiles/assets/images/soundplank-how-it-works.jpg\" /><br /><br />\n<h3>Incredible Finish Quality:</h3>\nThe standard SoundPlank measures 6” by 60” in length by 2” thick. There is much more than a simple fabric covered fiberglass block here, SoundPlanks are fully encapsulated by an acoustically transparent membrane to prevent glass fibers from entering your room. Each Plank also comes with ASC\'s patented diffuser strip built-in and special end hardening to improve durability. Finally, each Plank is covered with fully adhered Guilford fabric, available in a variety of stock and custom colors. ASC’s own fabrication technicians will hand build and meticulously assemble each Plank to a quality standard only available from ASC.\n<br /><br />\n<h3>SoundPlank Easy Installation</h3>\nThe SoundPlank is typically suspended from a single screw, which fits into a factory installed grommet on the back. In some cases where the Plank could be bumped into, screws are installed directly through the face of the SoundPlank. \n<br /><br />\n<h3>SoundPlank Applications:</h3>\n<ul>\n	<li>Mix Rooms</li>\n	<li>Live Rooms</li>\n	<li>Mastering Suites</li>\n	<li>Foley Studios</li>\n	<li>Voice Over Studios</li>\n	<li>High-End Listening Rooms</li>\n	<li>Churches</li>\n	<li>Gymnasiums</li>\n	<li>Home Theaters</li>\n	<li>Restaurants</li>\n	<li>High-End Listening Rooms</li>\n</ul>'),(1491,85,0,249,'ASC SoundPlank Acoustic Panel'),(1492,85,1,249,'ASC SoundPlank Acoustic Panel'),(1493,76,0,249,''),(1494,76,1,249,''),(1495,75,0,250,'<h1>ASC StudioTrap Acoustic Asborber & Diffusor</h1>\nThe ASC StudioTrap is a specially designed ASC TubeTrap mounted on a heavy duty, adjustable height stand that features a bass trap and diffusor in one portable tube.\n<br /><br />\nStudioTraps are cylindrical acoustic absorbers with a reflective side. Used by renowned music producers, mixing engineers, and artists in the studio. Standing on a tripod, StudioTraps are adjustable from 4 feet to 6 feet tall. You can quickly modify the height and diffusion characteristics in order to create the exact soundspace you need at that time. The fact that these are so light in weight makes them easy to move around the room, down the hall, or around the world. These innovative acoustic columns provide a multitude of uses in the recording studio.<br /><br />\n<h3>How StudioTraps Work</h3>\nHalf of the StudioTrap body is treble diffusive which provides a a bright backscatter for frequencies above approx 800 Hz. The other half of the body is broadband absorptive, maintaining 50% efficiency all the way down to 110 Hz.  As with all TubeTrap products, the bass trapping occurs through the action of an acoustic RC circuit which operates nearly instantaneously, providing control of sonic events all the way through the ADSR envelope without coloring the timbre or tone.\n<br /><br />\nAs used in an AttackWall, the characteristic impedance of the StudioTrap\'s inner material allows it to partially absorb and partially vent low frequency energy emanating from the loudspeakers.  The \"impedance walls\" created by several StudioTraps arrayed together allow the operating frequency to extend well into the subwoofer range, where energy dissipation and diffusion both occur.<br /><br />\nWhen arranged in a QuickSoundField layout, each StudioTrap is oriented with its diffusive face (indicated by the bright shiny button) toward the microphone and talent.  The most common QSF size (8 StudioTraps in a horseshoe pattern) provides an extraordinarily dense sequence of early reflections in the \"presence\" tonal range.  Thousands of reflections arrive at the microphone within the Haas window, strengthening the direct signal, while the absorptive outer faces of the StudioTraps reduce the reverberant noise.  This improved S/N ratio allows greater mobility of the performer during recording (such as a singer dancing, or a saxophonist reeling up and down) without compromising the quality of the track.<br /><br />\nEach unit measures 9 1/2\" diameter and can extend from a height of 54” to 74”.  For the engineer on-the-go, StudioTrap carrying bags are available by special order <br /><br />StudioTraps Are available in a variety of custom colors. Please note there is an extra charge for custom colors.<br />\n<br />\n<h3>StudioTrap Features:</h3>\n\n<ul>\n	<li>Extremely portable, as well as being quick and easy to set up at different heights.</li>\n	<li>Provide useful separation and control of room reflections.</li>\n	<li>Reflective/Absorptive sides provide great versatility.</li>\n	<li>Spill has a balanced frequency response.</li>\n	<li>Wide variety of potential applications.</li>\n</ul>\n<br />\n<h3>StudioTrap Applications:</h3>\n<ul>\n	<li>Vocal Recording</li>\n	<li>Instrument Recording</li>\n	<li>Live show stage isolation</li>\n	<li>Mixing</li>\n	<li>Mastering</li>\n	<li>Room tuning</li>\n</ul>'),(1496,75,1,250,'<h1>ASC StudioTrap Acoustic Asborber & Diffusor</h1>\nThe ASC StudioTrap is a specially designed ASC TubeTrap mounted on a heavy duty, adjustable height stand that features a bass trap and diffusor in one portable tube.\n<br /><br />\nStudioTraps are cylindrical acoustic absorbers with a reflective side. Used by renowned music producers, mixing engineers, and artists in the studio. Standing on a tripod, StudioTraps are adjustable from 4 feet to 6 feet tall. You can quickly modify the height and diffusion characteristics in order to create the exact soundspace you need at that time. The fact that these are so light in weight makes them easy to move around the room, down the hall, or around the world. These innovative acoustic columns provide a multitude of uses in the recording studio.<br /><br />\n<h3>How StudioTraps Work</h3>\nHalf of the StudioTrap body is treble diffusive which provides a a bright backscatter for frequencies above approx 800 Hz. The other half of the body is broadband absorptive, maintaining 50% efficiency all the way down to 110 Hz.  As with all TubeTrap products, the bass trapping occurs through the action of an acoustic RC circuit which operates nearly instantaneously, providing control of sonic events all the way through the ADSR envelope without coloring the timbre or tone.\n<br /><br />\nAs used in an AttackWall, the characteristic impedance of the StudioTrap\'s inner material allows it to partially absorb and partially vent low frequency energy emanating from the loudspeakers.  The \"impedance walls\" created by several StudioTraps arrayed together allow the operating frequency to extend well into the subwoofer range, where energy dissipation and diffusion both occur.<br /><br />\nWhen arranged in a QuickSoundField layout, each StudioTrap is oriented with its diffusive face (indicated by the bright shiny button) toward the microphone and talent.  The most common QSF size (8 StudioTraps in a horseshoe pattern) provides an extraordinarily dense sequence of early reflections in the \"presence\" tonal range.  Thousands of reflections arrive at the microphone within the Haas window, strengthening the direct signal, while the absorptive outer faces of the StudioTraps reduce the reverberant noise.  This improved S/N ratio allows greater mobility of the performer during recording (such as a singer dancing, or a saxophonist reeling up and down) without compromising the quality of the track.<br /><br />\nEach unit measures 9 1/2\" diameter and can extend from a height of 54” to 74”.  For the engineer on-the-go, StudioTrap carrying bags are available by special order <br /><br />StudioTraps Are available in a variety of custom colors. Please note there is an extra charge for custom colors.<br />\n<br />\n<h3>StudioTrap Features:</h3>\n\n<ul>\n	<li>Extremely portable, as well as being quick and easy to set up at different heights.</li>\n	<li>Provide useful separation and control of room reflections.</li>\n	<li>Reflective/Absorptive sides provide great versatility.</li>\n	<li>Spill has a balanced frequency response.</li>\n	<li>Wide variety of potential applications.</li>\n</ul>\n<br />\n<h3>StudioTrap Applications:</h3>\n<ul>\n	<li>Vocal Recording</li>\n	<li>Instrument Recording</li>\n	<li>Live show stage isolation</li>\n	<li>Mixing</li>\n	<li>Mastering</li>\n	<li>Room tuning</li>\n</ul>'),(1497,85,0,250,'ASC Studio Trap with Stand'),(1498,85,1,250,'ASC Studio Trap with Stand'),(1499,76,0,250,''),(1500,76,1,250,''),(1501,75,0,251,'<h1>ASC TubeTrap  - 11 Inch Diameter, 90 Hz</h1>\nThe Original Music-Range Bass Trap with a Built-In Treble-Range Diffuser. The 11\" Diameter TubeTrap provides bass absorption down to 90 Hz.\n<br /><br />\nThe ASC TubeTrap is a corner-loaded bass trap with a built-in treble range diffuser. TubeTraps were developed for audio powered music in smaller rooms; high end listening rooms, home theaters and recording studios. TubeTraps absorb unwanted bass range reflections and reverberation. At the same time they backscatter and diffuse the more desirable treble range reflections.\n<br /><br />\nTheir cylinder shape provides the structural rigidity and internal air cavity necessary to absorb sound in the low frequency range. It’s their diameter, not length, that determines how deep into the bass range they can absorb. Because TubeTraps are “impedance-matched” to sound, they are fast-acting bass traps. Unlike slow acting membrane and resonator bass traps, TubeTraps handle musical transients just as easily as they handle sustains. TubeTraps transform room acoustics into an unforgettably articulate and dynamic musical bass line.<br /><br />\nTubeTraps are available in a variety of colors including 5 standard colors and over 50 custom colors. Please note there is an extra charge for custom colors.<br /><br />\n<h3>TubeTrap Features</h3>\n<ul>\n	<li>Provides a smoother listening experience</li>\n	<li>11 inch Diameter provides bass absorption between 90 Hz and 250 Hz</li>\n	<li>Treble diffusion or absorption 250 Hz and above</li>\n	<li>Great for reducing unwanted bass boom in the corners of your room</li>\n	<li>11\" Diameter x 48\" Long. Availability in a variety of sizes, each with their own absorptive properties</li>\n	<li>30 day, 100% satisfaction guarantee</li>\n	<li>Sturdy hand crafted construction, built in the USA</li>\n</ul>\n<br />\n<h3>How TubeTraps Work</h3>\nTubeTraps, the original, archetypal bass trap, dating back to 1984, are set up in the corners of the room where they act like sonic shock absorbers. TubeTraps eliminate excessive build-up of bass energy in the room while their built-in diffusers minimize flutter echo by horizontally scattering mid-high frequency sounds to provide fine grained lateral ambience.\n<br /><br />\nThe TubeTrap was developed using acoustical engineering principles and voiced by the consensus of \"golden ear\" audiophiles and engineers.  It was the first full bandwidth sound absorber/diffuser (abfuser) and has become synonymous with quality listening and performing spaces.  TubeTraps quickly became the worldwide defining icon of high performance audio room acoustics, and remain so to this day.<br /><br />\nTubeTraps are used to make music from the beginning to the end of the audio chain.  In the recording studio, TubeTraps are used to control the acoustics that surround the talent and mic during the creation of audio tracks.  Next in the process, TubeTraps work to create crystal clear mixing environments.  After that, TubeTraps are used to create the perfectly translatable acoustic environment needed for song and album mastering.<br /><br />'),(1502,75,1,251,'<h1>ASC TubeTrap  - 11 Inch Diameter, 90 Hz</h1>\nThe Original Music-Range Bass Trap with a Built-In Treble-Range Diffuser. The 11\" Diameter TubeTrap provides bass absorption down to 90 Hz.\n<br /><br />\nThe ASC TubeTrap is a corner-loaded bass trap with a built-in treble range diffuser. TubeTraps were developed for audio powered music in smaller rooms; high end listening rooms, home theaters and recording studios. TubeTraps absorb unwanted bass range reflections and reverberation. At the same time they backscatter and diffuse the more desirable treble range reflections.\n<br /><br />\nTheir cylinder shape provides the structural rigidity and internal air cavity necessary to absorb sound in the low frequency range. It’s their diameter, not length, that determines how deep into the bass range they can absorb. Because TubeTraps are “impedance-matched” to sound, they are fast-acting bass traps. Unlike slow acting membrane and resonator bass traps, TubeTraps handle musical transients just as easily as they handle sustains. TubeTraps transform room acoustics into an unforgettably articulate and dynamic musical bass line.<br /><br />\nTubeTraps are available in a variety of colors including 5 standard colors and over 50 custom colors. Please note there is an extra charge for custom colors.<br /><br />\n<h3>TubeTrap Features</h3>\n<ul>\n	<li>Provides a smoother listening experience</li>\n	<li>11 inch Diameter provides bass absorption between 90 Hz and 250 Hz</li>\n	<li>Treble diffusion or absorption 250 Hz and above</li>\n	<li>Great for reducing unwanted bass boom in the corners of your room</li>\n	<li>11\" Diameter x 48\" Long. Availability in a variety of sizes, each with their own absorptive properties</li>\n	<li>30 day, 100% satisfaction guarantee</li>\n	<li>Sturdy hand crafted construction, built in the USA</li>\n</ul>\n<br />\n<h3>How TubeTraps Work</h3>\nTubeTraps, the original, archetypal bass trap, dating back to 1984, are set up in the corners of the room where they act like sonic shock absorbers. TubeTraps eliminate excessive build-up of bass energy in the room while their built-in diffusers minimize flutter echo by horizontally scattering mid-high frequency sounds to provide fine grained lateral ambience.\n<br /><br />\nThe TubeTrap was developed using acoustical engineering principles and voiced by the consensus of \"golden ear\" audiophiles and engineers.  It was the first full bandwidth sound absorber/diffuser (abfuser) and has become synonymous with quality listening and performing spaces.  TubeTraps quickly became the worldwide defining icon of high performance audio room acoustics, and remain so to this day.<br /><br />\nTubeTraps are used to make music from the beginning to the end of the audio chain.  In the recording studio, TubeTraps are used to control the acoustics that surround the talent and mic during the creation of audio tracks.  Next in the process, TubeTraps work to create crystal clear mixing environments.  After that, TubeTraps are used to create the perfectly translatable acoustic environment needed for song and album mastering.<br /><br />'),(1503,85,0,251,'ASC Tube Trap 11 Inch Diameter, 90hz'),(1504,85,1,251,'ASC Tube Trap 11 Inch Diameter, 90hz'),(1505,76,0,251,''),(1506,76,1,251,''),(1507,75,0,252,'<h1>ASC TubeTrap  - 13 Inch Diameter, 70 Hz</h1>\nThe Original Music-Range Bass Trap with a Built-In Treble-Range Diffuser. The 13\" Diameter TubeTrap provides bass absorption down to 70 Hz.\n<br /><br />\nThe ASC TubeTrap is a corner-loaded bass trap with a built-in treble range diffuser. TubeTraps were developed for audio powered music in smaller rooms; high end listening rooms, home theaters and recording studios. TubeTraps absorb unwanted bass range reflections and reverberation. At the same time they backscatter and diffuse the more desirable treble range reflections.\n<br /><br />\nTheir cylinder shape provides the structural rigidity and internal air cavity necessary to absorb sound in the low frequency range. It’s their diameter, not length, that determines how deep into the bass range they can absorb. Because TubeTraps are “impedance-matched” to sound, they are fast-acting bass traps. Unlike slow acting membrane and resonator bass traps, TubeTraps handle musical transients just as easily as they handle sustains. TubeTraps transform room acoustics into an unforgettably articulate and dynamic musical bass line.<br /><br />\nTubeTraps are available in a variety of colors including 5 standard colors and over 50 custom colors. Please note there is an extra charge for custom colors.<br /><br />\n<h3>TubeTrap Features</h3>\n<ul>\n	<li>Provides a smoother listening experience</li>\n	<li>13 inch Diameter provides bass absorption between 70 Hz and 250 Hz</li>\n	<li>Treble diffusion or absorption 250 Hz and above</li>\n	<li>Great for reducing unwanted bass boom in the corners of your room</li>\n	<li>13\" Diameter x 48\" Long. Availability in a variety of sizes, each with their own absorptive properties</li>\n	<li>30 day, 100% satisfaction guarantee</li>\n	<li>Sturdy hand crafted construction, built in the USA</li>\n</ul>\n<br />\n<h3>How TubeTraps Work</h3>\nTubeTraps, the original, archetypal bass trap, dating back to 1984, are set up in the corners of the room where they act like sonic shock absorbers. TubeTraps eliminate excessive build-up of bass energy in the room while their built-in diffusers minimize flutter echo by horizontally scattering mid-high frequency sounds to provide fine grained lateral ambience.\n<br /><br />\nThe TubeTrap was developed using acoustical engineering principles and voiced by the consensus of \"golden ear\" audiophiles and engineers.  It was the first full bandwidth sound absorber/diffuser (abfuser) and has become synonymous with quality listening and performing spaces.  TubeTraps quickly became the worldwide defining icon of high performance audio room acoustics, and remain so to this day.<br /><br />\nTubeTraps are used to make music from the beginning to the end of the audio chain.  In the recording studio, TubeTraps are used to control the acoustics that surround the talent and mic during the creation of audio tracks.  Next in the process, TubeTraps work to create crystal clear mixing environments.  After that, TubeTraps are used to create the perfectly translatable acoustic environment needed for song and album mastering.<br /><br />'),(1508,75,1,252,'<h1>ASC TubeTrap  - 13 Inch Diameter, 70 Hz</h1>\nThe Original Music-Range Bass Trap with a Built-In Treble-Range Diffuser. The 13\" Diameter TubeTrap provides bass absorption down to 70 Hz.\n<br /><br />\nThe ASC TubeTrap is a corner-loaded bass trap with a built-in treble range diffuser. TubeTraps were developed for audio powered music in smaller rooms; high end listening rooms, home theaters and recording studios. TubeTraps absorb unwanted bass range reflections and reverberation. At the same time they backscatter and diffuse the more desirable treble range reflections.\n<br /><br />\nTheir cylinder shape provides the structural rigidity and internal air cavity necessary to absorb sound in the low frequency range. It’s their diameter, not length, that determines how deep into the bass range they can absorb. Because TubeTraps are “impedance-matched” to sound, they are fast-acting bass traps. Unlike slow acting membrane and resonator bass traps, TubeTraps handle musical transients just as easily as they handle sustains. TubeTraps transform room acoustics into an unforgettably articulate and dynamic musical bass line.<br /><br />\nTubeTraps are available in a variety of colors including 5 standard colors and over 50 custom colors. Please note there is an extra charge for custom colors.<br /><br />\n<h3>TubeTrap Features</h3>\n<ul>\n	<li>Provides a smoother listening experience</li>\n	<li>13 inch Diameter provides bass absorption between 70 Hz and 250 Hz</li>\n	<li>Treble diffusion or absorption 250 Hz and above</li>\n	<li>Great for reducing unwanted bass boom in the corners of your room</li>\n	<li>13\" Diameter x 48\" Long. Availability in a variety of sizes, each with their own absorptive properties</li>\n	<li>30 day, 100% satisfaction guarantee</li>\n	<li>Sturdy hand crafted construction, built in the USA</li>\n</ul>\n<br />\n<h3>How TubeTraps Work</h3>\nTubeTraps, the original, archetypal bass trap, dating back to 1984, are set up in the corners of the room where they act like sonic shock absorbers. TubeTraps eliminate excessive build-up of bass energy in the room while their built-in diffusers minimize flutter echo by horizontally scattering mid-high frequency sounds to provide fine grained lateral ambience.\n<br /><br />\nThe TubeTrap was developed using acoustical engineering principles and voiced by the consensus of \"golden ear\" audiophiles and engineers.  It was the first full bandwidth sound absorber/diffuser (abfuser) and has become synonymous with quality listening and performing spaces.  TubeTraps quickly became the worldwide defining icon of high performance audio room acoustics, and remain so to this day.<br /><br />\nTubeTraps are used to make music from the beginning to the end of the audio chain.  In the recording studio, TubeTraps are used to control the acoustics that surround the talent and mic during the creation of audio tracks.  Next in the process, TubeTraps work to create crystal clear mixing environments.  After that, TubeTraps are used to create the perfectly translatable acoustic environment needed for song and album mastering.<br /><br />'),(1509,85,0,252,'ASC TubeTrap 13 Inch Diameter, 70hz'),(1510,85,1,252,'ASC TubeTrap 13 Inch Diameter, 70hz'),(1511,76,0,252,''),(1512,76,1,252,''),(1513,75,0,253,'<h1>ASC TubeTrap  - 16 Inch Diameter, 55 Hz</h1>\nThe Original Music-Range Bass Trap with a Built-In Treble-Range Diffuser. The 16\" Diameter TubeTrap provides bass absorption down to 55 Hz.\n<br /><br />\nThe ASC TubeTrap is a corner-loaded bass trap with a built-in treble range diffuser. TubeTraps were developed for audio powered music in smaller rooms; high end listening rooms, home theaters and recording studios. TubeTraps absorb unwanted bass range reflections and reverberation. At the same time they backscatter and diffuse the more desirable treble range reflections.\n<br /><br />\nTheir cylinder shape provides the structural rigidity and internal air cavity necessary to absorb sound in the low frequency range. It’s their diameter, not length, that determines how deep into the bass range they can absorb. Because TubeTraps are “impedance-matched” to sound, they are fast-acting bass traps. Unlike slow acting membrane and resonator bass traps, TubeTraps handle musical transients just as easily as they handle sustains. TubeTraps transform room acoustics into an unforgettably articulate and dynamic musical bass line.<br /><br />\nTubeTraps are available in a variety of colors including 5 standard colors and over 50 custom colors. Please note there is an extra charge for custom colors.<br /><br />\n<h3>TubeTrap Features</h3>\n<ul>\n	<li>Provides a smoother listening experience</li>\n	<li>16 inch Diameter provides bass absorption between 55 Hz and 250 Hz</li>\n	<li>Treble diffusion or absorption 250 Hz and above</li>\n	<li>Great for reducing unwanted bass boom in the corners of your room</li>\n	<li>16\" Diameter x 48\" Long. Availability in a variety of sizes, each with their own absorptive properties</li>\n	<li>30 day, 100% satisfaction guarantee</li>\n	<li>Sturdy hand crafted construction, built in the USA</li>\n</ul>\n<br />\n<h3>How TubeTraps Work</h3>\nTubeTraps, the original, archetypal bass trap, dating back to 1984, are set up in the corners of the room where they act like sonic shock absorbers. TubeTraps eliminate excessive build-up of bass energy in the room while their built-in diffusers minimize flutter echo by horizontally scattering mid-high frequency sounds to provide fine grained lateral ambience.\n<br /><br />\nThe TubeTrap was developed using acoustical engineering principles and voiced by the consensus of \"golden ear\" audiophiles and engineers.  It was the first full bandwidth sound absorber/diffuser (abfuser) and has become synonymous with quality listening and performing spaces.  TubeTraps quickly became the worldwide defining icon of high performance audio room acoustics, and remain so to this day.<br /><br />\nTubeTraps are used to make music from the beginning to the end of the audio chain.  In the recording studio, TubeTraps are used to control the acoustics that surround the talent and mic during the creation of audio tracks.  Next in the process, TubeTraps work to create crystal clear mixing environments.  After that, TubeTraps are used to create the perfectly translatable acoustic environment needed for song and album mastering.<br /><br />'),(1514,75,1,253,'<h1>ASC TubeTrap  - 16 Inch Diameter, 55 Hz</h1>\nThe Original Music-Range Bass Trap with a Built-In Treble-Range Diffuser. The 16\" Diameter TubeTrap provides bass absorption down to 55 Hz.\n<br /><br />\nThe ASC TubeTrap is a corner-loaded bass trap with a built-in treble range diffuser. TubeTraps were developed for audio powered music in smaller rooms; high end listening rooms, home theaters and recording studios. TubeTraps absorb unwanted bass range reflections and reverberation. At the same time they backscatter and diffuse the more desirable treble range reflections.\n<br /><br />\nTheir cylinder shape provides the structural rigidity and internal air cavity necessary to absorb sound in the low frequency range. It’s their diameter, not length, that determines how deep into the bass range they can absorb. Because TubeTraps are “impedance-matched” to sound, they are fast-acting bass traps. Unlike slow acting membrane and resonator bass traps, TubeTraps handle musical transients just as easily as they handle sustains. TubeTraps transform room acoustics into an unforgettably articulate and dynamic musical bass line.<br /><br />\nTubeTraps are available in a variety of colors including 5 standard colors and over 50 custom colors. Please note there is an extra charge for custom colors.<br /><br />\n<h3>TubeTrap Features</h3>\n<ul>\n	<li>Provides a smoother listening experience</li>\n	<li>16 inch Diameter provides bass absorption between 55 Hz and 250 Hz</li>\n	<li>Treble diffusion or absorption 250 Hz and above</li>\n	<li>Great for reducing unwanted bass boom in the corners of your room</li>\n	<li>16\" Diameter x 48\" Long. Availability in a variety of sizes, each with their own absorptive properties</li>\n	<li>30 day, 100% satisfaction guarantee</li>\n	<li>Sturdy hand crafted construction, built in the USA</li>\n</ul>\n<br />\n<h3>How TubeTraps Work</h3>\nTubeTraps, the original, archetypal bass trap, dating back to 1984, are set up in the corners of the room where they act like sonic shock absorbers. TubeTraps eliminate excessive build-up of bass energy in the room while their built-in diffusers minimize flutter echo by horizontally scattering mid-high frequency sounds to provide fine grained lateral ambience.\n<br /><br />\nThe TubeTrap was developed using acoustical engineering principles and voiced by the consensus of \"golden ear\" audiophiles and engineers.  It was the first full bandwidth sound absorber/diffuser (abfuser) and has become synonymous with quality listening and performing spaces.  TubeTraps quickly became the worldwide defining icon of high performance audio room acoustics, and remain so to this day.<br /><br />\nTubeTraps are used to make music from the beginning to the end of the audio chain.  In the recording studio, TubeTraps are used to control the acoustics that surround the talent and mic during the creation of audio tracks.  Next in the process, TubeTraps work to create crystal clear mixing environments.  After that, TubeTraps are used to create the perfectly translatable acoustic environment needed for song and album mastering.<br /><br />'),(1515,85,0,253,'ASC TubeTrap 16 Inch Diameter, 55hz'),(1516,85,1,253,'ASC TubeTrap 16 Inch Diameter, 55hz'),(1517,76,0,253,''),(1518,76,1,253,''),(1519,75,0,254,'<h1>ASC TubeTrap - 20 Inch Diameter, 40 Hz</h1>\nThe Original Music-Range Bass Trap with a Built-In Treble-Range Diffuser. The 20\" Diameter TubeTrap provides bass absorption down to 40 Hz.\n<br /><br />\nThe ASC TubeTrap is a corner-loaded bass trap with a built-in treble range diffuser. TubeTraps were developed for audio powered music in smaller rooms; high end listening rooms, home theaters and recording studios. TubeTraps absorb unwanted bass range reflections and reverberation. At the same time they backscatter and diffuse the more desirable treble range reflections.\n<br /><br />\nTheir cylinder shape provides the structural rigidity and internal air cavity necessary to absorb sound in the low frequency range. It’s their diameter, not length, that determines how deep into the bass range they can absorb. Because TubeTraps are “impedance-matched” to sound, they are fast-acting bass traps. Unlike slow acting membrane and resonator bass traps, TubeTraps handle musical transients just as easily as they handle sustains. TubeTraps transform room acoustics into an unforgettably articulate and dynamic musical bass line.<br /><br />\nTubeTraps are available in a variety of colors including 5 standard colors and over 50 custom colors. Please note there is an extra charge for custom colors.<br /><br />\n<h3>TubeTrap Features</h3>\n<ul>\n	<li>Provides a smoother listening experience</li>\n	<li>20 inch Diameter provides bass absorption between 40 Hz and 250 Hz</li>\n	<li>Treble diffusion or absorption 250 Hz and above</li>\n	<li>Great for reducing unwanted bass boom in the corners of your room</li>\n	<li>20\" Diameter x 48\" Long. Availability in a variety of sizes, each with their own absorptive properties</li>\n	<li>30 day, 100% satisfaction guarantee</li>\n	<li>Sturdy hand crafted construction, built in the USA</li>\n</ul>\n<br />\n<h3>How TubeTraps Work</h3>\nTubeTraps, the original, archetypal bass trap, dating back to 1984, are set up in the corners of the room where they act like sonic shock absorbers. TubeTraps eliminate excessive build-up of bass energy in the room while their built-in diffusers minimize flutter echo by horizontally scattering mid-high frequency sounds to provide fine grained lateral ambience.\n<br /><br />\nThe TubeTrap was developed using acoustical engineering principles and voiced by the consensus of \"golden ear\" audiophiles and engineers.  It was the first full bandwidth sound absorber/diffuser (abfuser) and has become synonymous with quality listening and performing spaces.  TubeTraps quickly became the worldwide defining icon of high performance audio room acoustics, and remain so to this day.<br /><br />\nTubeTraps are used to make music from the beginning to the end of the audio chain.  In the recording studio, TubeTraps are used to control the acoustics that surround the talent and mic during the creation of audio tracks.  Next in the process, TubeTraps work to create crystal clear mixing environments.  After that, TubeTraps are used to create the perfectly translatable acoustic environment needed for song and album mastering.<br /><br />'),(1520,75,1,254,'<h1>ASC TubeTrap - 20 Inch Diameter, 40 Hz</h1>\nThe Original Music-Range Bass Trap with a Built-In Treble-Range Diffuser. The 20\" Diameter TubeTrap provides bass absorption down to 40 Hz.\n<br /><br />\nThe ASC TubeTrap is a corner-loaded bass trap with a built-in treble range diffuser. TubeTraps were developed for audio powered music in smaller rooms; high end listening rooms, home theaters and recording studios. TubeTraps absorb unwanted bass range reflections and reverberation. At the same time they backscatter and diffuse the more desirable treble range reflections.\n<br /><br />\nTheir cylinder shape provides the structural rigidity and internal air cavity necessary to absorb sound in the low frequency range. It’s their diameter, not length, that determines how deep into the bass range they can absorb. Because TubeTraps are “impedance-matched” to sound, they are fast-acting bass traps. Unlike slow acting membrane and resonator bass traps, TubeTraps handle musical transients just as easily as they handle sustains. TubeTraps transform room acoustics into an unforgettably articulate and dynamic musical bass line.<br /><br />\nTubeTraps are available in a variety of colors including 5 standard colors and over 50 custom colors. Please note there is an extra charge for custom colors.<br /><br />\n<h3>TubeTrap Features</h3>\n<ul>\n	<li>Provides a smoother listening experience</li>\n	<li>20 inch Diameter provides bass absorption between 40 Hz and 250 Hz</li>\n	<li>Treble diffusion or absorption 250 Hz and above</li>\n	<li>Great for reducing unwanted bass boom in the corners of your room</li>\n	<li>20\" Diameter x 48\" Long. Availability in a variety of sizes, each with their own absorptive properties</li>\n	<li>30 day, 100% satisfaction guarantee</li>\n	<li>Sturdy hand crafted construction, built in the USA</li>\n</ul>\n<br />\n<h3>How TubeTraps Work</h3>\nTubeTraps, the original, archetypal bass trap, dating back to 1984, are set up in the corners of the room where they act like sonic shock absorbers. TubeTraps eliminate excessive build-up of bass energy in the room while their built-in diffusers minimize flutter echo by horizontally scattering mid-high frequency sounds to provide fine grained lateral ambience.\n<br /><br />\nThe TubeTrap was developed using acoustical engineering principles and voiced by the consensus of \"golden ear\" audiophiles and engineers.  It was the first full bandwidth sound absorber/diffuser (abfuser) and has become synonymous with quality listening and performing spaces.  TubeTraps quickly became the worldwide defining icon of high performance audio room acoustics, and remain so to this day.<br /><br />\nTubeTraps are used to make music from the beginning to the end of the audio chain.  In the recording studio, TubeTraps are used to control the acoustics that surround the talent and mic during the creation of audio tracks.  Next in the process, TubeTraps work to create crystal clear mixing environments.  After that, TubeTraps are used to create the perfectly translatable acoustic environment needed for song and album mastering.<br /><br />'),(1521,85,0,254,'ASC TubeTrap 20 Inch Diameter, 40hz'),(1522,85,1,254,'ASC TubeTrap 20 Inch Diameter, 40hz'),(1523,76,0,254,''),(1524,76,1,254,''),(1525,75,0,255,'<h1>ASC TubeTrap  - 24 Inch Diameter, 25 Hz</h1>\nThe Original Music-Range Bass Trap with a Built-In Treble-Range Diffuser. The 24\" Diameter TubeTrap provides bass absorption down to 25 Hz.\n<br /><br />\nThe ASC TubeTrap is a corner-loaded bass trap with a built-in treble range diffuser. TubeTraps were developed for audio powered music in smaller rooms; high end listening rooms, home theaters and recording studios. TubeTraps absorb unwanted bass range reflections and reverberation. At the same time they backscatter and diffuse the more desirable treble range reflections.\n<br /><br />\nTheir cylinder shape provides the structural rigidity and internal air cavity necessary to absorb sound in the low frequency range. It’s their diameter, not length, that determines how deep into the bass range they can absorb. Because TubeTraps are “impedance-matched” to sound, they are fast-acting bass traps. Unlike slow acting membrane and resonator bass traps, TubeTraps handle musical transients just as easily as they handle sustains. TubeTraps transform room acoustics into an unforgettably articulate and dynamic musical bass line.<br /><br />\nTubeTraps are available in a variety of colors including 5 standard colors and over 50 custom colors. Please note there is an extra charge for custom colors.<br /><br />\n<h3>TubeTrap Features</h3>\n<ul>\n	<li>Provides a smoother listening experience</li>\n	<li>24 inch Diameter provides bass absorption between 25 Hz and 250 Hz</li>\n	<li>Treble diffusion or absorption 250 Hz and above</li>\n	<li>Great for reducing unwanted bass boom in the corners of your room</li>\n	<li>24\" Diameter x 48\" Long. Availability in a variety of sizes, each with their own absorptive properties</li>\n	<li>30 day, 100% satisfaction guarantee</li>\n	<li>Sturdy hand crafted construction, built in the USA</li>\n</ul>\n<br />\n<h3>How TubeTraps Work</h3>\nTubeTraps, the original, archetypal bass trap, dating back to 1984, are set up in the corners of the room where they act like sonic shock absorbers. TubeTraps eliminate excessive build-up of bass energy in the room while their built-in diffusers minimize flutter echo by horizontally scattering mid-high frequency sounds to provide fine grained lateral ambience.\n<br /><br />\nThe TubeTrap was developed using acoustical engineering principles and voiced by the consensus of \"golden ear\" audiophiles and engineers.  It was the first full bandwidth sound absorber/diffuser (abfuser) and has become synonymous with quality listening and performing spaces.  TubeTraps quickly became the worldwide defining icon of high performance audio room acoustics, and remain so to this day.<br /><br />\nTubeTraps are used to make music from the beginning to the end of the audio chain.  In the recording studio, TubeTraps are used to control the acoustics that surround the talent and mic during the creation of audio tracks.  Next in the process, TubeTraps work to create crystal clear mixing environments.  After that, TubeTraps are used to create the perfectly translatable acoustic environment needed for song and album mastering.<br /><br />'),(1526,75,1,255,'<h1>ASC TubeTrap  - 24 Inch Diameter, 25 Hz</h1>\nThe Original Music-Range Bass Trap with a Built-In Treble-Range Diffuser. The 24\" Diameter TubeTrap provides bass absorption down to 25 Hz.\n<br /><br />\nThe ASC TubeTrap is a corner-loaded bass trap with a built-in treble range diffuser. TubeTraps were developed for audio powered music in smaller rooms; high end listening rooms, home theaters and recording studios. TubeTraps absorb unwanted bass range reflections and reverberation. At the same time they backscatter and diffuse the more desirable treble range reflections.\n<br /><br />\nTheir cylinder shape provides the structural rigidity and internal air cavity necessary to absorb sound in the low frequency range. It’s their diameter, not length, that determines how deep into the bass range they can absorb. Because TubeTraps are “impedance-matched” to sound, they are fast-acting bass traps. Unlike slow acting membrane and resonator bass traps, TubeTraps handle musical transients just as easily as they handle sustains. TubeTraps transform room acoustics into an unforgettably articulate and dynamic musical bass line.<br /><br />\nTubeTraps are available in a variety of colors including 5 standard colors and over 50 custom colors. Please note there is an extra charge for custom colors.<br /><br />\n<h3>TubeTrap Features</h3>\n<ul>\n	<li>Provides a smoother listening experience</li>\n	<li>24 inch Diameter provides bass absorption between 25 Hz and 250 Hz</li>\n	<li>Treble diffusion or absorption 250 Hz and above</li>\n	<li>Great for reducing unwanted bass boom in the corners of your room</li>\n	<li>24\" Diameter x 48\" Long. Availability in a variety of sizes, each with their own absorptive properties</li>\n	<li>30 day, 100% satisfaction guarantee</li>\n	<li>Sturdy hand crafted construction, built in the USA</li>\n</ul>\n<br />\n<h3>How TubeTraps Work</h3>\nTubeTraps, the original, archetypal bass trap, dating back to 1984, are set up in the corners of the room where they act like sonic shock absorbers. TubeTraps eliminate excessive build-up of bass energy in the room while their built-in diffusers minimize flutter echo by horizontally scattering mid-high frequency sounds to provide fine grained lateral ambience.\n<br /><br />\nThe TubeTrap was developed using acoustical engineering principles and voiced by the consensus of \"golden ear\" audiophiles and engineers.  It was the first full bandwidth sound absorber/diffuser (abfuser) and has become synonymous with quality listening and performing spaces.  TubeTraps quickly became the worldwide defining icon of high performance audio room acoustics, and remain so to this day.<br /><br />\nTubeTraps are used to make music from the beginning to the end of the audio chain.  In the recording studio, TubeTraps are used to control the acoustics that surround the talent and mic during the creation of audio tracks.  Next in the process, TubeTraps work to create crystal clear mixing environments.  After that, TubeTraps are used to create the perfectly translatable acoustic environment needed for song and album mastering.<br /><br />'),(1527,85,0,255,'ASC TubeTrap 24 Inch Diameter, 25hz'),(1528,85,1,255,'ASC TubeTrap 24 Inch Diameter, 25hz'),(1529,76,0,255,''),(1530,76,1,255,''),(1531,75,0,256,'<h1>ASC TubeTrap  - 9 Inch Diameter, 110 Hz</h1>\nThe Original Music-Range Bass Trap with a Built-In Treble-Range Diffuser. The 9\" Diameter TubeTrap provides bass absorption down to 110 Hz.\n<br /><br />\nThe ASC TubeTrap is a corner-loaded bass trap with a built-in treble range diffuser. TubeTraps were developed for audio powered music in smaller rooms; high end listening rooms, home theaters and recording studios. TubeTraps absorb unwanted bass range reflections and reverberation. At the same time they backscatter and diffuse the more desirable treble range reflections.\n<br /><br />\nTheir cylinder shape provides the structural rigidity and internal air cavity necessary to absorb sound in the low frequency range. It’s their diameter, not length, that determines how deep into the bass range they can absorb. Because TubeTraps are “impedance-matched” to sound, they are fast-acting bass traps. Unlike slow acting membrane and resonator bass traps, TubeTraps handle musical transients just as easily as they handle sustains. TubeTraps transform room acoustics into an unforgettably articulate and dynamic musical bass line.<br /><br />\nTubeTraps are available in a variety of colors including 5 standard colors and over 50 custom colors. Please note there is an extra charge for custom colors.<br /><br />\n<h3>TubeTrap Features</h3>\n<ul>\n	<li>Provides a smoother listening experience</li>\n	<li>9 inch Diameter provides bass absorption between 110 Hz and 250 Hz</li>\n	<li>Treble diffusion or absorption 250 Hz and above</li>\n	<li>Great for reducing unwanted bass boom in the corners of your room</li>\n	<li>9\" Diameter x 48\" Long. Availability in a variety of sizes, each with their own absorptive properties</li>\n	<li>30 day, 100% satisfaction guarantee</li>\n	<li>Sturdy hand crafted construction, built in the USA</li>\n</ul>\n<br />\n<h3>How TubeTraps Work</h3>\nTubeTraps, the original, archetypal bass trap, dating back to 1984, are set up in the corners of the room where they act like sonic shock absorbers. TubeTraps eliminate excessive build-up of bass energy in the room while their built-in diffusers minimize flutter echo by horizontally scattering mid-high frequency sounds to provide fine grained lateral ambience.\n<br /><br />\nThe TubeTrap was developed using acoustical engineering principles and voiced by the consensus of \"golden ear\" audiophiles and engineers.  It was the first full bandwidth sound absorber/diffuser (abfuser) and has become synonymous with quality listening and performing spaces.  TubeTraps quickly became the worldwide defining icon of high performance audio room acoustics, and remain so to this day.<br /><br />\nTubeTraps are used to make music from the beginning to the end of the audio chain.  In the recording studio, TubeTraps are used to control the acoustics that surround the talent and mic during the creation of audio tracks.  Next in the process, TubeTraps work to create crystal clear mixing environments.  After that, TubeTraps are used to create the perfectly translatable acoustic environment needed for song and album mastering.<br /><br />'),(1532,75,1,256,'<h1>ASC TubeTrap  - 9 Inch Diameter, 110 Hz</h1>\nThe Original Music-Range Bass Trap with a Built-In Treble-Range Diffuser. The 9\" Diameter TubeTrap provides bass absorption down to 110 Hz.\n<br /><br />\nThe ASC TubeTrap is a corner-loaded bass trap with a built-in treble range diffuser. TubeTraps were developed for audio powered music in smaller rooms; high end listening rooms, home theaters and recording studios. TubeTraps absorb unwanted bass range reflections and reverberation. At the same time they backscatter and diffuse the more desirable treble range reflections.\n<br /><br />\nTheir cylinder shape provides the structural rigidity and internal air cavity necessary to absorb sound in the low frequency range. It’s their diameter, not length, that determines how deep into the bass range they can absorb. Because TubeTraps are “impedance-matched” to sound, they are fast-acting bass traps. Unlike slow acting membrane and resonator bass traps, TubeTraps handle musical transients just as easily as they handle sustains. TubeTraps transform room acoustics into an unforgettably articulate and dynamic musical bass line.<br /><br />\nTubeTraps are available in a variety of colors including 5 standard colors and over 50 custom colors. Please note there is an extra charge for custom colors.<br /><br />\n<h3>TubeTrap Features</h3>\n<ul>\n	<li>Provides a smoother listening experience</li>\n	<li>9 inch Diameter provides bass absorption between 110 Hz and 250 Hz</li>\n	<li>Treble diffusion or absorption 250 Hz and above</li>\n	<li>Great for reducing unwanted bass boom in the corners of your room</li>\n	<li>9\" Diameter x 48\" Long. Availability in a variety of sizes, each with their own absorptive properties</li>\n	<li>30 day, 100% satisfaction guarantee</li>\n	<li>Sturdy hand crafted construction, built in the USA</li>\n</ul>\n<br />\n<h3>How TubeTraps Work</h3>\nTubeTraps, the original, archetypal bass trap, dating back to 1984, are set up in the corners of the room where they act like sonic shock absorbers. TubeTraps eliminate excessive build-up of bass energy in the room while their built-in diffusers minimize flutter echo by horizontally scattering mid-high frequency sounds to provide fine grained lateral ambience.\n<br /><br />\nThe TubeTrap was developed using acoustical engineering principles and voiced by the consensus of \"golden ear\" audiophiles and engineers.  It was the first full bandwidth sound absorber/diffuser (abfuser) and has become synonymous with quality listening and performing spaces.  TubeTraps quickly became the worldwide defining icon of high performance audio room acoustics, and remain so to this day.<br /><br />\nTubeTraps are used to make music from the beginning to the end of the audio chain.  In the recording studio, TubeTraps are used to control the acoustics that surround the talent and mic during the creation of audio tracks.  Next in the process, TubeTraps work to create crystal clear mixing environments.  After that, TubeTraps are used to create the perfectly translatable acoustic environment needed for song and album mastering.<br /><br />'),(1533,85,0,256,'ASC TubeTrap 9 Inch Diameter, 110hz'),(1534,85,1,256,'ASC TubeTrap 9 Inch Diameter, 110hz'),(1535,76,0,256,''),(1536,76,1,256,''),(1537,75,0,257,'<h1>ASC WallDamp Squares 4″ x 4″ x 1/20″ - 25 squares per bundle</h1>\nASC-WallDamp takes all the mystery out of soundproofing walls. It is a double sided, self adhesive sheet of material and its two step application is simple and quick. Just remove the release paper and place WallDamp between every joint, every connection in your wall. The pressure sensitive adhesive of WallDamp glues the wall together and that improves its overall structural integrity but more important is the polymer compound of the WallDamp sheet itself.\nWallDamp\'s benefits include superior structural damping, easy installation, compatibility with most existing wall systems and cost effectiveness.\n<br /><br />\n<h3>WallDamp technical explanation:</h3>\nASC-WallDamp is a construction material that is an add-on or upgrade to standard wall and ceiling construction projects. By locating WallDamp material between the joints in a frame construction project, the rooms in the building take on that solid feeling of lath-and-plaster. With WallDamp in place, any vibration or sonic energy that finds itself inside the walls of the building is quickly removed, before it can be heard. This means that lightweight, cost effective stick frame and gypsum board walls can now provide the performance of much more expensive and heavy construction methods. Another important feature is that the WallDamp construction method uses standard construction materials and practices with the simple addition of a thin sheet of damping material that is slipped into every joint possible.<br /><br />\nWallDamp construction is more resistant to the intrusion of external noise such as truck and train rumble, aircraft flyovers, sonic booms and neighborhood heat pumps. It works just as well in reverse. The loud sound from the stereo, home theater system or music practice room stays inside the house and out of the neighbor\'s yard. Then, there is the sound within the house. The wind can blow the front door closed without jarring through the entire house. The sound power from the stereo or home theater, including the subwoofer thump, stays in the room and doesn\'t shudder the whole house. Kids can play downstairs and the adults upstairs hear almost nothing. Probably, the best thing that WallDamp contributes to today\'s living experience is the increased sense of peace and quiet at a time when, day-by-day, more noise seems to be the only option.\n<br /><br />\n<h3>WallDamp construction method:</h3>\nWhen sound or vibration tries to pass through the walls, floor or ceiling of a room, is causes those surfaces and the structure behind each of them to move. When a wall, floor or ceiling vibrates, it changes shape. If WallDamp is located at the joints, between each of the parts that make up the wall, floor or ceiling, then any movement at all by the wall, floor or ceiling causes a distortion of the WallDamp. This distortion then absorbs energy and any vibration is quieted right down.<br /><br />\nTo improve the ability of WallDamp to extract energy out of the micro movement of a structure, the viscoelastic sheet is coated with a strong adhesive on both sides. This means that even the slightest movement at the joint between members of a structure produces distortion of the WallDamp material. The most common application for WallDamp today is to glue it to each face of the wall studs and then nail or screw the gypsum board down as usual. It is also used between the first and second layers of double layer gypsum board.\nWhat is fantastic about WallDamp construction is that it not only keeps sound and vibration from passing through the surfaces of the room but that it actually absorbs it. By comparison, a concrete room is well known for keeping sound from getting out, but it\'s bad for the person left in the room, the listener. If sound can\'t get out of a room it has to stay in the room and reverberate. Carpet, draperies and furnishings may provide some acoustic friction inside the room to attenuate sounds in the treble range but they supply little to no absorption for sounds in the bass range. That is why concrete rooms are very boomy sounding. Only WallDamp provides for both a soundproof and an energy-absorbing wall.<br /><br />\nThe best WallDamp construction system is the Iso-WallDamp system developed at Acoustic Sciences Corporation. In the Iso-Wall system, a damped double layer gypsum board wall is built on one side of the stud and a suspended damped double layer gypsum board wall is placed on the other side of the studs. The suspended wall rides on standard resilient channels, flexible metal strips, which are attached to the sides of the studs or for the ceiling, to the bottom sides of the joists. The pressure fluctuations from low frequency sound can still move the walls ever so slightly but now, when the walls move, they no longer directly push the studs or joists. Since movement of the wall doesn\'t push the studs, it cannot transfer sonic pressure pulses into the structure of the house.<br /><br />\nStandard isolation wall construction methods have been providing some measure of sound isolation for nearly 50 years. However, powerful low frequency sound generators, the subwoofers found in today\'s Hi-fi and home theater systems have only been popular for about 5 years. With standard isolation construction methods, once the walls begin shaking with the sound, they continue shaking even after the sound stops. This isn\'t much different than the concrete room except that this time the reverberant vibration is not in the air but in the shuddering walls. Here is where WallDamp goes to work, absorbing the energy out of the shuddering vibrating walls. With WallDamp we have the best of all, lightweight and cost effective walls that sound better than concrete walls.<br /><br />\n\n<h3>How does WallDamp actually work?</h3>\nA wall, floor or ceiling is constructed using a complex set of objects, each touching the other in some fashion. When any one piece moves, it pushes on the adjoining pieces and so on. The reason WallDamp works is that it is located between all the pieces so that every time one piece pushes against another, WallDamp is there absorbing energy out of the push. Actually WallDamp does not absorb much energy when one piece pushes or pulls squarely on another piece. It does absorb a lot of energy when one piece tries to slide past the other. Fortunately when an object pushes on another object, there is a strong tendency for the two to slip or slide a bit at their contact point. This is where WallDamp extracts the energy - from the shifting surfaces. (See Footnote below for an explanation of how WallDamp extracts energy.)<br /><br />\nThe second thing about WallDamp is that it has been made to extract energy from microscopic movements. That\'s good because very small movements are involved in the making of sound, especially when it comes to surfaces as big as walls, floors and ceilings. There are many kinds of viscoelastic materials. The most familiar is the soft type that is put into the heels of runner\'s shoes to absorb the shock of the footfall. The deformation of this soft material is measured in fractions of an inch. WallDamp is relatively hard but that is because the deformation it has to process is measured in thousandths of an inch or less. The hardness corresponds to the force and the deformation involved. WallDamp is made for structural damping.<br /><br />\nAnother thing to know about viscoelastic materials is, if they get too hot, they get soft and lose their energy absorbing power. Similarly, if they get too cold, they harden up and lose their energy absorbing power. Each viscoelastic material is blended to operate in a certain temperature range. WallDamp is made for the temperatures found in the walls, floors and ceilings of homes, apartments, duplexes and offices, places where people live and work.<br /><br />\nWallDamp may look simple but what it does is complex and well suited to its application in damping out the free vibration of walls, floor and ceilings. WallDamp is setting the new standard in frame construction. And, once you hear the difference, you\'ll know what you\'ve been missing.<br />\n<br />\n<h3>How does WallDamp extract energy from the walls?</h3>\nViscoelastic materials absorb energy when one molecule of the material is forced to move past another molecule. The molecules involved are not smooth but rough shaped and when one moves past another, they sort of plug into each other. As they continue to move past, they are forced to unplug but this leaves both molecules twanging in the aftermath of being unplugged. These twanging molecules become \"heat\" which conducts away, warming up other molecules of WallDamp and eventually the parts that were connected to the WallDamp. Molecular friction absorbs the energy of distortion. This is the visco part of the material. Other molecules in WallDamp are connected tightly together to form a spring that becomes stretched when the WallDamp is distorted. These molecular fiber springs then act to pull the material back into shape once the distorting force is removed. Without these shape restoring molecular springs to bear the load, the visco molecules would simple squish out of the joints like grease under pressure and the energy absorbing benefit of the material would be lost.<br /><br />'),(1538,75,1,257,'<h1>ASC WallDamp Squares 4″ x 4″ x 1/20″ - 25 squares per bundle</h1>\nASC-WallDamp takes all the mystery out of soundproofing walls. It is a double sided, self adhesive sheet of material and its two step application is simple and quick. Just remove the release paper and place WallDamp between every joint, every connection in your wall. The pressure sensitive adhesive of WallDamp glues the wall together and that improves its overall structural integrity but more important is the polymer compound of the WallDamp sheet itself.\nWallDamp\'s benefits include superior structural damping, easy installation, compatibility with most existing wall systems and cost effectiveness.\n<br /><br />\n<h3>WallDamp technical explanation:</h3>\nASC-WallDamp is a construction material that is an add-on or upgrade to standard wall and ceiling construction projects. By locating WallDamp material between the joints in a frame construction project, the rooms in the building take on that solid feeling of lath-and-plaster. With WallDamp in place, any vibration or sonic energy that finds itself inside the walls of the building is quickly removed, before it can be heard. This means that lightweight, cost effective stick frame and gypsum board walls can now provide the performance of much more expensive and heavy construction methods. Another important feature is that the WallDamp construction method uses standard construction materials and practices with the simple addition of a thin sheet of damping material that is slipped into every joint possible.<br /><br />\nWallDamp construction is more resistant to the intrusion of external noise such as truck and train rumble, aircraft flyovers, sonic booms and neighborhood heat pumps. It works just as well in reverse. The loud sound from the stereo, home theater system or music practice room stays inside the house and out of the neighbor\'s yard. Then, there is the sound within the house. The wind can blow the front door closed without jarring through the entire house. The sound power from the stereo or home theater, including the subwoofer thump, stays in the room and doesn\'t shudder the whole house. Kids can play downstairs and the adults upstairs hear almost nothing. Probably, the best thing that WallDamp contributes to today\'s living experience is the increased sense of peace and quiet at a time when, day-by-day, more noise seems to be the only option.\n<br /><br />\n<h3>WallDamp construction method:</h3>\nWhen sound or vibration tries to pass through the walls, floor or ceiling of a room, is causes those surfaces and the structure behind each of them to move. When a wall, floor or ceiling vibrates, it changes shape. If WallDamp is located at the joints, between each of the parts that make up the wall, floor or ceiling, then any movement at all by the wall, floor or ceiling causes a distortion of the WallDamp. This distortion then absorbs energy and any vibration is quieted right down.<br /><br />\nTo improve the ability of WallDamp to extract energy out of the micro movement of a structure, the viscoelastic sheet is coated with a strong adhesive on both sides. This means that even the slightest movement at the joint between members of a structure produces distortion of the WallDamp material. The most common application for WallDamp today is to glue it to each face of the wall studs and then nail or screw the gypsum board down as usual. It is also used between the first and second layers of double layer gypsum board.\nWhat is fantastic about WallDamp construction is that it not only keeps sound and vibration from passing through the surfaces of the room but that it actually absorbs it. By comparison, a concrete room is well known for keeping sound from getting out, but it\'s bad for the person left in the room, the listener. If sound can\'t get out of a room it has to stay in the room and reverberate. Carpet, draperies and furnishings may provide some acoustic friction inside the room to attenuate sounds in the treble range but they supply little to no absorption for sounds in the bass range. That is why concrete rooms are very boomy sounding. Only WallDamp provides for both a soundproof and an energy-absorbing wall.<br /><br />\nThe best WallDamp construction system is the Iso-WallDamp system developed at Acoustic Sciences Corporation. In the Iso-Wall system, a damped double layer gypsum board wall is built on one side of the stud and a suspended damped double layer gypsum board wall is placed on the other side of the studs. The suspended wall rides on standard resilient channels, flexible metal strips, which are attached to the sides of the studs or for the ceiling, to the bottom sides of the joists. The pressure fluctuations from low frequency sound can still move the walls ever so slightly but now, when the walls move, they no longer directly push the studs or joists. Since movement of the wall doesn\'t push the studs, it cannot transfer sonic pressure pulses into the structure of the house.<br /><br />\nStandard isolation wall construction methods have been providing some measure of sound isolation for nearly 50 years. However, powerful low frequency sound generators, the subwoofers found in today\'s Hi-fi and home theater systems have only been popular for about 5 years. With standard isolation construction methods, once the walls begin shaking with the sound, they continue shaking even after the sound stops. This isn\'t much different than the concrete room except that this time the reverberant vibration is not in the air but in the shuddering walls. Here is where WallDamp goes to work, absorbing the energy out of the shuddering vibrating walls. With WallDamp we have the best of all, lightweight and cost effective walls that sound better than concrete walls.<br /><br />\n\n<h3>How does WallDamp actually work?</h3>\nA wall, floor or ceiling is constructed using a complex set of objects, each touching the other in some fashion. When any one piece moves, it pushes on the adjoining pieces and so on. The reason WallDamp works is that it is located between all the pieces so that every time one piece pushes against another, WallDamp is there absorbing energy out of the push. Actually WallDamp does not absorb much energy when one piece pushes or pulls squarely on another piece. It does absorb a lot of energy when one piece tries to slide past the other. Fortunately when an object pushes on another object, there is a strong tendency for the two to slip or slide a bit at their contact point. This is where WallDamp extracts the energy - from the shifting surfaces. (See Footnote below for an explanation of how WallDamp extracts energy.)<br /><br />\nThe second thing about WallDamp is that it has been made to extract energy from microscopic movements. That\'s good because very small movements are involved in the making of sound, especially when it comes to surfaces as big as walls, floors and ceilings. There are many kinds of viscoelastic materials. The most familiar is the soft type that is put into the heels of runner\'s shoes to absorb the shock of the footfall. The deformation of this soft material is measured in fractions of an inch. WallDamp is relatively hard but that is because the deformation it has to process is measured in thousandths of an inch or less. The hardness corresponds to the force and the deformation involved. WallDamp is made for structural damping.<br /><br />\nAnother thing to know about viscoelastic materials is, if they get too hot, they get soft and lose their energy absorbing power. Similarly, if they get too cold, they harden up and lose their energy absorbing power. Each viscoelastic material is blended to operate in a certain temperature range. WallDamp is made for the temperatures found in the walls, floors and ceilings of homes, apartments, duplexes and offices, places where people live and work.<br /><br />\nWallDamp may look simple but what it does is complex and well suited to its application in damping out the free vibration of walls, floor and ceilings. WallDamp is setting the new standard in frame construction. And, once you hear the difference, you\'ll know what you\'ve been missing.<br />\n<br />\n<h3>How does WallDamp extract energy from the walls?</h3>\nViscoelastic materials absorb energy when one molecule of the material is forced to move past another molecule. The molecules involved are not smooth but rough shaped and when one moves past another, they sort of plug into each other. As they continue to move past, they are forced to unplug but this leaves both molecules twanging in the aftermath of being unplugged. These twanging molecules become \"heat\" which conducts away, warming up other molecules of WallDamp and eventually the parts that were connected to the WallDamp. Molecular friction absorbs the energy of distortion. This is the visco part of the material. Other molecules in WallDamp are connected tightly together to form a spring that becomes stretched when the WallDamp is distorted. These molecular fiber springs then act to pull the material back into shape once the distorting force is removed. Without these shape restoring molecular springs to bear the load, the visco molecules would simple squish out of the joints like grease under pressure and the energy absorbing benefit of the material would be lost.<br /><br />'),(1539,85,0,257,'ASC WallDamp Squares 4 x 4 x 1/20'),(1540,85,1,257,'ASC WallDamp Squares 4 x 4 x 1/20'),(1541,76,0,257,''),(1542,76,1,257,''),(1543,75,0,258,'<h2>WallDamp Strips 1″ x 48″ x 1/20″ - 25 strips per bundle (100 Linear Feet)</h2>\nASC-WallDamp takes all the mystery out of soundproofing walls. It is a double sided, self adhesive sheet of material and its two step application is simple and quick. Just remove the release paper and place WallDamp between every joint, every connection in your wall. The pressure sensitive adhesive of WallDamp glues the wall together and that improves its overall structural integrity but more important is the polymer compound of the WallDamp sheet itself.<br /><br />\nWallDamp\'s benefits include superior structural damping, easy installation, compatibility with most existing wall systems and cost effectiveness.<br /><br />\n<h3>WallDamp technical explanation:</h3>\nASC-WallDamp is a construction material that is an add-on or upgrade to standard wall and ceiling construction projects. By locating WallDamp material between the joints in a frame construction project, the rooms in the building take on that solid feeling of lath-and-plaster. With WallDamp in place, any vibration or sonic energy that finds itself inside the walls of the building is quickly removed, before it can be heard. This means that lightweight, cost effective stick frame and gypsum board walls can now provide the performance of much more expensive and heavy construction methods. Another important feature is that the WallDamp construction method uses standard construction materials and practices with the simple addition of a thin sheet of damping material that is slipped into every joint possible.<br /><br />\nWallDamp construction is more resistant to the intrusion of external noise such as truck and train rumble, aircraft flyovers, sonic booms and neighborhood heat pumps. It works just as well in reverse. The loud sound from the stereo, home theater system or music practice room stays inside the house and out of the neighbor\'s yard. Then, there is the sound within the house. The wind can blow the front door closed without jarring through the entire house. The sound power from the stereo or home theater, including the subwoofer thump, stays in the room and doesn\'t shudder the whole house. Kids can play downstairs and the adults upstairs hear almost nothing. Probably, the best thing that WallDamp contributes to today\'s living experience is the increased sense of peace and quiet at a time when, day-by-day, more noise seems to be the only option.<br /><br />\n<h3>WallDamp construction method:</h3>\nWhen sound or vibration tries to pass through the walls, floor or ceiling of a room, is causes those surfaces and the structure behind each of them to move. When a wall, floor or ceiling vibrates, it changes shape. If WallDamp is located at the joints, between each of the parts that make up the wall, floor or ceiling, then any movement at all by the wall, floor or ceiling causes a distortion of the WallDamp. This distortion then absorbs energy and any vibration is quieted right down.<br /><br />\nTo improve the ability of WallDamp to extract energy out of the micro movement of a structure, the viscoelastic sheet is coated with a strong adhesive on both sides. This means that even the slightest movement at the joint between members of a structure produces distortion of the WallDamp material. The most common application for WallDamp today is to glue it to each face of the wall studs and then nail or screw the gypsum board down as usual. It is also used between the first and second layers of double layer gypsum board.\nWhat is fantastic about WallDamp construction is that it not only keeps sound and vibration from passing through the surfaces of the room but that it actually absorbs it. By comparison, a concrete room is well known for keeping sound from getting out, but it\'s bad for the person left in the room, the listener. If sound can\'t get out of a room it has to stay in the room and reverberate. Carpet, draperies and furnishings may provide some acoustic friction inside the room to attenuate sounds in the treble range but they supply little to no absorption for sounds in the bass range. That is why concrete rooms are very boomy sounding. Only WallDamp provides for both a soundproof and an energy-absorbing wall.<br /><br />\nThe best WallDamp construction system is the Iso-WallDamp system developed at Acoustic Sciences Corporation. In the Iso-Wall system, a damped double layer gypsum board wall is built on one side of the stud and a suspended damped double layer gypsum board wall is placed on the other side of the studs. The suspended wall rides on standard resilient channels, flexible metal strips, which are attached to the sides of the studs or for the ceiling, to the bottom sides of the joists. The pressure fluctuations from low frequency sound can still move the walls ever so slightly but now, when the walls move, they no longer directly push the studs or joists. Since movement of the wall doesn\'t push the studs, it cannot transfer sonic pressure pulses into the structure of the house.<br /><br />\nStandard isolation wall construction methods have been providing some measure of sound isolation for nearly 50 years. However, powerful low frequency sound generators, the subwoofers found in today\'s Hi-fi and home theater systems have only been popular for about 5 years. With standard isolation construction methods, once the walls begin shaking with the sound, they continue shaking even after the sound stops. This isn\'t much different than the concrete room except that this time the reverberant vibration is not in the air but in the shuddering walls. Here is where WallDamp goes to work, absorbing the energy out of the shuddering vibrating walls. With WallDamp we have the best of all, lightweight and cost effective walls that sound better than concrete walls.<br /><br />\n<h3>How does WallDamp actually work?</h3>\nA wall, floor or ceiling is constructed using a complex set of objects, each touching the other in some fashion. When any one piece moves, it pushes on the adjoining pieces and so on. The reason WallDamp works is that it is located between all the pieces so that every time one piece pushes against another, WallDamp is there absorbing energy out of the push. Actually WallDamp does not absorb much energy when one piece pushes or pulls squarely on another piece. It does absorb a lot of energy when one piece tries to slide past the other. Fortunately when an object pushes on another object, there is a strong tendency for the two to slip or slide a bit at their contact point. This is where WallDamp extracts the energy - from the shifting surfaces. (See Footnote below for an explanation of how WallDamp extracts energy.)<br /><br />\nThe second thing about WallDamp is that it has been made to extract energy from microscopic movements. That\'s good because very small movements are involved in the making of sound, especially when it comes to surfaces as big as walls, floors and ceilings. There are many kinds of viscoelastic materials. The most familiar is the soft type that is put into the heels of runner\'s shoes to absorb the shock of the footfall. The deformation of this soft material is measured in fractions of an inch. WallDamp is relatively hard but that is because the deformation it has to process is measured in thousandths of an inch or less. The hardness corresponds to the force and the deformation involved. WallDamp is made for structural damping.<br /><br />\nAnother thing to know about viscoelastic materials is, if they get too hot, they get soft and lose their energy absorbing power. Similarly, if they get too cold, they harden up and lose their energy absorbing power. Each viscoelastic material is blended to operate in a certain temperature range. WallDamp is made for the temperatures found in the walls, floors and ceilings of homes, apartments, duplexes and offices, places where people live and work.<br /><br />\nWallDamp may look simple but what it does is complex and well suited to its application in damping out the free vibration of walls, floor and ceilings. WallDamp is setting the new standard in frame construction. And, once you hear the difference, you\'ll know what you\'ve been missing.<br /><br />\n<h3>How does WallDamp extract energy from the walls?</h3>\nViscoelastic materials absorb energy when one molecule of the material is forced to move past another molecule. The molecules involved are not smooth but rough shaped and when one moves past another, they sort of plug into each other. As they continue to move past, they are forced to unplug but this leaves both molecules twanging in the aftermath of being unplugged. These twanging molecules become \"heat\" which conducts away, warming up other molecules of WallDamp and eventually the parts that were connected to the WallDamp. Molecular friction absorbs the energy of distortion. This is the visco part of the material. Other molecules in WallDamp are connected tightly together to form a spring that becomes stretched when the WallDamp is distorted. These molecular fiber springs then act to pull the material back into shape once the distorting force is removed. Without these shape restoring molecular springs to bear the load, the visco molecules would simple squish out of the joints like grease under pressure and the energy absorbing benefit of the material would be lost.<br /><br />'),(1544,75,1,258,'<h2>WallDamp Strips 1″ x 48″ x 1/20″ - 25 strips per bundle (100 Linear Feet)</h2>\nASC-WallDamp takes all the mystery out of soundproofing walls. It is a double sided, self adhesive sheet of material and its two step application is simple and quick. Just remove the release paper and place WallDamp between every joint, every connection in your wall. The pressure sensitive adhesive of WallDamp glues the wall together and that improves its overall structural integrity but more important is the polymer compound of the WallDamp sheet itself.<br /><br />\nWallDamp\'s benefits include superior structural damping, easy installation, compatibility with most existing wall systems and cost effectiveness.<br /><br />\n<h3>WallDamp technical explanation:</h3>\nASC-WallDamp is a construction material that is an add-on or upgrade to standard wall and ceiling construction projects. By locating WallDamp material between the joints in a frame construction project, the rooms in the building take on that solid feeling of lath-and-plaster. With WallDamp in place, any vibration or sonic energy that finds itself inside the walls of the building is quickly removed, before it can be heard. This means that lightweight, cost effective stick frame and gypsum board walls can now provide the performance of much more expensive and heavy construction methods. Another important feature is that the WallDamp construction method uses standard construction materials and practices with the simple addition of a thin sheet of damping material that is slipped into every joint possible.<br /><br />\nWallDamp construction is more resistant to the intrusion of external noise such as truck and train rumble, aircraft flyovers, sonic booms and neighborhood heat pumps. It works just as well in reverse. The loud sound from the stereo, home theater system or music practice room stays inside the house and out of the neighbor\'s yard. Then, there is the sound within the house. The wind can blow the front door closed without jarring through the entire house. The sound power from the stereo or home theater, including the subwoofer thump, stays in the room and doesn\'t shudder the whole house. Kids can play downstairs and the adults upstairs hear almost nothing. Probably, the best thing that WallDamp contributes to today\'s living experience is the increased sense of peace and quiet at a time when, day-by-day, more noise seems to be the only option.<br /><br />\n<h3>WallDamp construction method:</h3>\nWhen sound or vibration tries to pass through the walls, floor or ceiling of a room, is causes those surfaces and the structure behind each of them to move. When a wall, floor or ceiling vibrates, it changes shape. If WallDamp is located at the joints, between each of the parts that make up the wall, floor or ceiling, then any movement at all by the wall, floor or ceiling causes a distortion of the WallDamp. This distortion then absorbs energy and any vibration is quieted right down.<br /><br />\nTo improve the ability of WallDamp to extract energy out of the micro movement of a structure, the viscoelastic sheet is coated with a strong adhesive on both sides. This means that even the slightest movement at the joint between members of a structure produces distortion of the WallDamp material. The most common application for WallDamp today is to glue it to each face of the wall studs and then nail or screw the gypsum board down as usual. It is also used between the first and second layers of double layer gypsum board.\nWhat is fantastic about WallDamp construction is that it not only keeps sound and vibration from passing through the surfaces of the room but that it actually absorbs it. By comparison, a concrete room is well known for keeping sound from getting out, but it\'s bad for the person left in the room, the listener. If sound can\'t get out of a room it has to stay in the room and reverberate. Carpet, draperies and furnishings may provide some acoustic friction inside the room to attenuate sounds in the treble range but they supply little to no absorption for sounds in the bass range. That is why concrete rooms are very boomy sounding. Only WallDamp provides for both a soundproof and an energy-absorbing wall.<br /><br />\nThe best WallDamp construction system is the Iso-WallDamp system developed at Acoustic Sciences Corporation. In the Iso-Wall system, a damped double layer gypsum board wall is built on one side of the stud and a suspended damped double layer gypsum board wall is placed on the other side of the studs. The suspended wall rides on standard resilient channels, flexible metal strips, which are attached to the sides of the studs or for the ceiling, to the bottom sides of the joists. The pressure fluctuations from low frequency sound can still move the walls ever so slightly but now, when the walls move, they no longer directly push the studs or joists. Since movement of the wall doesn\'t push the studs, it cannot transfer sonic pressure pulses into the structure of the house.<br /><br />\nStandard isolation wall construction methods have been providing some measure of sound isolation for nearly 50 years. However, powerful low frequency sound generators, the subwoofers found in today\'s Hi-fi and home theater systems have only been popular for about 5 years. With standard isolation construction methods, once the walls begin shaking with the sound, they continue shaking even after the sound stops. This isn\'t much different than the concrete room except that this time the reverberant vibration is not in the air but in the shuddering walls. Here is where WallDamp goes to work, absorbing the energy out of the shuddering vibrating walls. With WallDamp we have the best of all, lightweight and cost effective walls that sound better than concrete walls.<br /><br />\n<h3>How does WallDamp actually work?</h3>\nA wall, floor or ceiling is constructed using a complex set of objects, each touching the other in some fashion. When any one piece moves, it pushes on the adjoining pieces and so on. The reason WallDamp works is that it is located between all the pieces so that every time one piece pushes against another, WallDamp is there absorbing energy out of the push. Actually WallDamp does not absorb much energy when one piece pushes or pulls squarely on another piece. It does absorb a lot of energy when one piece tries to slide past the other. Fortunately when an object pushes on another object, there is a strong tendency for the two to slip or slide a bit at their contact point. This is where WallDamp extracts the energy - from the shifting surfaces. (See Footnote below for an explanation of how WallDamp extracts energy.)<br /><br />\nThe second thing about WallDamp is that it has been made to extract energy from microscopic movements. That\'s good because very small movements are involved in the making of sound, especially when it comes to surfaces as big as walls, floors and ceilings. There are many kinds of viscoelastic materials. The most familiar is the soft type that is put into the heels of runner\'s shoes to absorb the shock of the footfall. The deformation of this soft material is measured in fractions of an inch. WallDamp is relatively hard but that is because the deformation it has to process is measured in thousandths of an inch or less. The hardness corresponds to the force and the deformation involved. WallDamp is made for structural damping.<br /><br />\nAnother thing to know about viscoelastic materials is, if they get too hot, they get soft and lose their energy absorbing power. Similarly, if they get too cold, they harden up and lose their energy absorbing power. Each viscoelastic material is blended to operate in a certain temperature range. WallDamp is made for the temperatures found in the walls, floors and ceilings of homes, apartments, duplexes and offices, places where people live and work.<br /><br />\nWallDamp may look simple but what it does is complex and well suited to its application in damping out the free vibration of walls, floor and ceilings. WallDamp is setting the new standard in frame construction. And, once you hear the difference, you\'ll know what you\'ve been missing.<br /><br />\n<h3>How does WallDamp extract energy from the walls?</h3>\nViscoelastic materials absorb energy when one molecule of the material is forced to move past another molecule. The molecules involved are not smooth but rough shaped and when one moves past another, they sort of plug into each other. As they continue to move past, they are forced to unplug but this leaves both molecules twanging in the aftermath of being unplugged. These twanging molecules become \"heat\" which conducts away, warming up other molecules of WallDamp and eventually the parts that were connected to the WallDamp. Molecular friction absorbs the energy of distortion. This is the visco part of the material. Other molecules in WallDamp are connected tightly together to form a spring that becomes stretched when the WallDamp is distorted. These molecular fiber springs then act to pull the material back into shape once the distorting force is removed. Without these shape restoring molecular springs to bear the load, the visco molecules would simple squish out of the joints like grease under pressure and the energy absorbing benefit of the material would be lost.<br /><br />'),(1545,85,0,258,'WallDamp Strips 1 x 48 x 1/20'),(1546,85,1,258,'WallDamp Strips 1 x 48 x 1/20'),(1547,76,0,258,''),(1548,76,1,258,''),(1549,75,0,259,'<h2>ASC WallDamp Strips 1.5″ x 48″ x 1/20″ - 25 strips per bundle (100 Linear Feet)</h2>\nASC-WallDamp takes all the mystery out of soundproofing walls. It is a double sided, self adhesive sheet of material and its two step application is simple and quick. Just remove the release paper and place WallDamp between every joint, every connection in your wall. The pressure sensitive adhesive of WallDamp glues the wall together and that improves its overall structural integrity but more important is the polymer compound of the WallDamp sheet itself.<br /><br />\nWallDamp\'s benefits include superior structural damping, easy installation, compatibility with most existing wall systems and cost effectiveness.<br /><br />\n<h3>WallDamp technical explanation:</h3>\nASC-WallDamp is a construction material that is an add-on or upgrade to standard wall and ceiling construction projects. By locating WallDamp material between the joints in a frame construction project, the rooms in the building take on that solid feeling of lath-and-plaster. With WallDamp in place, any vibration or sonic energy that finds itself inside the walls of the building is quickly removed, before it can be heard. This means that lightweight, cost effective stick frame and gypsum board walls can now provide the performance of much more expensive and heavy construction methods. Another important feature is that the WallDamp construction method uses standard construction materials and practices with the simple addition of a thin sheet of damping material that is slipped into every joint possible.<br /><br />\nWallDamp construction is more resistant to the intrusion of external noise such as truck and train rumble, aircraft flyovers, sonic booms and neighborhood heat pumps. It works just as well in reverse. The loud sound from the stereo, home theater system or music practice room stays inside the house and out of the neighbor\'s yard. Then, there is the sound within the house. The wind can blow the front door closed without jarring through the entire house. The sound power from the stereo or home theater, including the subwoofer thump, stays in the room and doesn\'t shudder the whole house. Kids can play downstairs and the adults upstairs hear almost nothing. Probably, the best thing that WallDamp contributes to today\'s living experience is the increased sense of peace and quiet at a time when, day-by-day, more noise seems to be the only option.<br /><br />\n<h3>WallDamp construction method:</h3>\nWhen sound or vibration tries to pass through the walls, floor or ceiling of a room, is causes those surfaces and the structure behind each of them to move. When a wall, floor or ceiling vibrates, it changes shape. If WallDamp is located at the joints, between each of the parts that make up the wall, floor or ceiling, then any movement at all by the wall, floor or ceiling causes a distortion of the WallDamp. This distortion then absorbs energy and any vibration is quieted right down.<br /><br />\nTo improve the ability of WallDamp to extract energy out of the micro movement of a structure, the viscoelastic sheet is coated with a strong adhesive on both sides. This means that even the slightest movement at the joint between members of a structure produces distortion of the WallDamp material. The most common application for WallDamp today is to glue it to each face of the wall studs and then nail or screw the gypsum board down as usual. It is also used between the first and second layers of double layer gypsum board.\nWhat is fantastic about WallDamp construction is that it not only keeps sound and vibration from passing through the surfaces of the room but that it actually absorbs it. By comparison, a concrete room is well known for keeping sound from getting out, but it\'s bad for the person left in the room, the listener. If sound can\'t get out of a room it has to stay in the room and reverberate. Carpet, draperies and furnishings may provide some acoustic friction inside the room to attenuate sounds in the treble range but they supply little to no absorption for sounds in the bass range. That is why concrete rooms are very boomy sounding. Only WallDamp provides for both a soundproof and an energy-absorbing wall.<br /><br />\nThe best WallDamp construction system is the Iso-WallDamp system developed at Acoustic Sciences Corporation. In the Iso-Wall system, a damped double layer gypsum board wall is built on one side of the stud and a suspended damped double layer gypsum board wall is placed on the other side of the studs. The suspended wall rides on standard resilient channels, flexible metal strips, which are attached to the sides of the studs or for the ceiling, to the bottom sides of the joists. The pressure fluctuations from low frequency sound can still move the walls ever so slightly but now, when the walls move, they no longer directly push the studs or joists. Since movement of the wall doesn\'t push the studs, it cannot transfer sonic pressure pulses into the structure of the house.<br /><br />\nStandard isolation wall construction methods have been providing some measure of sound isolation for nearly 50 years. However, powerful low frequency sound generators, the subwoofers found in today\'s Hi-fi and home theater systems have only been popular for about 5 years. With standard isolation construction methods, once the walls begin shaking with the sound, they continue shaking even after the sound stops. This isn\'t much different than the concrete room except that this time the reverberant vibration is not in the air but in the shuddering walls. Here is where WallDamp goes to work, absorbing the energy out of the shuddering vibrating walls. With WallDamp we have the best of all, lightweight and cost effective walls that sound better than concrete walls.<br /><br />\n<h3>How does WallDamp actually work?</h3>\nA wall, floor or ceiling is constructed using a complex set of objects, each touching the other in some fashion. When any one piece moves, it pushes on the adjoining pieces and so on. The reason WallDamp works is that it is located between all the pieces so that every time one piece pushes against another, WallDamp is there absorbing energy out of the push. Actually WallDamp does not absorb much energy when one piece pushes or pulls squarely on another piece. It does absorb a lot of energy when one piece tries to slide past the other. Fortunately when an object pushes on another object, there is a strong tendency for the two to slip or slide a bit at their contact point. This is where WallDamp extracts the energy - from the shifting surfaces. (See Footnote below for an explanation of how WallDamp extracts energy.)<br /><br />\nThe second thing about WallDamp is that it has been made to extract energy from microscopic movements. That\'s good because very small movements are involved in the making of sound, especially when it comes to surfaces as big as walls, floors and ceilings. There are many kinds of viscoelastic materials. The most familiar is the soft type that is put into the heels of runner\'s shoes to absorb the shock of the footfall. The deformation of this soft material is measured in fractions of an inch. WallDamp is relatively hard but that is because the deformation it has to process is measured in thousandths of an inch or less. The hardness corresponds to the force and the deformation involved. WallDamp is made for structural damping.<br /><br />\nAnother thing to know about viscoelastic materials is, if they get too hot, they get soft and lose their energy absorbing power. Similarly, if they get too cold, they harden up and lose their energy absorbing power. Each viscoelastic material is blended to operate in a certain temperature range. WallDamp is made for the temperatures found in the walls, floors and ceilings of homes, apartments, duplexes and offices, places where people live and work.<br /><br />\nWallDamp may look simple but what it does is complex and well suited to its application in damping out the free vibration of walls, floor and ceilings. WallDamp is setting the new standard in frame construction. And, once you hear the difference, you\'ll know what you\'ve been missing.<br /><br />\n<h3>How does WallDamp extract energy from the walls?</h3>\nViscoelastic materials absorb energy when one molecule of the material is forced to move past another molecule. The molecules involved are not smooth but rough shaped and when one moves past another, they sort of plug into each other. As they continue to move past, they are forced to unplug but this leaves both molecules twanging in the aftermath of being unplugged. These twanging molecules become \"heat\" which conducts away, warming up other molecules of WallDamp and eventually the parts that were connected to the WallDamp. Molecular friction absorbs the energy of distortion. This is the visco part of the material. Other molecules in WallDamp are connected tightly together to form a spring that becomes stretched when the WallDamp is distorted. These molecular fiber springs then act to pull the material back into shape once the distorting force is removed. Without these shape restoring molecular springs to bear the load, the visco molecules would simple squish out of the joints like grease under pressure and the energy absorbing benefit of the material would be lost.<br /><br />'),(1550,75,1,259,'<h2>ASC WallDamp Strips 1.5″ x 48″ x 1/20″ - 25 strips per bundle (100 Linear Feet)</h2>\nASC-WallDamp takes all the mystery out of soundproofing walls. It is a double sided, self adhesive sheet of material and its two step application is simple and quick. Just remove the release paper and place WallDamp between every joint, every connection in your wall. The pressure sensitive adhesive of WallDamp glues the wall together and that improves its overall structural integrity but more important is the polymer compound of the WallDamp sheet itself.<br /><br />\nWallDamp\'s benefits include superior structural damping, easy installation, compatibility with most existing wall systems and cost effectiveness.<br /><br />\n<h3>WallDamp technical explanation:</h3>\nASC-WallDamp is a construction material that is an add-on or upgrade to standard wall and ceiling construction projects. By locating WallDamp material between the joints in a frame construction project, the rooms in the building take on that solid feeling of lath-and-plaster. With WallDamp in place, any vibration or sonic energy that finds itself inside the walls of the building is quickly removed, before it can be heard. This means that lightweight, cost effective stick frame and gypsum board walls can now provide the performance of much more expensive and heavy construction methods. Another important feature is that the WallDamp construction method uses standard construction materials and practices with the simple addition of a thin sheet of damping material that is slipped into every joint possible.<br /><br />\nWallDamp construction is more resistant to the intrusion of external noise such as truck and train rumble, aircraft flyovers, sonic booms and neighborhood heat pumps. It works just as well in reverse. The loud sound from the stereo, home theater system or music practice room stays inside the house and out of the neighbor\'s yard. Then, there is the sound within the house. The wind can blow the front door closed without jarring through the entire house. The sound power from the stereo or home theater, including the subwoofer thump, stays in the room and doesn\'t shudder the whole house. Kids can play downstairs and the adults upstairs hear almost nothing. Probably, the best thing that WallDamp contributes to today\'s living experience is the increased sense of peace and quiet at a time when, day-by-day, more noise seems to be the only option.<br /><br />\n<h3>WallDamp construction method:</h3>\nWhen sound or vibration tries to pass through the walls, floor or ceiling of a room, is causes those surfaces and the structure behind each of them to move. When a wall, floor or ceiling vibrates, it changes shape. If WallDamp is located at the joints, between each of the parts that make up the wall, floor or ceiling, then any movement at all by the wall, floor or ceiling causes a distortion of the WallDamp. This distortion then absorbs energy and any vibration is quieted right down.<br /><br />\nTo improve the ability of WallDamp to extract energy out of the micro movement of a structure, the viscoelastic sheet is coated with a strong adhesive on both sides. This means that even the slightest movement at the joint between members of a structure produces distortion of the WallDamp material. The most common application for WallDamp today is to glue it to each face of the wall studs and then nail or screw the gypsum board down as usual. It is also used between the first and second layers of double layer gypsum board.\nWhat is fantastic about WallDamp construction is that it not only keeps sound and vibration from passing through the surfaces of the room but that it actually absorbs it. By comparison, a concrete room is well known for keeping sound from getting out, but it\'s bad for the person left in the room, the listener. If sound can\'t get out of a room it has to stay in the room and reverberate. Carpet, draperies and furnishings may provide some acoustic friction inside the room to attenuate sounds in the treble range but they supply little to no absorption for sounds in the bass range. That is why concrete rooms are very boomy sounding. Only WallDamp provides for both a soundproof and an energy-absorbing wall.<br /><br />\nThe best WallDamp construction system is the Iso-WallDamp system developed at Acoustic Sciences Corporation. In the Iso-Wall system, a damped double layer gypsum board wall is built on one side of the stud and a suspended damped double layer gypsum board wall is placed on the other side of the studs. The suspended wall rides on standard resilient channels, flexible metal strips, which are attached to the sides of the studs or for the ceiling, to the bottom sides of the joists. The pressure fluctuations from low frequency sound can still move the walls ever so slightly but now, when the walls move, they no longer directly push the studs or joists. Since movement of the wall doesn\'t push the studs, it cannot transfer sonic pressure pulses into the structure of the house.<br /><br />\nStandard isolation wall construction methods have been providing some measure of sound isolation for nearly 50 years. However, powerful low frequency sound generators, the subwoofers found in today\'s Hi-fi and home theater systems have only been popular for about 5 years. With standard isolation construction methods, once the walls begin shaking with the sound, they continue shaking even after the sound stops. This isn\'t much different than the concrete room except that this time the reverberant vibration is not in the air but in the shuddering walls. Here is where WallDamp goes to work, absorbing the energy out of the shuddering vibrating walls. With WallDamp we have the best of all, lightweight and cost effective walls that sound better than concrete walls.<br /><br />\n<h3>How does WallDamp actually work?</h3>\nA wall, floor or ceiling is constructed using a complex set of objects, each touching the other in some fashion. When any one piece moves, it pushes on the adjoining pieces and so on. The reason WallDamp works is that it is located between all the pieces so that every time one piece pushes against another, WallDamp is there absorbing energy out of the push. Actually WallDamp does not absorb much energy when one piece pushes or pulls squarely on another piece. It does absorb a lot of energy when one piece tries to slide past the other. Fortunately when an object pushes on another object, there is a strong tendency for the two to slip or slide a bit at their contact point. This is where WallDamp extracts the energy - from the shifting surfaces. (See Footnote below for an explanation of how WallDamp extracts energy.)<br /><br />\nThe second thing about WallDamp is that it has been made to extract energy from microscopic movements. That\'s good because very small movements are involved in the making of sound, especially when it comes to surfaces as big as walls, floors and ceilings. There are many kinds of viscoelastic materials. The most familiar is the soft type that is put into the heels of runner\'s shoes to absorb the shock of the footfall. The deformation of this soft material is measured in fractions of an inch. WallDamp is relatively hard but that is because the deformation it has to process is measured in thousandths of an inch or less. The hardness corresponds to the force and the deformation involved. WallDamp is made for structural damping.<br /><br />\nAnother thing to know about viscoelastic materials is, if they get too hot, they get soft and lose their energy absorbing power. Similarly, if they get too cold, they harden up and lose their energy absorbing power. Each viscoelastic material is blended to operate in a certain temperature range. WallDamp is made for the temperatures found in the walls, floors and ceilings of homes, apartments, duplexes and offices, places where people live and work.<br /><br />\nWallDamp may look simple but what it does is complex and well suited to its application in damping out the free vibration of walls, floor and ceilings. WallDamp is setting the new standard in frame construction. And, once you hear the difference, you\'ll know what you\'ve been missing.<br /><br />\n<h3>How does WallDamp extract energy from the walls?</h3>\nViscoelastic materials absorb energy when one molecule of the material is forced to move past another molecule. The molecules involved are not smooth but rough shaped and when one moves past another, they sort of plug into each other. As they continue to move past, they are forced to unplug but this leaves both molecules twanging in the aftermath of being unplugged. These twanging molecules become \"heat\" which conducts away, warming up other molecules of WallDamp and eventually the parts that were connected to the WallDamp. Molecular friction absorbs the energy of distortion. This is the visco part of the material. Other molecules in WallDamp are connected tightly together to form a spring that becomes stretched when the WallDamp is distorted. These molecular fiber springs then act to pull the material back into shape once the distorting force is removed. Without these shape restoring molecular springs to bear the load, the visco molecules would simple squish out of the joints like grease under pressure and the energy absorbing benefit of the material would be lost.<br /><br />'),(1551,85,0,259,'ASC WallDamp Strips 1.5 x 48 x 1/20'),(1552,85,1,259,'ASC WallDamp Strips 1.5 x 48 x 1/20'),(1553,76,0,259,''),(1554,76,1,259,''),(1555,75,0,260,'<h2>Audio-Technica AT4040- Cardioid Condenser Microphone<span style=\"background-color: initial;\"></span></h2>\n<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">A marriage of technical precision and artistic inspiration, the AT4040 offers exceptionally low noise, wide dynamic range and high-SPL capability for greatest versatility. </span></span><br /><br />The AT4040 side-address condenser microphone features an advanced large \ndiaphragm tensioned specifically to provide smooth, natural sonic \ncharacteristics. This \nultra-consistent microphone may be used with confidence in a wide \nvariety of studio and live miking applications, even under the stringent\n demands of digital recording systems. The AT4040’s low-noise circuitry \nis symmetrical and transformerless, resulting in exceptional transient \nresponse and clean output signals for transparent reproduction of even \nthe most troublesome of instruments and sound effects.\n<br />\n<br /><br />\n\n<h3>AT4040 Key Features</h3>\n<ul></ul><ul></ul><style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"ＭＳ 明朝\";\n	mso-font-charset:78;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1791491579 18 0 131231 0;}\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Cambria;\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1073743103 0 0 415 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin:0in;\n	margin-bottom:.0001pt;\n	mso-pagination:widow-orphan;\n	font-size:12.0pt;\n	font-family:Cambria;\n	mso-ascii-font-family:Cambria;\n	mso-ascii-theme-font:minor-latin;\n	mso-fareast-font-family:\"ＭＳ 明朝\";\n	mso-fareast-theme-font:minor-fareast;\n	mso-hansi-font-family:Cambria;\n	mso-hansi-theme-font:minor-latin;\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-theme-font:minor-bidi;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-family:Cambria;\n	mso-ascii-font-family:Cambria;\n	mso-ascii-theme-font:minor-latin;\n	mso-fareast-font-family:\"ＭＳ 明朝\";\n	mso-fareast-theme-font:minor-fareast;\n	mso-hansi-font-family:Cambria;\n	mso-hansi-theme-font:minor-latin;\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-theme-font:minor-bidi;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n--></style><br /><ul><li>Technically-advanced large diaphragm tensioned specifically to provide smooth, natural sonic characteristics</li><li>Externally polarized (DC bias) true condenser design</li><li>Exceptionally low noise, wide dynamic range and high-SPL capability for greatest versatility</li><li>Transformerless circuitry virtually eliminates low-frequency \ndistortion and provides superior correlation of high-speed transients</li><li>Precision-machined, nickel-plated brass, acoustic element baffle provides enhanced element stability and optimal sensitivity</li><li>Open acoustical environment of the symmetrical housing assembly minimizes unwanted internal reflections</li><li>State-of-the-art surface-mount electronics ensure compliance with A-T\'s stringent consistency and reliability standards</li><li>Custom shock mount provides superior isolation</li><li>Switchable 80 Hz hi-pass filter and 10 dB pad</li></ul><br /><h3>About Audio-Technica Microphones</h3><p>Audio-Technica products have provided seamless audio coverage and \ntechnical support in U.S. presidential debates since 1988. A-T mics also\n deliver versatile solutions at high-profile sports broadcasts, \nincluding World Cup Soccer, the Super Bowl, and the Commonwealth Games, \nas well as the Summer Games in London (2012), Beijing (2008), Athens \n(2004), Sydney (2000), and Atlanta (1996), and the Winter Games in Sochi\n (2014), Vancouver (2010), Torino (2006) and Salt Lake City (2002). \n<br /><span id=\"product_description\" itemprop=\"description\"></span></p><h3>Audio-Technica is a worldwide group of companies devoted to the design, manufacture, marketing and distribution of problem-solving audio equipment. Call or chat with\n a RSPE representative today for more information.</h3><p></p><p></p>\n<ul></ul>'),(1556,75,1,260,'<h2>Audio-Technica AT4040- Cardioid Condenser Microphone<span style=\"background-color: initial;\"></span></h2>\n<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">A marriage of technical precision and artistic inspiration, the AT4040 offers exceptionally low noise, wide dynamic range and high-SPL capability for greatest versatility. </span></span><br /><br />The AT4040 side-address condenser microphone features an advanced large \ndiaphragm tensioned specifically to provide smooth, natural sonic \ncharacteristics. This \nultra-consistent microphone may be used with confidence in a wide \nvariety of studio and live miking applications, even under the stringent\n demands of digital recording systems. The AT4040’s low-noise circuitry \nis symmetrical and transformerless, resulting in exceptional transient \nresponse and clean output signals for transparent reproduction of even \nthe most troublesome of instruments and sound effects.\n<br />\n<br /><br />\n\n<h3>AT4040 Key Features</h3>\n<ul></ul><ul></ul><style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"ＭＳ 明朝\";\n	mso-font-charset:78;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1791491579 18 0 131231 0;}\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Cambria;\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1073743103 0 0 415 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin:0in;\n	margin-bottom:.0001pt;\n	mso-pagination:widow-orphan;\n	font-size:12.0pt;\n	font-family:Cambria;\n	mso-ascii-font-family:Cambria;\n	mso-ascii-theme-font:minor-latin;\n	mso-fareast-font-family:\"ＭＳ 明朝\";\n	mso-fareast-theme-font:minor-fareast;\n	mso-hansi-font-family:Cambria;\n	mso-hansi-theme-font:minor-latin;\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-theme-font:minor-bidi;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-family:Cambria;\n	mso-ascii-font-family:Cambria;\n	mso-ascii-theme-font:minor-latin;\n	mso-fareast-font-family:\"ＭＳ 明朝\";\n	mso-fareast-theme-font:minor-fareast;\n	mso-hansi-font-family:Cambria;\n	mso-hansi-theme-font:minor-latin;\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-theme-font:minor-bidi;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n--></style><br /><ul><li>Technically-advanced large diaphragm tensioned specifically to provide smooth, natural sonic characteristics</li><li>Externally polarized (DC bias) true condenser design</li><li>Exceptionally low noise, wide dynamic range and high-SPL capability for greatest versatility</li><li>Transformerless circuitry virtually eliminates low-frequency \ndistortion and provides superior correlation of high-speed transients</li><li>Precision-machined, nickel-plated brass, acoustic element baffle provides enhanced element stability and optimal sensitivity</li><li>Open acoustical environment of the symmetrical housing assembly minimizes unwanted internal reflections</li><li>State-of-the-art surface-mount electronics ensure compliance with A-T\'s stringent consistency and reliability standards</li><li>Custom shock mount provides superior isolation</li><li>Switchable 80 Hz hi-pass filter and 10 dB pad</li></ul><br /><h3>About Audio-Technica Microphones</h3><p>Audio-Technica products have provided seamless audio coverage and \ntechnical support in U.S. presidential debates since 1988. A-T mics also\n deliver versatile solutions at high-profile sports broadcasts, \nincluding World Cup Soccer, the Super Bowl, and the Commonwealth Games, \nas well as the Summer Games in London (2012), Beijing (2008), Athens \n(2004), Sydney (2000), and Atlanta (1996), and the Winter Games in Sochi\n (2014), Vancouver (2010), Torino (2006) and Salt Lake City (2002). \n<br /><span id=\"product_description\" itemprop=\"description\"></span></p><h3>Audio-Technica is a worldwide group of companies devoted to the design, manufacture, marketing and distribution of problem-solving audio equipment. Call or chat with\n a RSPE representative today for more information.</h3><p></p><p></p>\n<ul></ul>'),(1557,85,0,260,'Audio-Technica AT4040- Cardioid Condenser Microphone'),(1558,85,1,260,'Audio-Technica AT4040- Cardioid Condenser Microphone'),(1559,76,0,260,''),(1560,76,1,260,''),(1561,75,0,261,'<h1>ATC Loudspeakers P1 Pro Amplifier</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The ATC P1 Pro is a high-quality class A/B power amplifier designed to power ATC passive monitors. <br /><br /></span>The P1 Pro Amplifier delivers 150 watts per channel and the P2 Pro provides 300 watts per channel, both at 8 Ohms. The 19-inch rack-mount chassis has a front panel mounted standby button and L/R clip indication.<br /><br />The amplifiers incorporate the same gain reduction and loudspeaker protection circuits that are used in the ATC active monitors. These circuits help ensure that the amplifier will not clip, even when working at very high volumes, which protects the loudspeakers from damage and improves the subjective performance of the entire system.<br /><br />Neither model uses a fan so they can be placed anywhere, including the control room. Further, they’re a “true” dual mono design: the power supplies, signal, and return paths are totally separated from each other. This approach maximizes signal separation and minimizes crosstalk.<br /><br />Further, intermodulation between channels via the power supplies is reduced to a minimum at all frequencies, and the power demand from one channel cannot affect the specified power available to the other channel<br /><br /><span style=\"font-family: Arial; color: rgb(109, 110, 112);\"></span><span style=\"font-family: Arial;\"></span>\n<br />\n<h3>P1 – Dual-Mono Power Amplifier Features</h3>\n<ul>\n	<li>Class A/B operation</li>\n	<li>Hand built in the UK</li>\n	<li>True dual mono design</li>\n	<li>Balanced and unbalanced inputs</li>\n	<li>Amplifier link output</li>\n	<li>Remote control</li>\n	<li>6 year warranty</li>\n</ul>\n<br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1562,75,1,261,'<h1>ATC Loudspeakers P1 Pro Amplifier</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The ATC P1 Pro is a high-quality class A/B power amplifier designed to power ATC passive monitors. <br /><br /></span>The P1 Pro Amplifier delivers 150 watts per channel and the P2 Pro provides 300 watts per channel, both at 8 Ohms. The 19-inch rack-mount chassis has a front panel mounted standby button and L/R clip indication.<br /><br />The amplifiers incorporate the same gain reduction and loudspeaker protection circuits that are used in the ATC active monitors. These circuits help ensure that the amplifier will not clip, even when working at very high volumes, which protects the loudspeakers from damage and improves the subjective performance of the entire system.<br /><br />Neither model uses a fan so they can be placed anywhere, including the control room. Further, they’re a “true” dual mono design: the power supplies, signal, and return paths are totally separated from each other. This approach maximizes signal separation and minimizes crosstalk.<br /><br />Further, intermodulation between channels via the power supplies is reduced to a minimum at all frequencies, and the power demand from one channel cannot affect the specified power available to the other channel<br /><br /><span style=\"font-family: Arial; color: rgb(109, 110, 112);\"></span><span style=\"font-family: Arial;\"></span>\n<br />\n<h3>P1 – Dual-Mono Power Amplifier Features</h3>\n<ul>\n	<li>Class A/B operation</li>\n	<li>Hand built in the UK</li>\n	<li>True dual mono design</li>\n	<li>Balanced and unbalanced inputs</li>\n	<li>Amplifier link output</li>\n	<li>Remote control</li>\n	<li>6 year warranty</li>\n</ul>\n<br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1563,85,0,261,'ATC P1 Pro Amplifier'),(1564,85,1,261,'ATC P1 Pro Amplifier'),(1565,76,0,261,''),(1566,76,1,261,''),(1567,75,0,262,'<h1>ATC Loudspeakers P2 PRO Dual Mono Power Amplifier</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The ATC P2 Pro Amplifier is true dual-mono power amplifier delivering 300 W per channel with minimal crosstalk.<br /><br /></span>The P2 PRO Dual Mono Power Amplifier — a really cool looking true dual mono \ndesign, delivering 300W of continuous power simultaneously from both \nchannels to drive the most challenging loudspeaker loads. Offering wide \nbandwidth and ultra-low distortion, the new P2 Pro amplifiers are \nhand-built by ATC in the UK using a new low-vibration 19-inch rack-mount\n chassis, with precision machined 12.7mm brushed aluminum front panel.\n<br /><br />The new Class A/B P2 PRO Dual Mono Power Amplifier is a dual mono \ndesign, keeping the power supplies, signal, and return paths discrete. \nThis approach ensures that the amplifier will achieve maximum signal \nseparation with minimal crosstalk, and that intermodulation between \nchannels via the power supplies is reduced to an absolute minimum across\n a frequency range of 400kHz. It also means that the power delivery from\n one channel cannot affect the specified power available from the other.\n<br />\n<br />\nThe P2 PRO Dual Mono Power Amplifier’s layout includes a massive, \ncustom-made 400 VA low-noise transformer for each channel and an output \nstage involving three pairs of MOSFET devices per channel to achieve \npeak current output of over 15 amps. According to ATC Technical Sales \nManager Ben Lilly, “The final design of these transformers is the result\n of seven design iterations with the goal of achieving best possible \naudio performance and lowest possible mechanical noise. This was \nachieved by using a very high-grade steel core which is then \nvacuum-impregnated with high-temperature resin, post-winding. The \nexceptionally low levels of mechanical hum/buzz, along with convention \ncooling, are vital features if the amplifiers are to be used in control \nrooms designed with lowest possible levels of background noise.”\n<br /><br /><span style=\"font-family: Arial; color: rgb(109, 110, 112);\"></span><span style=\"font-family: Arial;\"></span>\n<br />\n<h3>P2 – Dual-Mono Power Amplifier Features</h3>\n<ul>\n	<li>300 W per channel</li>\n	<li>True dual-mono design delivers full power simultaneously from both channels, with minimal crosstalk</li>\n	<li>Grounded source class A/B circuit topology as found in ATC’s renowned active loudspeakers</li>\n	<li>Ultra wide bandwidth, low distortion and high dynamic range ensure tonal accuracy and perfectly timed transients</li>\n	<li>No compromise, high performance power supply and large heatsinks guarantee outstanding stability and long term reliability</li>\n	<li>A perfect match for any passive studio reference monitor</li>\n	<li>19” rack mountable convection cooled chassis</li>\n	<li>Hand built in the UK and supported by a 6 year warranty</li>\n</ul>\n<br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1568,75,1,262,'<h1>ATC Loudspeakers P2 PRO Dual Mono Power Amplifier</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The ATC P2 Pro Amplifier is true dual-mono power amplifier delivering 300 W per channel with minimal crosstalk.<br /><br /></span>The P2 PRO Dual Mono Power Amplifier — a really cool looking true dual mono \ndesign, delivering 300W of continuous power simultaneously from both \nchannels to drive the most challenging loudspeaker loads. Offering wide \nbandwidth and ultra-low distortion, the new P2 Pro amplifiers are \nhand-built by ATC in the UK using a new low-vibration 19-inch rack-mount\n chassis, with precision machined 12.7mm brushed aluminum front panel.\n<br /><br />The new Class A/B P2 PRO Dual Mono Power Amplifier is a dual mono \ndesign, keeping the power supplies, signal, and return paths discrete. \nThis approach ensures that the amplifier will achieve maximum signal \nseparation with minimal crosstalk, and that intermodulation between \nchannels via the power supplies is reduced to an absolute minimum across\n a frequency range of 400kHz. It also means that the power delivery from\n one channel cannot affect the specified power available from the other.\n<br />\n<br />\nThe P2 PRO Dual Mono Power Amplifier’s layout includes a massive, \ncustom-made 400 VA low-noise transformer for each channel and an output \nstage involving three pairs of MOSFET devices per channel to achieve \npeak current output of over 15 amps. According to ATC Technical Sales \nManager Ben Lilly, “The final design of these transformers is the result\n of seven design iterations with the goal of achieving best possible \naudio performance and lowest possible mechanical noise. This was \nachieved by using a very high-grade steel core which is then \nvacuum-impregnated with high-temperature resin, post-winding. The \nexceptionally low levels of mechanical hum/buzz, along with convention \ncooling, are vital features if the amplifiers are to be used in control \nrooms designed with lowest possible levels of background noise.”\n<br /><br /><span style=\"font-family: Arial; color: rgb(109, 110, 112);\"></span><span style=\"font-family: Arial;\"></span>\n<br />\n<h3>P2 – Dual-Mono Power Amplifier Features</h3>\n<ul>\n	<li>300 W per channel</li>\n	<li>True dual-mono design delivers full power simultaneously from both channels, with minimal crosstalk</li>\n	<li>Grounded source class A/B circuit topology as found in ATC’s renowned active loudspeakers</li>\n	<li>Ultra wide bandwidth, low distortion and high dynamic range ensure tonal accuracy and perfectly timed transients</li>\n	<li>No compromise, high performance power supply and large heatsinks guarantee outstanding stability and long term reliability</li>\n	<li>A perfect match for any passive studio reference monitor</li>\n	<li>19” rack mountable convection cooled chassis</li>\n	<li>Hand built in the UK and supported by a 6 year warranty</li>\n</ul>\n<br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1569,85,0,262,'ATC Loudspeakers P2 PRO Dual Mono Power Amplifier'),(1570,85,1,262,'ATC Loudspeakers P2 PRO Dual Mono Power Amplifier'),(1571,76,0,262,''),(1572,76,1,262,''),(1573,75,0,263,'<h1>ATC Loudspeakers SCM0.1/15ASL Active 15\" Subwoofer</h1>\n<font size=\"3\"><i>A low-distortion subwoofer featuring ATC\'s 15 Inch SL Driver and 450W Class G ATC amplifier.</i></font><br /><br />\nThe <a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM0.1/15ASL Sub features ATC\'s incredible SL Driver, a 375mm (15 inches) diameter woofer, it is the largest of the SL driver options and offers the lowest 3rd harmonic distortion of any large woofer we know, typically reducing it by 35dB. A massive built-in 450W ATC Class G amplifier delivers over 118dB spl at 28Hz, an amazing feat. This sub is floor loaded to couple with almost any room properly (far better than any front loaded type sub). It also offers a nice user interface that addresses Billy Woodman\'s philosophy of \"no bass management\". The ATC sub has a dual XLR (L/R) input, an amp gain control, a LP filter with user selectable frequencies of 2K, 180Hz, 120, 90, 70, 50Hz. There is also a \"contour\" control that enables a peak type filter (boost) into the amplifier at around 100Hz if you want to compensate for AC3 or source deficiencies.\n<br /><br />\n		ATC recommends no \"bass management\" or, no roll off for the main speakers when used with a sub. This bass management filtering artificially colors the main speaker sound and introduces filter/phase problems. ATC\'s thought is that bass management was largely created to protect woofers in tiny satellites, not to improve overall response or transition between sub and mains. Run the main speakers full range and the sub at the widest possible bandwidth, then lower the LP filter freq to the sub from there. This generates a nice result and creates a smooth transition between mains and subs.\n<br /><br />\n		The ATC sub package is flat to 28Hz and is very clean. True low distortion woofer output below 100Hz is a thing of beauty and we\'ve heard it ONLY in the ATC. Do not expect to be \"knocked down\" with huge quantities of bass. Much of what we think is massive bass is really just loads of distortion at 200Hz to 300Hz! Sometimes this distortion can approach 40 to 50% of the total sub output! So word to the wise, do not buy this ATC sub for showing off to clients. It is a precision tool and engineers window into the \"below 100 Hz\" world of a mix; a near perfect mate to ATC mains. If you are making judgments on bass content we see no other way you can to do it properly than with the ATC sub.\n<br /><br />\n		A single ATC SCM0.1/15ASL will deliver output SPL of 118dB (1W/1M). IF you need more output you can add units. A single 1-15 sub is 118dB SPL, 2 is 121dB SPL, 4 is 124dB SPL and 8 is insane!\n<br /><br />\n<h3>SCM1/15ASL Overview</h3>\n<ul>\n	<li></li><li>Full “SL” spec 15˝/375mm bass driver.</li><li>450W Class G amplifier.</li><li>Phase adjustment.</li><li>Variable cut off frequency.</li><li>Variable gain.</li><li>Stereo inputs.</li><li>6 year warranty.</li>\n</ul>\n<br /><br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1574,75,1,263,'<h1>ATC Loudspeakers SCM0.1/15ASL Active 15\" Subwoofer</h1>\n<font size=\"3\"><i>A low-distortion subwoofer featuring ATC\'s 15 Inch SL Driver and 450W Class G ATC amplifier.</i></font><br /><br />\nThe <a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM0.1/15ASL Sub features ATC\'s incredible SL Driver, a 375mm (15 inches) diameter woofer, it is the largest of the SL driver options and offers the lowest 3rd harmonic distortion of any large woofer we know, typically reducing it by 35dB. A massive built-in 450W ATC Class G amplifier delivers over 118dB spl at 28Hz, an amazing feat. This sub is floor loaded to couple with almost any room properly (far better than any front loaded type sub). It also offers a nice user interface that addresses Billy Woodman\'s philosophy of \"no bass management\". The ATC sub has a dual XLR (L/R) input, an amp gain control, a LP filter with user selectable frequencies of 2K, 180Hz, 120, 90, 70, 50Hz. There is also a \"contour\" control that enables a peak type filter (boost) into the amplifier at around 100Hz if you want to compensate for AC3 or source deficiencies.\n<br /><br />\n		ATC recommends no \"bass management\" or, no roll off for the main speakers when used with a sub. This bass management filtering artificially colors the main speaker sound and introduces filter/phase problems. ATC\'s thought is that bass management was largely created to protect woofers in tiny satellites, not to improve overall response or transition between sub and mains. Run the main speakers full range and the sub at the widest possible bandwidth, then lower the LP filter freq to the sub from there. This generates a nice result and creates a smooth transition between mains and subs.\n<br /><br />\n		The ATC sub package is flat to 28Hz and is very clean. True low distortion woofer output below 100Hz is a thing of beauty and we\'ve heard it ONLY in the ATC. Do not expect to be \"knocked down\" with huge quantities of bass. Much of what we think is massive bass is really just loads of distortion at 200Hz to 300Hz! Sometimes this distortion can approach 40 to 50% of the total sub output! So word to the wise, do not buy this ATC sub for showing off to clients. It is a precision tool and engineers window into the \"below 100 Hz\" world of a mix; a near perfect mate to ATC mains. If you are making judgments on bass content we see no other way you can to do it properly than with the ATC sub.\n<br /><br />\n		A single ATC SCM0.1/15ASL will deliver output SPL of 118dB (1W/1M). IF you need more output you can add units. A single 1-15 sub is 118dB SPL, 2 is 121dB SPL, 4 is 124dB SPL and 8 is insane!\n<br /><br />\n<h3>SCM1/15ASL Overview</h3>\n<ul>\n	<li></li><li>Full “SL” spec 15˝/375mm bass driver.</li><li>450W Class G amplifier.</li><li>Phase adjustment.</li><li>Variable cut off frequency.</li><li>Variable gain.</li><li>Stereo inputs.</li><li>6 year warranty.</li>\n</ul>\n<br /><br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1575,85,0,263,'ATC SCM0.1/15ASL High Power Subwoofer'),(1576,85,1,263,'ATC SCM0.1/15ASL High Power Subwoofer'),(1577,76,0,263,''),(1578,76,1,263,''),(1579,75,0,264,'<h1>ATC Loudspeakers SCM100ASL Pro 3-Way Active Studio Monitors (Pair)</h1>\n<span style=\"font-size:16px; font-style:italic;\">Active 3-Way Studio Monitors featuring a custom 12\" LF Driver, designed for critical listening in larger rooms and delivering the quality, accuracy, and performance you expect from ATC Speakers.</span><br /><br />\n<div>\n	The \n	<a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> <span style=\"background-color: initial;\">SCM100ASL Pro is an active 3-way monitor system suitable for larger rooms, based around the same tweeter, midrange and amp configuration as the SCM50ASL Pro, but using a 314mm bass driver in a larger enclosure. Maximum continuous SPLs of up to 115dB/1m are possible. 4th order active crossovers produce a highly linear amplitude response for both direct and ambient fields, contributing to exceptional stereo imaging. The active design ensures optimum matching of six MOS-FET amp blocks to the drivers, providing plenty of transient headroom and maximum SPLs of up to 112dB. An LF contour control provides five bass boost settings, and a flat reference response.<br /></span>\n</div>\n<br />\n<h3>ATC Loudspeakers SCM100ASL Features:</h3>\n<ul>\n	<li>25mm soft dome tweeter.</li>\n	<li>Full “SL” spec 12˝/314mm bass driver.</li>\n	<li>ATC 3″/75mm “Super Dome” mid driver.</li>\n	<li>On board grounded source 350W Tri-amp pack.</li>\n	<li>LF contour control.</li>\n	<li>Clip indication.</li>\n	<li>6 year warranty.</li>\n</ul>\n<br /><br />\n<h3>The ATC SCM Line</h3>\nThe SCM25/50/100/110 and 150 are a range of three way loudspeakers. All of the range, excluding the SCM25 are available as passive or active units, the SCM25 is only available as an active unit. Passive units have an SL suffix and active units an ASL suffix. Passive monitors are equipped with a “tri-wire” connection panel to enable separate amplification of the bass, mid and high frequency drivers. Active units have a built in three way Amplifier with frequency, gain and phase correction which has been individually optimized at the ATC manufacturing facility. Adjustment of input sensitivity and bass boost are available to the user via controls on the rear panel of the unit.\n<br /><br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1580,75,1,264,'<h1>ATC Loudspeakers SCM100ASL Pro 3-Way Active Studio Monitors (Pair)</h1>\n<span style=\"font-size:16px; font-style:italic;\">Active 3-Way Studio Monitors featuring a custom 12\" LF Driver, designed for critical listening in larger rooms and delivering the quality, accuracy, and performance you expect from ATC Speakers.</span><br /><br />\n<div>\n	The \n	<a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> <span style=\"background-color: initial;\">SCM100ASL Pro is an active 3-way monitor system suitable for larger rooms, based around the same tweeter, midrange and amp configuration as the SCM50ASL Pro, but using a 314mm bass driver in a larger enclosure. Maximum continuous SPLs of up to 115dB/1m are possible. 4th order active crossovers produce a highly linear amplitude response for both direct and ambient fields, contributing to exceptional stereo imaging. The active design ensures optimum matching of six MOS-FET amp blocks to the drivers, providing plenty of transient headroom and maximum SPLs of up to 112dB. An LF contour control provides five bass boost settings, and a flat reference response.<br /></span>\n</div>\n<br />\n<h3>ATC Loudspeakers SCM100ASL Features:</h3>\n<ul>\n	<li>25mm soft dome tweeter.</li>\n	<li>Full “SL” spec 12˝/314mm bass driver.</li>\n	<li>ATC 3″/75mm “Super Dome” mid driver.</li>\n	<li>On board grounded source 350W Tri-amp pack.</li>\n	<li>LF contour control.</li>\n	<li>Clip indication.</li>\n	<li>6 year warranty.</li>\n</ul>\n<br /><br />\n<h3>The ATC SCM Line</h3>\nThe SCM25/50/100/110 and 150 are a range of three way loudspeakers. All of the range, excluding the SCM25 are available as passive or active units, the SCM25 is only available as an active unit. Passive units have an SL suffix and active units an ASL suffix. Passive monitors are equipped with a “tri-wire” connection panel to enable separate amplification of the bass, mid and high frequency drivers. Active units have a built in three way Amplifier with frequency, gain and phase correction which has been individually optimized at the ATC manufacturing facility. Adjustment of input sensitivity and bass boost are available to the user via controls on the rear panel of the unit.\n<br /><br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1581,85,0,264,'ATC SCM100ASL 3-Way Midfield Studio Monitors'),(1582,85,1,264,'ATC SCM100ASL 3-Way Midfield Studio Monitors'),(1583,76,0,264,''),(1584,76,1,264,''),(1585,75,0,265,'<h1>ATC Loudspeakers SCM110ASL Pro 3-Way Active Studio Monitors (Pair)</h1>\n<i>Active 3-Way Studio Monitors featuring dual custom ATC SL 9\" LF Drivers, designed for critical listening in larger rooms and delivering the quality, accuracy, and performance you expect from ATC Speakers.</i><br /><br />\n<div>\n	The \n	<a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM110ASL Pro is an active 3-way monitor system suitable for larger rooms, based around the same tweeter, midrange and amp configuration as the SCM100ASL Pro, but using dual 9\" bass drivers in a larger enclosure. The low-profile SMC 110A comprises twin 9-inch ATC SL bass drivers, an ATC 3-inch soft dome mid and a soft dome one-inch tweeter. Maintaining the strict performance criteria of the taller models of ATC reference monitors, the SMC 110A offers a low profile specifically designed for better sight lines through windows and below obstructions.<br /><br />\n	Unparalleled functionality and dynamic range, and a 80 x 10 degree dispersion are combined in a monitor system that offers an amplitude linearity of 50 Hz-20 kHz (2 dB). The active design matches six MOSFET amplifier blocks with the drivers to deliver an excellent transient response and a maximum SPL of 115dB. Amplifier output is 50 watts for HF, 100 watts for MF and 200 watts for LF. An LF contour control provides 6 dB of bass boost.\n	<br /><br />\n	<h3>SCM110ASL Overview</h3>\n	<ul>\n		<li><span style=\"background-color: initial;\">ATC 25mm/1” Dual Suspension ‘S-Spec’ Tweeter.</span></li>\n		<li>Twin full “SL” spec 9˝/234mm bass driver.</li>\n		<li>ATC 75mm “Super Dome” mid driver.</li>\n		<li>On board ATC grounded source 350W Tri-amp pack.</li>\n		<li>LF contour control.</li>\n		<li>Clip indication.</li>\n		<li>6 year warranty.</li>\n	</ul>\n	<br />\n	<h3>The ATC SCM Line</h3>\nThe SCM25/50/100/110 and 150 are a range of three way loudspeakers. All of the range, excluding the SCM25 are available as passive or active units, the SCM25 is only available as an active unit. Passive units have an SL suffix and active units an ASL suffix. Passive monitors are equipped with a “tri-wire” connection panel to enable separate amplification of the bass, mid and high frequency drivers. Active units have a built in three way Amplifier with frequency, gain and phase correction which has been individually optimized at the ATC manufacturing facility. Adjustment of input sensitivity and bass boost are available to the user via controls on the rear panel of the unit.\n	<br /><br />\n	<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n	<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.\n</div>'),(1586,75,1,265,'<h1>ATC Loudspeakers SCM110ASL Pro 3-Way Active Studio Monitors (Pair)</h1>\n<i>Active 3-Way Studio Monitors featuring dual custom ATC SL 9\" LF Drivers, designed for critical listening in larger rooms and delivering the quality, accuracy, and performance you expect from ATC Speakers.</i><br /><br />\n<div>\n	The \n	<a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM110ASL Pro is an active 3-way monitor system suitable for larger rooms, based around the same tweeter, midrange and amp configuration as the SCM100ASL Pro, but using dual 9\" bass drivers in a larger enclosure. The low-profile SMC 110A comprises twin 9-inch ATC SL bass drivers, an ATC 3-inch soft dome mid and a soft dome one-inch tweeter. Maintaining the strict performance criteria of the taller models of ATC reference monitors, the SMC 110A offers a low profile specifically designed for better sight lines through windows and below obstructions.<br /><br />\n	Unparalleled functionality and dynamic range, and a 80 x 10 degree dispersion are combined in a monitor system that offers an amplitude linearity of 50 Hz-20 kHz (2 dB). The active design matches six MOSFET amplifier blocks with the drivers to deliver an excellent transient response and a maximum SPL of 115dB. Amplifier output is 50 watts for HF, 100 watts for MF and 200 watts for LF. An LF contour control provides 6 dB of bass boost.\n	<br /><br />\n	<h3>SCM110ASL Overview</h3>\n	<ul>\n		<li><span style=\"background-color: initial;\">ATC 25mm/1” Dual Suspension ‘S-Spec’ Tweeter.</span></li>\n		<li>Twin full “SL” spec 9˝/234mm bass driver.</li>\n		<li>ATC 75mm “Super Dome” mid driver.</li>\n		<li>On board ATC grounded source 350W Tri-amp pack.</li>\n		<li>LF contour control.</li>\n		<li>Clip indication.</li>\n		<li>6 year warranty.</li>\n	</ul>\n	<br />\n	<h3>The ATC SCM Line</h3>\nThe SCM25/50/100/110 and 150 are a range of three way loudspeakers. All of the range, excluding the SCM25 are available as passive or active units, the SCM25 is only available as an active unit. Passive units have an SL suffix and active units an ASL suffix. Passive monitors are equipped with a “tri-wire” connection panel to enable separate amplification of the bass, mid and high frequency drivers. Active units have a built in three way Amplifier with frequency, gain and phase correction which has been individually optimized at the ATC manufacturing facility. Adjustment of input sensitivity and bass boost are available to the user via controls on the rear panel of the unit.\n	<br /><br />\n	<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n	<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.\n</div>'),(1587,85,0,265,''),(1588,85,1,265,''),(1589,76,0,265,''),(1590,76,1,265,''),(1591,75,0,266,'<h1>ATC Loudspeakers SCM12 Pro 2-Way Compact Passive Studio Monitor Speakers (Pair)</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The SCM12 Pro proffers ATC’s acclaimed performance at a lower price point without compromising component quality and achieves this in a more compact, installation-friendly footprint ideally suited to nearfield monitoring as well as multichannel music and post-production applications.<br /></span><br />\nThe <a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM12 PRO is a passive professional near field monitor that also incorporates ATC\'s proprietary Constrained Layer Damping (CLD) bass/mid driver and ATC’s SH25-76 tweeter. Sharing technology with the renowned ATC Soft Dome midrange unit the new tweeter employs a unique dual suspension system suppressing diaphragm rocking modes and eliminating the need for ferrofluid.<br /><br />Manufactured in-house to exacting tolerances ATC’s drive units are legendary for their many design innovations. Hand-wound voice coils use only high density edge wound flat OFHC ribbon copper wire and operate in precision magnetic gaps. Front and rear venting not only reduces air flow noise but also increases power handling capacity and, therefore, long term reliability. Massive magnet motor assemblies offer no-compromise optimisation for each voice coil diameter.<br /><br />Constrained Layer Damping (CLD) is a drive unit diaphragm technology from ATC that represents another advance in performance and one that transfers directly to system performance and the reproduction of music.<br /><br />The enhanced damping performance of this technology brings significant  improvements to bass/mid drive units by reducing harmonic distortion in the critical midrange, improving magnitude linearity (frequency response) and also dispersion (behaving like a smaller drive unit off axis). These features have been incorporated into the SB50-150CLD bass/mid driver and integrated into the new SCM12 PRO.<br /><br /><br />\n<h3>SCM12 Pro Features</h3>\n<ul>\n	<li>Compact, high performance 2-way studio monitor <span>utilizing </span>ATC\'s proprietary Constrained Layer Damping (CLD) bass/mid driver. CLD technology employs a multi-layered composite cone with a central damping layer that effectively reduces the effects of cone break up. The result is a drive unit capable of delivering exception clarity, even at high drive levels.</li>\n	<li>The unique dual suspension topology of ATC’s SH25-76 tweeter ensures pistonic motion of the voice coil former without resorting to the use of Ferrofluid, ensuring a more consistent performance over extended periods of time.</li>\n	<li>Ideally suited to: Critical near-field listening applications in all control rooms; LCR and surround monitoring in small-to-medium control rooms.</li></ul><ul>\n</ul>\n<br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1592,75,1,266,'<h1>ATC Loudspeakers SCM12 Pro 2-Way Compact Passive Studio Monitor Speakers (Pair)</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The SCM12 Pro proffers ATC’s acclaimed performance at a lower price point without compromising component quality and achieves this in a more compact, installation-friendly footprint ideally suited to nearfield monitoring as well as multichannel music and post-production applications.<br /></span><br />\nThe <a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM12 PRO is a passive professional near field monitor that also incorporates ATC\'s proprietary Constrained Layer Damping (CLD) bass/mid driver and ATC’s SH25-76 tweeter. Sharing technology with the renowned ATC Soft Dome midrange unit the new tweeter employs a unique dual suspension system suppressing diaphragm rocking modes and eliminating the need for ferrofluid.<br /><br />Manufactured in-house to exacting tolerances ATC’s drive units are legendary for their many design innovations. Hand-wound voice coils use only high density edge wound flat OFHC ribbon copper wire and operate in precision magnetic gaps. Front and rear venting not only reduces air flow noise but also increases power handling capacity and, therefore, long term reliability. Massive magnet motor assemblies offer no-compromise optimisation for each voice coil diameter.<br /><br />Constrained Layer Damping (CLD) is a drive unit diaphragm technology from ATC that represents another advance in performance and one that transfers directly to system performance and the reproduction of music.<br /><br />The enhanced damping performance of this technology brings significant  improvements to bass/mid drive units by reducing harmonic distortion in the critical midrange, improving magnitude linearity (frequency response) and also dispersion (behaving like a smaller drive unit off axis). These features have been incorporated into the SB50-150CLD bass/mid driver and integrated into the new SCM12 PRO.<br /><br /><br />\n<h3>SCM12 Pro Features</h3>\n<ul>\n	<li>Compact, high performance 2-way studio monitor <span>utilizing </span>ATC\'s proprietary Constrained Layer Damping (CLD) bass/mid driver. CLD technology employs a multi-layered composite cone with a central damping layer that effectively reduces the effects of cone break up. The result is a drive unit capable of delivering exception clarity, even at high drive levels.</li>\n	<li>The unique dual suspension topology of ATC’s SH25-76 tweeter ensures pistonic motion of the voice coil former without resorting to the use of Ferrofluid, ensuring a more consistent performance over extended periods of time.</li>\n	<li>Ideally suited to: Critical near-field listening applications in all control rooms; LCR and surround monitoring in small-to-medium control rooms.</li></ul><ul>\n</ul>\n<br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1593,85,0,266,'ATC SCM12 Pro- 2-Way Compact Passive Studio Monitor Speakers'),(1594,85,1,266,'ATC SCM12 Pro- 2-Way Compact Passive Studio Monitor Speakers'),(1595,76,0,266,''),(1596,76,1,266,''),(1597,75,0,267,'<h2>ATC Loudspeakers SCM12 Pro - 2-Way Compact Passive Studio Monitor Speakers (Pair) with P1 Pro Amplifier</h2>\n<span style=\"font-size: 16px; font-style: italic;\">The SCM12 Pro offers ATC’s acclaimed performance at a lower price point without compromising component quality and achieves this in a more compact, installation-friendly footprint ideally suited to nearfield monitoring as well as multichannel music and post-production applications.<br /></span><br />\nThe <a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM12 PRO and P1 Pro Amplifier Bundle combines ATC\'s patented loudspeaker innovations with their world-class amplification technology for a passive studio monitoring system that maintains the strict performance criteria of ATC reference monitors.<br /><br />The SCM12 Pro is a passive professional near field monitor that also incorporates ATC’s SH25-76 tweeter. Sharing technology with the renowned ATC Soft Dome midrange unit the new tweeter employs a unique dual suspension system suppressing diaphragm rocking modes and eliminating the need for ferrofluid.<br />    <br />Manufactured in-house to exacting tolerances ATC’s drive units are legendary for their many design innovations. Hand-wound voice coils use only high density edge wound flat OFHC ribbon copper wire and operate in precision magnetic gaps. Front and rear venting not only reduces air flow noise but also increases power handling capacity and, therefore, long term reliability. Massive magnet motor assemblies offer no-compromise optimisation for each voice coil diameter.<br /><br />Constrained Layer Damping (CLD) is a drive unit diaphragm technology from ATC that represents another advance in performance and one that transfers directly to system performance and the reproduction of music.<br /><br />The enhanced damping performance of this technology brings significant  improvements to bass/mid drive units by reducing harmonic distortion in the critical midrange, improving magnitude linearity (frequency response) and also dispersion (behaving like a smaller drive unit off axis). These features have been incorporated into the SB50-150CLD bass/mid driver and integrated into the new SCM12 PRO.<br /><br />\n<h3>SCM12 Pro Features</h3><ul><li>Compact, high performance 2-way studio monitor <span>utilizing </span>ATC\'s proprietary Constrained Layer Damping (CLD) bass/mid driver. CLD technology employs a multi-layered composite cone with a central damping layer that effectively reduces the effects of cone break up. The result is a drive unit capable of delivering exception clarity, even at high drive levels.</li><li>The unique dual suspension topology of ATC’s SH25-76 tweeter ensures pistonic motion of the voice coil former without resorting to the use of Ferrofluid, ensuring a more consistent performance over extended periods of time.</li><li>Ideally suited to: Critical near-field listening applications in all control rooms; LCR and surround monitoring in small-to-medium control rooms.</li></ul><span style=\"font-family: Arial; color: rgb(109, 110, 112);\"></span><span style=\"font-family: Arial;\"></span>\n\n\n\n\n\n<br /><h3>P1 – Dual-Mono Power Amplifier Features</h3><ul><li>Class A/B operation</li><li>Hand built in the UK</li><li>True dual mono design</li><li>Balanced and unbalanced inputs</li><li>Amplifier link output</li><li>Remote control</li><li>6 year warranty</li></ul><br /><h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1598,75,1,267,'<h2>ATC Loudspeakers SCM12 Pro - 2-Way Compact Passive Studio Monitor Speakers (Pair) with P1 Pro Amplifier</h2>\n<span style=\"font-size: 16px; font-style: italic;\">The SCM12 Pro offers ATC’s acclaimed performance at a lower price point without compromising component quality and achieves this in a more compact, installation-friendly footprint ideally suited to nearfield monitoring as well as multichannel music and post-production applications.<br /></span><br />\nThe <a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM12 PRO and P1 Pro Amplifier Bundle combines ATC\'s patented loudspeaker innovations with their world-class amplification technology for a passive studio monitoring system that maintains the strict performance criteria of ATC reference monitors.<br /><br />The SCM12 Pro is a passive professional near field monitor that also incorporates ATC’s SH25-76 tweeter. Sharing technology with the renowned ATC Soft Dome midrange unit the new tweeter employs a unique dual suspension system suppressing diaphragm rocking modes and eliminating the need for ferrofluid.<br />    <br />Manufactured in-house to exacting tolerances ATC’s drive units are legendary for their many design innovations. Hand-wound voice coils use only high density edge wound flat OFHC ribbon copper wire and operate in precision magnetic gaps. Front and rear venting not only reduces air flow noise but also increases power handling capacity and, therefore, long term reliability. Massive magnet motor assemblies offer no-compromise optimisation for each voice coil diameter.<br /><br />Constrained Layer Damping (CLD) is a drive unit diaphragm technology from ATC that represents another advance in performance and one that transfers directly to system performance and the reproduction of music.<br /><br />The enhanced damping performance of this technology brings significant  improvements to bass/mid drive units by reducing harmonic distortion in the critical midrange, improving magnitude linearity (frequency response) and also dispersion (behaving like a smaller drive unit off axis). These features have been incorporated into the SB50-150CLD bass/mid driver and integrated into the new SCM12 PRO.<br /><br />\n<h3>SCM12 Pro Features</h3><ul><li>Compact, high performance 2-way studio monitor <span>utilizing </span>ATC\'s proprietary Constrained Layer Damping (CLD) bass/mid driver. CLD technology employs a multi-layered composite cone with a central damping layer that effectively reduces the effects of cone break up. The result is a drive unit capable of delivering exception clarity, even at high drive levels.</li><li>The unique dual suspension topology of ATC’s SH25-76 tweeter ensures pistonic motion of the voice coil former without resorting to the use of Ferrofluid, ensuring a more consistent performance over extended periods of time.</li><li>Ideally suited to: Critical near-field listening applications in all control rooms; LCR and surround monitoring in small-to-medium control rooms.</li></ul><span style=\"font-family: Arial; color: rgb(109, 110, 112);\"></span><span style=\"font-family: Arial;\"></span>\n\n\n\n\n\n<br /><h3>P1 – Dual-Mono Power Amplifier Features</h3><ul><li>Class A/B operation</li><li>Hand built in the UK</li><li>True dual mono design</li><li>Balanced and unbalanced inputs</li><li>Amplifier link output</li><li>Remote control</li><li>6 year warranty</li></ul><br /><h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1599,85,0,267,'ATC SCM12 Pro- 2-Way Compact Passive Studio Monitor Speakers with P1 Pro Amplifier'),(1600,85,1,267,'ATC SCM12 Pro- 2-Way Compact Passive Studio Monitor Speakers with P1 Pro Amplifier'),(1601,76,0,267,''),(1602,76,1,267,''),(1603,75,0,268,'<h2>ATC Loudspeakers SCM12 Pro - 2-Way Compact Passive Studio Monitor Speakers (Pair) with P1 Pro Amplifier (B-Stock)</h2>\n<span style=\"font-size: 16px; font-style: italic;\">Save money on RSPE B-Stock ATC SCM12 and P1 Pro Bundle. This is an item that was removed from the manufacturer\'s box for demo in our showroom and is in perfect working order. There are tiny scratches on the front of the amplifier. See photo.</span><span style=\"font-size: 16px; font-style: italic;\"><br />The SCM12 Pro offers ATC’s acclaimed performance at a lower price point without compromising component quality and achieves this in a more compact, installation-friendly footprint ideally suited to nearfield monitoring as well as multichannel music and post-production applications.<br /></span><br />\nThe <a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM12 PRO and P1 Pro Amplifier Bundle combines ATC\'s patented loudspeaker innovations with their world-class amplification technology for a passive studio monitoring system that maintains the strict performance criteria of ATC reference monitors.<br /><br />The SCM12 Pro is a passive professional near field monitor that also incorporates ATC’s SH25-76 tweeter. Sharing technology with the renowned ATC Soft Dome midrange unit the new tweeter employs a unique dual suspension system suppressing diaphragm rocking modes and eliminating the need for ferrofluid.<br />    <br />Manufactured in-house to exacting tolerances ATC’s drive units are legendary for their many design innovations. Hand-wound voice coils use only high density edge wound flat OFHC ribbon copper wire and operate in precision magnetic gaps. Front and rear venting not only reduces air flow noise but also increases power handling capacity and, therefore, long term reliability. Massive magnet motor assemblies offer no-compromise optimisation for each voice coil diameter.<br /><br />Constrained Layer Damping (CLD) is a drive unit diaphragm technology from ATC that represents another advance in performance and one that transfers directly to system performance and the reproduction of music.<br /><br />The enhanced damping performance of this technology brings significant  improvements to bass/mid drive units by reducing harmonic distortion in the critical midrange, improving magnitude linearity (frequency response) and also dispersion (behaving like a smaller drive unit off axis). These features have been incorporated into the SB50-150CLD bass/mid driver and integrated into the new SCM12 PRO.<br /><br />\n<h3>SCM12 Pro Features</h3><ul><li>Compact, high performance 2-way studio monitor <span>utilizing </span>ATC\'s proprietary Constrained Layer Damping (CLD) bass/mid driver. CLD technology employs a multi-layered composite cone with a central damping layer that effectively reduces the effects of cone break up. The result is a drive unit capable of delivering exception clarity, even at high drive levels.</li><li>The unique dual suspension topology of ATC’s SH25-76 tweeter ensures pistonic motion of the voice coil former without resorting to the use of Ferrofluid, ensuring a more consistent performance over extended periods of time.</li><li>Ideally suited to: Critical near-field listening applications in all control rooms; LCR and surround monitoring in small-to-medium control rooms.</li></ul><h3>SCM12 Pro Specifications</h3>\n\n\n\n\n\n\n\n\n\n\n\n\n<style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:Arial;\n	panose-1:2 11 6 4 2 2 2 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536859905 -1073711037 9 0 511 0;}\n@font-face\n	{font-family:\"ＭＳ 明朝\";\n	mso-font-charset:78;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:1 134676480 16 0 131072 0;}\n@font-face\n	{font-family:\"ＭＳ 明朝\";\n	mso-font-charset:78;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:1 134676480 16 0 131072 0;}\n@font-face\n	{font-family:Cambria;\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1073743103 0 0 415 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin:0in;\n	margin-bottom:.0001pt;\n	mso-pagination:widow-orphan;\n	font-size:12.0pt;\n	font-family:Cambria;\n	mso-ascii-font-family:Cambria;\n	mso-ascii-theme-font:minor-latin;\n	mso-fareast-font-family:\"ＭＳ 明朝\";\n	mso-fareast-theme-font:minor-fareast;\n	mso-hansi-font-family:Cambria;\n	mso-hansi-theme-font:minor-latin;\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-theme-font:minor-bidi;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-family:Cambria;\n	mso-ascii-font-family:Cambria;\n	mso-ascii-theme-font:minor-latin;\n	mso-fareast-font-family:\"ＭＳ 明朝\";\n	mso-fareast-theme-font:minor-fareast;\n	mso-hansi-font-family:Cambria;\n	mso-hansi-theme-font:minor-latin;\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-theme-font:minor-bidi;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n-->\n</style>\n\n\n\n\n\n\n<ul><li>Drivers : <span style=\"font-family: Arial; color: rgb(109, 110, 112);\">HF ATC 1˝/25mm dual suspension Soft Dome\n(SH25-76 6 Ohm), LF ATC 6˝/150mm Constrained Layer Damping (CLD) (SB50-150CLD 8\nOhm)</span></li><li><span style=\"font-family: Arial; color: rgb(35, 31, 32);\">Amplitude Linearity : </span><span style=\"font-family: Arial; color: rgb(109, 110, 112);\">80Hz - 16kHz (+/-2dB) </span></li><li><span style=\"font-family: Arial; color: rgb(35, 31, 32);\">Cut Off Frequencies : </span><span style=\"font-family: Arial; color: rgb(109, 110, 112);\">56Hz - 22kHz (-6dB\nfreestanding) </span></li><li><span style=\"font-family: Arial; color: rgb(35, 31, 32);\">Dispersion : </span><span style=\"font-family: Arial; color: rgb(109, 110, 112);\">±80° Coherent Horizontal, ±10° Coherent\nVertical</span></li><li><span style=\"font-family: Arial; color: rgb(35, 31, 32);\">Maximum Continuous SPL : </span><span style=\"font-family: Arial; color: rgb(109, 110, 112);\">108dB (per pair @ 1m) </span></li><li><span style=\"font-family: Arial; color: rgb(35, 31, 32);\">Crossover Frequency : </span><span style=\"font-family: Arial; color: rgb(109, 110, 112);\">2.2kHz </span></li><li><span style=\"font-family: Arial; color: rgb(35, 31, 32);\">Recommended Power Amplifier : </span><span style=\"font-family: Arial; color: rgb(109, 110, 112);\">75 to 300 Watts</span></li><li><span style=\"font-family: Arial; color: rgb(35, 31, 32);\">Nominal Impedance : </span><span style=\"font-family: Arial; color: rgb(109, 110, 112);\">8 Ohm </span></li><li><span style=\"font-family: Arial; color: rgb(35, 31, 32);\">Connectors : </span><span style=\"font-family: Arial; color: rgb(109, 110, 112);\">Binding Posts/4mm Plugs, bi-wire</span></li><li><span style=\"font-family: Arial; color: rgb(35, 31, 32);\">Cabinet Dimensions (HxWxD) : </span><span style=\"font-family: Arial; color: rgb(109, 110, 112);\">400x238x235mm/15.7˝x9.4˝x9.3˝\n</span></li><li><span style=\"font-family: Arial; color: rgb(35, 31, 32);\">Weight : </span><span style=\"font-family: Arial; color: rgb(109, 110, 112);\">11kg/24lbs (per cabinet)</span><span style=\"font-family: Arial;\"></span></li></ul>\n\n\n\n\n\n<br /><h3>P1 – Dual-Mono Power Amplifier Features</h3><ul><li>Class A/B operation</li><li>Hand built in the UK</li><li>True dual mono design</li><li>Balanced and unbalanced inputs</li><li>Amplifier link output</li><li>Remote control</li><li>6 year warranty</li></ul><br /><h3>P1 – Dual-Mono Power Amplifier Specifications</h3><ul><li>Output Power into 8 Ω: 150W</li><li>\nInput Sensitivity: 2V RMS</li><li>\nInput Impedance: 10kΩ/leg</li><li>\nFrequency Response: 400kHz (-3dB)</li><li>\nSignal to noise ratio: &gt;110dB (DIN)</li><li>\nCrosstalk: &gt;100dB</li><li>\nTHD: &gt;0.002%/-95dB</li><li>\nDimensions (HxWxD): 135x435x350mm</li><li>\nWeight: 23kg/50.6lbs\n</li></ul><h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1604,75,1,268,'<h2>ATC Loudspeakers SCM12 Pro - 2-Way Compact Passive Studio Monitor Speakers (Pair) with P1 Pro Amplifier (B-Stock)</h2>\n<span style=\"font-size: 16px; font-style: italic;\">Save money on RSPE B-Stock ATC SCM12 and P1 Pro Bundle. This is an item that was removed from the manufacturer\'s box for demo in our showroom and is in perfect working order. There are tiny scratches on the front of the amplifier. See photo.</span><span style=\"font-size: 16px; font-style: italic;\"><br />The SCM12 Pro offers ATC’s acclaimed performance at a lower price point without compromising component quality and achieves this in a more compact, installation-friendly footprint ideally suited to nearfield monitoring as well as multichannel music and post-production applications.<br /></span><br />\nThe <a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM12 PRO and P1 Pro Amplifier Bundle combines ATC\'s patented loudspeaker innovations with their world-class amplification technology for a passive studio monitoring system that maintains the strict performance criteria of ATC reference monitors.<br /><br />The SCM12 Pro is a passive professional near field monitor that also incorporates ATC’s SH25-76 tweeter. Sharing technology with the renowned ATC Soft Dome midrange unit the new tweeter employs a unique dual suspension system suppressing diaphragm rocking modes and eliminating the need for ferrofluid.<br />    <br />Manufactured in-house to exacting tolerances ATC’s drive units are legendary for their many design innovations. Hand-wound voice coils use only high density edge wound flat OFHC ribbon copper wire and operate in precision magnetic gaps. Front and rear venting not only reduces air flow noise but also increases power handling capacity and, therefore, long term reliability. Massive magnet motor assemblies offer no-compromise optimisation for each voice coil diameter.<br /><br />Constrained Layer Damping (CLD) is a drive unit diaphragm technology from ATC that represents another advance in performance and one that transfers directly to system performance and the reproduction of music.<br /><br />The enhanced damping performance of this technology brings significant  improvements to bass/mid drive units by reducing harmonic distortion in the critical midrange, improving magnitude linearity (frequency response) and also dispersion (behaving like a smaller drive unit off axis). These features have been incorporated into the SB50-150CLD bass/mid driver and integrated into the new SCM12 PRO.<br /><br />\n<h3>SCM12 Pro Features</h3><ul><li>Compact, high performance 2-way studio monitor <span>utilizing </span>ATC\'s proprietary Constrained Layer Damping (CLD) bass/mid driver. CLD technology employs a multi-layered composite cone with a central damping layer that effectively reduces the effects of cone break up. The result is a drive unit capable of delivering exception clarity, even at high drive levels.</li><li>The unique dual suspension topology of ATC’s SH25-76 tweeter ensures pistonic motion of the voice coil former without resorting to the use of Ferrofluid, ensuring a more consistent performance over extended periods of time.</li><li>Ideally suited to: Critical near-field listening applications in all control rooms; LCR and surround monitoring in small-to-medium control rooms.</li></ul><h3>SCM12 Pro Specifications</h3>\n\n\n\n\n\n\n\n\n\n\n\n\n<style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:Arial;\n	panose-1:2 11 6 4 2 2 2 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536859905 -1073711037 9 0 511 0;}\n@font-face\n	{font-family:\"ＭＳ 明朝\";\n	mso-font-charset:78;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:1 134676480 16 0 131072 0;}\n@font-face\n	{font-family:\"ＭＳ 明朝\";\n	mso-font-charset:78;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:1 134676480 16 0 131072 0;}\n@font-face\n	{font-family:Cambria;\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1073743103 0 0 415 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin:0in;\n	margin-bottom:.0001pt;\n	mso-pagination:widow-orphan;\n	font-size:12.0pt;\n	font-family:Cambria;\n	mso-ascii-font-family:Cambria;\n	mso-ascii-theme-font:minor-latin;\n	mso-fareast-font-family:\"ＭＳ 明朝\";\n	mso-fareast-theme-font:minor-fareast;\n	mso-hansi-font-family:Cambria;\n	mso-hansi-theme-font:minor-latin;\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-theme-font:minor-bidi;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-family:Cambria;\n	mso-ascii-font-family:Cambria;\n	mso-ascii-theme-font:minor-latin;\n	mso-fareast-font-family:\"ＭＳ 明朝\";\n	mso-fareast-theme-font:minor-fareast;\n	mso-hansi-font-family:Cambria;\n	mso-hansi-theme-font:minor-latin;\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-theme-font:minor-bidi;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n-->\n</style>\n\n\n\n\n\n\n<ul><li>Drivers : <span style=\"font-family: Arial; color: rgb(109, 110, 112);\">HF ATC 1˝/25mm dual suspension Soft Dome\n(SH25-76 6 Ohm), LF ATC 6˝/150mm Constrained Layer Damping (CLD) (SB50-150CLD 8\nOhm)</span></li><li><span style=\"font-family: Arial; color: rgb(35, 31, 32);\">Amplitude Linearity : </span><span style=\"font-family: Arial; color: rgb(109, 110, 112);\">80Hz - 16kHz (+/-2dB) </span></li><li><span style=\"font-family: Arial; color: rgb(35, 31, 32);\">Cut Off Frequencies : </span><span style=\"font-family: Arial; color: rgb(109, 110, 112);\">56Hz - 22kHz (-6dB\nfreestanding) </span></li><li><span style=\"font-family: Arial; color: rgb(35, 31, 32);\">Dispersion : </span><span style=\"font-family: Arial; color: rgb(109, 110, 112);\">±80° Coherent Horizontal, ±10° Coherent\nVertical</span></li><li><span style=\"font-family: Arial; color: rgb(35, 31, 32);\">Maximum Continuous SPL : </span><span style=\"font-family: Arial; color: rgb(109, 110, 112);\">108dB (per pair @ 1m) </span></li><li><span style=\"font-family: Arial; color: rgb(35, 31, 32);\">Crossover Frequency : </span><span style=\"font-family: Arial; color: rgb(109, 110, 112);\">2.2kHz </span></li><li><span style=\"font-family: Arial; color: rgb(35, 31, 32);\">Recommended Power Amplifier : </span><span style=\"font-family: Arial; color: rgb(109, 110, 112);\">75 to 300 Watts</span></li><li><span style=\"font-family: Arial; color: rgb(35, 31, 32);\">Nominal Impedance : </span><span style=\"font-family: Arial; color: rgb(109, 110, 112);\">8 Ohm </span></li><li><span style=\"font-family: Arial; color: rgb(35, 31, 32);\">Connectors : </span><span style=\"font-family: Arial; color: rgb(109, 110, 112);\">Binding Posts/4mm Plugs, bi-wire</span></li><li><span style=\"font-family: Arial; color: rgb(35, 31, 32);\">Cabinet Dimensions (HxWxD) : </span><span style=\"font-family: Arial; color: rgb(109, 110, 112);\">400x238x235mm/15.7˝x9.4˝x9.3˝\n</span></li><li><span style=\"font-family: Arial; color: rgb(35, 31, 32);\">Weight : </span><span style=\"font-family: Arial; color: rgb(109, 110, 112);\">11kg/24lbs (per cabinet)</span><span style=\"font-family: Arial;\"></span></li></ul>\n\n\n\n\n\n<br /><h3>P1 – Dual-Mono Power Amplifier Features</h3><ul><li>Class A/B operation</li><li>Hand built in the UK</li><li>True dual mono design</li><li>Balanced and unbalanced inputs</li><li>Amplifier link output</li><li>Remote control</li><li>6 year warranty</li></ul><br /><h3>P1 – Dual-Mono Power Amplifier Specifications</h3><ul><li>Output Power into 8 Ω: 150W</li><li>\nInput Sensitivity: 2V RMS</li><li>\nInput Impedance: 10kΩ/leg</li><li>\nFrequency Response: 400kHz (-3dB)</li><li>\nSignal to noise ratio: &gt;110dB (DIN)</li><li>\nCrosstalk: &gt;100dB</li><li>\nTHD: &gt;0.002%/-95dB</li><li>\nDimensions (HxWxD): 135x435x350mm</li><li>\nWeight: 23kg/50.6lbs\n</li></ul><h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1605,85,0,268,''),(1606,85,1,268,''),(1607,76,0,268,''),(1608,76,1,268,''),(1609,75,0,269,'<h1>ATC Loudspeakers SCM12i Pro Install - 2-Way Compact Passive Studio Monitor Speakers (Pair)</h1>\n<i>Finally an installation specific speaker from ATC! The SCM12i Pro is a compact 2-way passive monitor designed with mounting points for easy installation into recording, post production, broadcast and film studios.</i><br /><br />\nThe <a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM12i Pro is an installation version of the <a href=\"https://www.rspeaudio.com/ATC-SCM12-Pro-p/atc-scm12.htm\">SCM12 Pro</a>.  It contains all the same features and adds cabinet mounting points compatible with popular wall and ceiling speaker mounts for ease of installation.  Exceptional performance, neutral fidelity, and compact size make the SCM12i ideal for working in multi-channel recording/mixing and immersive audio such as Dolby Atmos, DTS:X, and Auro 3D.<br /><br />\n<div>\n	The SCM12i is designed around the same philosophy as ATC’s 2 and 3-way active monitor loudspeakers and also employs driver components & technology found in these larger models resulting in exceptional consistency across the product range.\n</div>\n<br />\n<h3>SCM12 Pro Features</h3>\n<ul>\n	<li>Wide bandwidth & high SPL capability</li>\n	<li>Neutral timbre & low distortion for low listener fatigue</li>\n	<li>150mm / 6” ATC CLD Bass Driver</li>\n	<li>25mm / 1” ATC Dual-Suspension HF Driver</li>\n	<li>Cabinet mounting points for wall/ceiling mount</li>\n	<li>6 year warranty</li>\n</ul>\n<br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1610,75,1,269,'<h1>ATC Loudspeakers SCM12i Pro Install - 2-Way Compact Passive Studio Monitor Speakers (Pair)</h1>\n<i>Finally an installation specific speaker from ATC! The SCM12i Pro is a compact 2-way passive monitor designed with mounting points for easy installation into recording, post production, broadcast and film studios.</i><br /><br />\nThe <a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM12i Pro is an installation version of the <a href=\"https://www.rspeaudio.com/ATC-SCM12-Pro-p/atc-scm12.htm\">SCM12 Pro</a>.  It contains all the same features and adds cabinet mounting points compatible with popular wall and ceiling speaker mounts for ease of installation.  Exceptional performance, neutral fidelity, and compact size make the SCM12i ideal for working in multi-channel recording/mixing and immersive audio such as Dolby Atmos, DTS:X, and Auro 3D.<br /><br />\n<div>\n	The SCM12i is designed around the same philosophy as ATC’s 2 and 3-way active monitor loudspeakers and also employs driver components & technology found in these larger models resulting in exceptional consistency across the product range.\n</div>\n<br />\n<h3>SCM12 Pro Features</h3>\n<ul>\n	<li>Wide bandwidth & high SPL capability</li>\n	<li>Neutral timbre & low distortion for low listener fatigue</li>\n	<li>150mm / 6” ATC CLD Bass Driver</li>\n	<li>25mm / 1” ATC Dual-Suspension HF Driver</li>\n	<li>Cabinet mounting points for wall/ceiling mount</li>\n	<li>6 year warranty</li>\n</ul>\n<br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1611,85,0,269,'ATC SCM12 Pro Install - 2-Way Compact Passive Studio Monitor Speakers (Pair)'),(1612,85,1,269,'ATC SCM12 Pro Install - 2-Way Compact Passive Studio Monitor Speakers (Pair)'),(1613,76,0,269,''),(1614,76,1,269,''),(1615,75,0,270,'<h1>ATC Loudspeakers SCM150ASL Pro 3-Way Active Studio Monitors (Pair)</h1>\n<i>Active 3-Way Studio Monitors featuring a custom ATC SL 15\" LF Driver, designed for critical listening in larger rooms and delivering the quality, accuracy, and performance you expect from ATC Speakers.</i><br /><br />\n<div>\n	The \n	<a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> <span style=\"background-color: initial;\">SCM150ASL Pro is a beefed up version of the SCM100ASL Pro, substituting a larger 375mm Super Linear bass driver, and increasing the enclosure size to 150 litres. The result is extended bass, greater headroom, and even more dynamic range.</span>\n</div>\n<br />\n<h3>SCM150ASL Pro Overview</h3>\n<ul>\n	<li>25mm soft dome tweeter.</li>\n	<li>Full “SL” spec 15˝/375mm bass driver.</li>\n	<li>ATC 75mm “Super Dome” mid driver.</li>\n	<li>On board ATC grounded source 350W Tri-Amp Pack.</li>\n	<li>LF contour control.</li>\n	<li>Clip indication.</li>\n	<li>6 year warranty.</li>\n</ul>\n<br /><br />\n<h3>The ATC SCM Line</h3>\nThe SCM25/50/100/110 and 150 are a range of three way loudspeakers. All of the range, excluding the SCM25 are available as passive or active units, the SCM25 is only available as an active unit. Passive units have an SL suffix and active units an ASL suffix. Passive monitors are equipped with a “tri-wire” connection panel to enable separate amplification of the bass, mid and high frequency drivers. Active units have a built in three way Amplifier with frequency, gain and phase correction which has been individually optimized at the ATC manufacturing facility. Adjustment of input sensitivity and bass boost are available to the user via controls on the rear panel of the unit.\n<br /><br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1616,75,1,270,'<h1>ATC Loudspeakers SCM150ASL Pro 3-Way Active Studio Monitors (Pair)</h1>\n<i>Active 3-Way Studio Monitors featuring a custom ATC SL 15\" LF Driver, designed for critical listening in larger rooms and delivering the quality, accuracy, and performance you expect from ATC Speakers.</i><br /><br />\n<div>\n	The \n	<a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> <span style=\"background-color: initial;\">SCM150ASL Pro is a beefed up version of the SCM100ASL Pro, substituting a larger 375mm Super Linear bass driver, and increasing the enclosure size to 150 litres. The result is extended bass, greater headroom, and even more dynamic range.</span>\n</div>\n<br />\n<h3>SCM150ASL Pro Overview</h3>\n<ul>\n	<li>25mm soft dome tweeter.</li>\n	<li>Full “SL” spec 15˝/375mm bass driver.</li>\n	<li>ATC 75mm “Super Dome” mid driver.</li>\n	<li>On board ATC grounded source 350W Tri-Amp Pack.</li>\n	<li>LF contour control.</li>\n	<li>Clip indication.</li>\n	<li>6 year warranty.</li>\n</ul>\n<br /><br />\n<h3>The ATC SCM Line</h3>\nThe SCM25/50/100/110 and 150 are a range of three way loudspeakers. All of the range, excluding the SCM25 are available as passive or active units, the SCM25 is only available as an active unit. Passive units have an SL suffix and active units an ASL suffix. Passive monitors are equipped with a “tri-wire” connection panel to enable separate amplification of the bass, mid and high frequency drivers. Active units have a built in three way Amplifier with frequency, gain and phase correction which has been individually optimized at the ATC manufacturing facility. Adjustment of input sensitivity and bass boost are available to the user via controls on the rear panel of the unit.\n<br /><br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1617,85,0,270,'ATC SCM150ASL 3-Way Midfield Studio Monitors'),(1618,85,1,270,'ATC SCM150ASL 3-Way Midfield Studio Monitors'),(1619,76,0,270,''),(1620,76,1,270,''),(1621,75,0,271,'<h1>ATC Loudspeakers SCM20ASL Pro MK2 - 2-Way Compact Active Studio Monitor Speakers (Pair)</h1>\n<span style=\"font-size:16px; font-style:italic;\">The ATC SCM20A Studio Monitors brings the quality of the ATC 3-Way monitor systems (like the SCM50 and SCM150) to a much smaller footprint!</span>\n<br /><br />\nThe <a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM20ASL Pro MKII is a compact 2-way active studio monitor that bring ATC\'s legendary loudspeaker performance to a small footprint. The SCM20ASL Pro maintains the strict performance criteria of ATC reference monitors, and offers project and home studios the dynamic range and pristine imaging ATC is known for worldwide.<br /><br />\nDesigned to fit within the company\'s highly-regarded line of speakers, the ATC \"Active 20\" features the same ATC built woofer and tweeter as the passive (SCM20PSL) version of the speaker. The SCM20SL MKII actives are housed in a conventional \"pro-black\" box for easy placement on any meter bridge.<br /><br />\nThe SCM20SL Actives feature a built in two-way amplifier with frequency,gain and phase correction which has been individually optimized at the ATC manufacturing facility. Adjustment of input sensitivity and bass boost is available to the user via controls on the amp rear panel.<br /><br />\nThe SCM20SL Active low-frequency section is a hybrid design incorporating a 150mm bass cone with a grafted 75mm soft dome for mid-range assist. The woofer magnet assembly utilizes ATC\'s unique \"SL\" technology to greatly reduce third harmonic distortion and reveal mistakes and details. The tweeters are ATCs new dual suspension high powered tweeters. They do not use ferro fluid for cooling so will last a lifetime. A newly redesigned crossover ensures a smooth transition across all frequencies. All ATC drivers are manufactured in-house to exacting tolerances and are legendary for their many design innovations.<br /><br /><br />\n<h3>SCM20ASL Features</h3>\n<ul>\n	<li>Compact very high performance 2-way studio monitor ideally suited to:	</li>\n	<ul>\n		<li>Critical near-field listening applications in all control rooms</li>\n		<li>LCR surround monitoring in small-to-medium control rooms</li>\n		<li>Surround channels in medium-to-large control rooms</li>\n	</ul>\n	\n	<li>Proprietary ATC 150mm/6” Super Linear Mid/Bass Driver</li>\n	<li>Proprietary ATC 25mm/1” S-Spec Tweeter</li>\n	<li>Discrete MOSFET class A/B bi-amp pack with 200W/50W</li>\n	<li>Continuous power output</li>\n\n</ul>\n<br />\n<span style=\"color: rgb(0, 0, 0); font-size: 24px; font-weight: bold;\">The ATC SCM Line</span><br />The SCM25/50/100/110 and 150 are a range of three way loudspeakers. All of the range, excluding the SCM25 are available as passive or active units, the SCM25 is only available as an active unit. Passive units have an SL suffix and active units an ASL suffix. Passive monitors are equipped with a “tri-wire” connection panel to enable separate amplification of the bass, mid and high frequency drivers. Active units have a built in three way Amplifier with frequency, gain and phase correction which has been individually optimized at the ATC manufacturing facility. Adjustment of input sensitivity and bass boost are available to the user via controls on the rear panel of the unit.<br /><br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1622,75,1,271,'<h1>ATC Loudspeakers SCM20ASL Pro MK2 - 2-Way Compact Active Studio Monitor Speakers (Pair)</h1>\n<span style=\"font-size:16px; font-style:italic;\">The ATC SCM20A Studio Monitors brings the quality of the ATC 3-Way monitor systems (like the SCM50 and SCM150) to a much smaller footprint!</span>\n<br /><br />\nThe <a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM20ASL Pro MKII is a compact 2-way active studio monitor that bring ATC\'s legendary loudspeaker performance to a small footprint. The SCM20ASL Pro maintains the strict performance criteria of ATC reference monitors, and offers project and home studios the dynamic range and pristine imaging ATC is known for worldwide.<br /><br />\nDesigned to fit within the company\'s highly-regarded line of speakers, the ATC \"Active 20\" features the same ATC built woofer and tweeter as the passive (SCM20PSL) version of the speaker. The SCM20SL MKII actives are housed in a conventional \"pro-black\" box for easy placement on any meter bridge.<br /><br />\nThe SCM20SL Actives feature a built in two-way amplifier with frequency,gain and phase correction which has been individually optimized at the ATC manufacturing facility. Adjustment of input sensitivity and bass boost is available to the user via controls on the amp rear panel.<br /><br />\nThe SCM20SL Active low-frequency section is a hybrid design incorporating a 150mm bass cone with a grafted 75mm soft dome for mid-range assist. The woofer magnet assembly utilizes ATC\'s unique \"SL\" technology to greatly reduce third harmonic distortion and reveal mistakes and details. The tweeters are ATCs new dual suspension high powered tweeters. They do not use ferro fluid for cooling so will last a lifetime. A newly redesigned crossover ensures a smooth transition across all frequencies. All ATC drivers are manufactured in-house to exacting tolerances and are legendary for their many design innovations.<br /><br /><br />\n<h3>SCM20ASL Features</h3>\n<ul>\n	<li>Compact very high performance 2-way studio monitor ideally suited to:	</li>\n	<ul>\n		<li>Critical near-field listening applications in all control rooms</li>\n		<li>LCR surround monitoring in small-to-medium control rooms</li>\n		<li>Surround channels in medium-to-large control rooms</li>\n	</ul>\n	\n	<li>Proprietary ATC 150mm/6” Super Linear Mid/Bass Driver</li>\n	<li>Proprietary ATC 25mm/1” S-Spec Tweeter</li>\n	<li>Discrete MOSFET class A/B bi-amp pack with 200W/50W</li>\n	<li>Continuous power output</li>\n\n</ul>\n<br />\n<span style=\"color: rgb(0, 0, 0); font-size: 24px; font-weight: bold;\">The ATC SCM Line</span><br />The SCM25/50/100/110 and 150 are a range of three way loudspeakers. All of the range, excluding the SCM25 are available as passive or active units, the SCM25 is only available as an active unit. Passive units have an SL suffix and active units an ASL suffix. Passive monitors are equipped with a “tri-wire” connection panel to enable separate amplification of the bass, mid and high frequency drivers. Active units have a built in three way Amplifier with frequency, gain and phase correction which has been individually optimized at the ATC manufacturing facility. Adjustment of input sensitivity and bass boost are available to the user via controls on the rear panel of the unit.<br /><br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1623,85,0,271,'ATC SCM20ASL Pro MK2 2-Way Compact Active Studio Monitor Speakers'),(1624,85,1,271,'ATC SCM20ASL Pro MK2 2-Way Compact Active Studio Monitor Speakers'),(1625,76,0,271,''),(1626,76,1,271,''),(1627,75,0,272,'<h1>ATC Loudspeakers SCM20PSL Pro MK2 2-Way Compact Passive Studio Monitors (Pair)</h1>\n<span style=\"font-size:16px; font-style:italic;\">The ATC SCM20P Passive Studio Monitors brings the quality of the ATC 3-Way monitor systems (like the SCM50 and SCM150) to a much smaller footprint!</span>\n<br /><br />The <a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM20PSL Pro MKII is a compact 2-way passive studio monitor that bring ATC\'s legendary loudspeaker performance to a small footprint. The SCM20PSL Pro maintains the strict performance criteria of ATC reference monitors, and offers project and home studios the dynamic range and pristine imaging ATC is known for worldwide.<br /><br />\nDesigned to fit within the company\'s highly-regarded line of speakers, the ATC \"Passive 20\" features the same ATC built woofer and tweeter as the active (SCM20ASL) version of the speaker. The SCM20SL MKII passives are housed in a conventional \"pro-black\" box for easy placement on any meter bridge.<br /><br />\nATC recommends amplifiers with at least 200W per channel of power. The Passive 20 loudspeaker enables ATC speaker fans to own a high performance monitor at half the price of the actives. Passive monitors are equipped with a “bi-wire” connection panel to enable separate amplification of mid/bass and high frequency drivers if required.<br /><br />\nThe SCM20SL Passive low-frequency section is a hybrid design incorporating a 150mm bass cone with a grafted 75mm soft dome for mid-range assist. The woofer magnet assembly utilizes ATC\'s unique \"SL\" technology to greatly reduce third harmonic distortion and reveal mistakes and details. The tweeters are ATCs new dual suspension high powered tweeters. They do not use ferro fluid for cooling so will last a lifetime. A newly redesigned crossover ensures a smooth transition across all frequencies. All ATC drivers are manufactured in-house to exacting tolerances and are legendary for their many design innovations.<br /><br />\n<h3>SCM20PSL Pro Mk2 Features</h3>\n<ul>\n	<li>Compact very high performance passive 2-way studio monitor</li>\n	<li>Ideally suited to:\n	<ul>\n		<li>Critical near-field listening applications in all control rooms</li>\n		<li>LCR surround monitoring in small-to-medium control rooms</li>\n		<li>Surround channels in medium-to-large control rooms</li>\n	</ul>\n	</li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Proprietary ATC 150mm/6” Super Linear Mid/Bass Driver</span></li>\n	<li>Proprietary ATC 25mm/1” Dual Suspension ‘S-Spec’ Tweeter</li>\n	<li>Wide, even dispersion</li>\n</ul>\n<br />\n<span style=\"color: rgb(0, 0, 0); font-size: 24px; font-weight: bold;\">The ATC SCM Line</span><br />The SCM25/50/100/110 and 150 are a range of three way loudspeakers. All of the range, excluding the SCM25 are available as passive or active units, the SCM25 is only available as an active unit. Passive units have an SL suffix and active units an ASL suffix. Passive monitors are equipped with a “tri-wire” connection panel to enable separate amplification of the bass, mid and high frequency drivers. Active units have a built in three way Amplifier with frequency, gain and phase correction which has been individually optimized at the ATC manufacturing facility. Adjustment of input sensitivity and bass boost are available to the user via controls on the rear panel of the unit.<br /><br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1628,75,1,272,'<h1>ATC Loudspeakers SCM20PSL Pro MK2 2-Way Compact Passive Studio Monitors (Pair)</h1>\n<span style=\"font-size:16px; font-style:italic;\">The ATC SCM20P Passive Studio Monitors brings the quality of the ATC 3-Way monitor systems (like the SCM50 and SCM150) to a much smaller footprint!</span>\n<br /><br />The <a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM20PSL Pro MKII is a compact 2-way passive studio monitor that bring ATC\'s legendary loudspeaker performance to a small footprint. The SCM20PSL Pro maintains the strict performance criteria of ATC reference monitors, and offers project and home studios the dynamic range and pristine imaging ATC is known for worldwide.<br /><br />\nDesigned to fit within the company\'s highly-regarded line of speakers, the ATC \"Passive 20\" features the same ATC built woofer and tweeter as the active (SCM20ASL) version of the speaker. The SCM20SL MKII passives are housed in a conventional \"pro-black\" box for easy placement on any meter bridge.<br /><br />\nATC recommends amplifiers with at least 200W per channel of power. The Passive 20 loudspeaker enables ATC speaker fans to own a high performance monitor at half the price of the actives. Passive monitors are equipped with a “bi-wire” connection panel to enable separate amplification of mid/bass and high frequency drivers if required.<br /><br />\nThe SCM20SL Passive low-frequency section is a hybrid design incorporating a 150mm bass cone with a grafted 75mm soft dome for mid-range assist. The woofer magnet assembly utilizes ATC\'s unique \"SL\" technology to greatly reduce third harmonic distortion and reveal mistakes and details. The tweeters are ATCs new dual suspension high powered tweeters. They do not use ferro fluid for cooling so will last a lifetime. A newly redesigned crossover ensures a smooth transition across all frequencies. All ATC drivers are manufactured in-house to exacting tolerances and are legendary for their many design innovations.<br /><br />\n<h3>SCM20PSL Pro Mk2 Features</h3>\n<ul>\n	<li>Compact very high performance passive 2-way studio monitor</li>\n	<li>Ideally suited to:\n	<ul>\n		<li>Critical near-field listening applications in all control rooms</li>\n		<li>LCR surround monitoring in small-to-medium control rooms</li>\n		<li>Surround channels in medium-to-large control rooms</li>\n	</ul>\n	</li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Proprietary ATC 150mm/6” Super Linear Mid/Bass Driver</span></li>\n	<li>Proprietary ATC 25mm/1” Dual Suspension ‘S-Spec’ Tweeter</li>\n	<li>Wide, even dispersion</li>\n</ul>\n<br />\n<span style=\"color: rgb(0, 0, 0); font-size: 24px; font-weight: bold;\">The ATC SCM Line</span><br />The SCM25/50/100/110 and 150 are a range of three way loudspeakers. All of the range, excluding the SCM25 are available as passive or active units, the SCM25 is only available as an active unit. Passive units have an SL suffix and active units an ASL suffix. Passive monitors are equipped with a “tri-wire” connection panel to enable separate amplification of the bass, mid and high frequency drivers. Active units have a built in three way Amplifier with frequency, gain and phase correction which has been individually optimized at the ATC manufacturing facility. Adjustment of input sensitivity and bass boost are available to the user via controls on the rear panel of the unit.<br /><br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1629,85,0,272,'ATC Loudspeakers SCM20PSL Pro MK2 2-Way Compact Passive Studio Monitors'),(1630,85,1,272,'ATC Loudspeakers SCM20PSL Pro MK2 2-Way Compact Passive Studio Monitors'),(1631,76,0,272,''),(1632,76,1,272,''),(1633,75,0,273,'<h1>ATC Loudspeakers SCM25A Pro - 3-way Compact Active Studio Monitor Speakers (Pair)</h1>\n<span style=\"font-size:16px; font-style:italic;\">The ATC SCM25A Studio Monitors brings the quality of the ATC 3-Way monitor systems (like the SCM50 and SCM150) to a much smaller footprint!</span>\n<br /><br />\nThe <a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM25A Pro features a 1\" HF driver, 3\" proprietary mid-dome, and 7\" proprietary short coil carbon paper woofer. The famous low distortion ATC technology is apparent throughout-- including the 4th order critically damped, phase compensated crossover, and passively cooled, FET limited amplifier block. The integrated tri-amplifier provides 150W to the woofer, 60W to the Mid Dome, and 25W to the soft dome tweeter, and has 0 to +6dB bass boost control, as well as a 0 to -6dB input trim.  Also provided is a foam port bung to reduce low frequency output in small listening/control rooms. The port bung will give -1.5dB attenuation, centred on 80Hz. Output below 45Hz will increase by approximately 1dB. There will be an optional rackmount system, also provided by ATC, when needed for Broadcast and Television applications.<br /><br />\n<h3>ATC Loudspeakers SCM25A Pro Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">25mm neodymium soft dome tweeter.</span></li>\n	<li>ATC hand built 3˝/75mm soft dome mid driver.</li>\n	<li>ATC hand built 7˝/164mm carbon-paper cone bass driver.</li>\n	<li>On-board grounded source 235W class A/B 3-way amplifier.</li>\n	<li>Compact size with high output and low cut-off frequency.</li>\n	<li>19˝ rack mountable.</li>\n	<li>6 year warranty.</li>\n</ul>\n<br />\n<span style=\"color: rgb(0, 0, 0); font-size: 24px; font-weight: bold;\">The ATC SCM Line</span><br />The SCM25/50/100/110 and 150 are a range of three way loudspeakers. All of the range, excluding the SCM25 are available as passive or active units, the SCM25 is only available as an active unit. Passive units have an SL suffix and active units an ASL suffix. Passive monitors are equipped with a “tri-wire” connection panel to enable separate amplification of the bass, mid and high frequency drivers. Active units have a built in three way Amplifier with frequency, gain and phase correction which has been individually optimized at the ATC manufacturing facility. Adjustment of input sensitivity and bass boost are available to the user via controls on the rear panel of the unit.<br /><br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1634,75,1,273,'<h1>ATC Loudspeakers SCM25A Pro - 3-way Compact Active Studio Monitor Speakers (Pair)</h1>\n<span style=\"font-size:16px; font-style:italic;\">The ATC SCM25A Studio Monitors brings the quality of the ATC 3-Way monitor systems (like the SCM50 and SCM150) to a much smaller footprint!</span>\n<br /><br />\nThe <a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM25A Pro features a 1\" HF driver, 3\" proprietary mid-dome, and 7\" proprietary short coil carbon paper woofer. The famous low distortion ATC technology is apparent throughout-- including the 4th order critically damped, phase compensated crossover, and passively cooled, FET limited amplifier block. The integrated tri-amplifier provides 150W to the woofer, 60W to the Mid Dome, and 25W to the soft dome tweeter, and has 0 to +6dB bass boost control, as well as a 0 to -6dB input trim.  Also provided is a foam port bung to reduce low frequency output in small listening/control rooms. The port bung will give -1.5dB attenuation, centred on 80Hz. Output below 45Hz will increase by approximately 1dB. There will be an optional rackmount system, also provided by ATC, when needed for Broadcast and Television applications.<br /><br />\n<h3>ATC Loudspeakers SCM25A Pro Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">25mm neodymium soft dome tweeter.</span></li>\n	<li>ATC hand built 3˝/75mm soft dome mid driver.</li>\n	<li>ATC hand built 7˝/164mm carbon-paper cone bass driver.</li>\n	<li>On-board grounded source 235W class A/B 3-way amplifier.</li>\n	<li>Compact size with high output and low cut-off frequency.</li>\n	<li>19˝ rack mountable.</li>\n	<li>6 year warranty.</li>\n</ul>\n<br />\n<span style=\"color: rgb(0, 0, 0); font-size: 24px; font-weight: bold;\">The ATC SCM Line</span><br />The SCM25/50/100/110 and 150 are a range of three way loudspeakers. All of the range, excluding the SCM25 are available as passive or active units, the SCM25 is only available as an active unit. Passive units have an SL suffix and active units an ASL suffix. Passive monitors are equipped with a “tri-wire” connection panel to enable separate amplification of the bass, mid and high frequency drivers. Active units have a built in three way Amplifier with frequency, gain and phase correction which has been individually optimized at the ATC manufacturing facility. Adjustment of input sensitivity and bass boost are available to the user via controls on the rear panel of the unit.<br /><br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1635,85,0,273,'ATC Loudspeakers SCM25A Pro - Active Studio Monitor Speakers'),(1636,85,1,273,'ATC Loudspeakers SCM25A Pro - Active Studio Monitor Speakers'),(1637,76,0,273,''),(1638,76,1,273,''),(1639,75,0,274,'<h1>ATC Loudspeakers SCM45A Pro - 3-way Mid-Size Active Studio Monitor Speakers (Pair)</h1>\n<span style=\"font-size:16px; font-style:italic;\">The ATC SCM45A Studio Monitors are mid-size three-way powered speakers featuring dual hand built ATC 6.5\" bass drivers that can be used in near- or mid-field positions.</span>\n<br /><br />\nThe <a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM45A Pro is a completely new design that shares many features with the highly successful SCM25A. It fills a gap in ATC’s product range for a mid-size three-way that can be used in near- or mid-field positions. It has high output and extended low frequency for its size, without compromising the overall balance for which ATC is known.<br /><br />\nLike the SCM25A, the new SCM45A is an active three-way with what ATC describes as an unprecedented linear response across the critical mid-range, as well as across the rest of the audible range.  In contrast to the SCM25A, the SCM45A has a second woofer for deeper bass response and increased SPL capability, as well as ATC’s new proprietary dual-suspension tweeter for increased resolution in the top-end. In addition, the SCM45A is physically symmetrical (not mirror imaged) and sized for placement on a meter bridge. The SCM45A can be used as a center speaker between other SCM45A monitors or ATC SCM50ASLs.<br /><br />\n<h3>ATC Loudspeakers SCM45A Features:</h3>\n<ul>\n	<li>Mid-size very high performance  active 3-way studio monitor</li>\n	<li>Ideally suited to:\n	<ul>\n		<li>Critical near-field listening applications in all control rooms</li>\n		<li>LCR surround monitoring in medium control rooms</li>\n		<li>Surround channels in medium-to-large contol rooms</li>\n	</ul>\n	</li>\n	<li>ATC hand built 6.5˝/164mm carbon-paper cone bass driver</li>\n	<li>ATC 25mm/1” Dual Suspension Super Tweeter</li>\n	<li>Discrete MOSFET class A/B bi-amp pack with 150W/60W/25W continuous power output</li>\n</ul>\n<br />\n<span style=\"color: rgb(0, 0, 0); font-size: 24px; font-weight: bold;\">The ATC SCM Line</span><br />The SCM25/45/50/100/110 and 150 are a range of three way loudspeakers. All of the range, excluding the SCM25 and SCM45 are available as passive or active units, the SCM25 & SCM45 are only available as an active unit. Passive units have an SL suffix and active units an ASL suffix. Passive monitors are equipped with a “tri-wire” connection panel to enable separate amplification of the bass, mid and high frequency drivers. Active units have a built in three way Amplifier with frequency, gain and phase correction which has been individually optimized at the ATC manufacturing facility. Adjustment of input sensitivity and bass boost are available to the user via controls on the rear panel of the unit.<br /><br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1640,75,1,274,'<h1>ATC Loudspeakers SCM45A Pro - 3-way Mid-Size Active Studio Monitor Speakers (Pair)</h1>\n<span style=\"font-size:16px; font-style:italic;\">The ATC SCM45A Studio Monitors are mid-size three-way powered speakers featuring dual hand built ATC 6.5\" bass drivers that can be used in near- or mid-field positions.</span>\n<br /><br />\nThe <a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM45A Pro is a completely new design that shares many features with the highly successful SCM25A. It fills a gap in ATC’s product range for a mid-size three-way that can be used in near- or mid-field positions. It has high output and extended low frequency for its size, without compromising the overall balance for which ATC is known.<br /><br />\nLike the SCM25A, the new SCM45A is an active three-way with what ATC describes as an unprecedented linear response across the critical mid-range, as well as across the rest of the audible range.  In contrast to the SCM25A, the SCM45A has a second woofer for deeper bass response and increased SPL capability, as well as ATC’s new proprietary dual-suspension tweeter for increased resolution in the top-end. In addition, the SCM45A is physically symmetrical (not mirror imaged) and sized for placement on a meter bridge. The SCM45A can be used as a center speaker between other SCM45A monitors or ATC SCM50ASLs.<br /><br />\n<h3>ATC Loudspeakers SCM45A Features:</h3>\n<ul>\n	<li>Mid-size very high performance  active 3-way studio monitor</li>\n	<li>Ideally suited to:\n	<ul>\n		<li>Critical near-field listening applications in all control rooms</li>\n		<li>LCR surround monitoring in medium control rooms</li>\n		<li>Surround channels in medium-to-large contol rooms</li>\n	</ul>\n	</li>\n	<li>ATC hand built 6.5˝/164mm carbon-paper cone bass driver</li>\n	<li>ATC 25mm/1” Dual Suspension Super Tweeter</li>\n	<li>Discrete MOSFET class A/B bi-amp pack with 150W/60W/25W continuous power output</li>\n</ul>\n<br />\n<span style=\"color: rgb(0, 0, 0); font-size: 24px; font-weight: bold;\">The ATC SCM Line</span><br />The SCM25/45/50/100/110 and 150 are a range of three way loudspeakers. All of the range, excluding the SCM25 and SCM45 are available as passive or active units, the SCM25 & SCM45 are only available as an active unit. Passive units have an SL suffix and active units an ASL suffix. Passive monitors are equipped with a “tri-wire” connection panel to enable separate amplification of the bass, mid and high frequency drivers. Active units have a built in three way Amplifier with frequency, gain and phase correction which has been individually optimized at the ATC manufacturing facility. Adjustment of input sensitivity and bass boost are available to the user via controls on the rear panel of the unit.<br /><br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1641,85,0,274,'ATC SCM45A Pro 3-way Mid-Size Active Studio Monitor Speakers'),(1642,85,1,274,'ATC SCM45A Pro 3-way Mid-Size Active Studio Monitor Speakers'),(1643,76,0,274,''),(1644,76,1,274,''),(1645,75,0,275,'<h1>ATC Loudspeakers SCM50ASL Pro 3-Way Active Studio Monitors (Pair)</h1>\n<i>Active 3-Way Studio Monitors featuring a custom ATC SL 9\" LF Driver, designed for critical listening in medium sized rooms and delivering the quality, accuracy, and performance you expect from ATC Speakers.</i><br /><br />\nThe <a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM50ASL Pro is an active 3-way system suitable for reference monitoring in medium sized rooms, with a 234mm Super Linear bass driver and ATC\'s unique SM75-150S mid range soft dome driver.\nThe active design ensures optimum matching of six MOS-FET amp blocks to the drivers, providing plenty of transient headroom and maximum SPLs of up to 112dB.\nAn LF contour control provides five bass boost settings, and a flat reference response.\n<br /><br />\n<h3>ATC Loudspeakers SCM50ASL Pro Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">ATC 25mm/1” Dual Suspension ‘S-Spec’ Tweeter.</span></li>\n	<li>Full “SL” spec 9˝/234mm bass driver.</li>\n	<li>ATC 75mm “Super Dome” mid driver.</li>\n	<li>On board grounded source 350W Tri-amp pack.</li>\n	<li>LF contour control.</li>\n	<li>Clip indication.</li>\n	<li>6 year warranty.</li>\n</ul>\n<br />\n<h3>The ATC SCM Line</h3>\nThe SCM25/50/100/110 and 150 are a range of three way loudspeakers. All of the range, excluding the SCM25 are available as passive or active units, the SCM25 is only available as an active unit. Passive units have an SL suffix and active units an ASL suffix. Passive monitors are equipped with a “tri-wire” connection panel to enable separate amplification of the bass, mid and high frequency drivers. Active units have a built in three way Amplifier with frequency, gain and phase correction which has been individually optimized at the ATC manufacturing facility. Adjustment of input sensitivity and bass boost are available to the user via controls on the rear panel of the unit.\n<br /><br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1646,75,1,275,'<h1>ATC Loudspeakers SCM50ASL Pro 3-Way Active Studio Monitors (Pair)</h1>\n<i>Active 3-Way Studio Monitors featuring a custom ATC SL 9\" LF Driver, designed for critical listening in medium sized rooms and delivering the quality, accuracy, and performance you expect from ATC Speakers.</i><br /><br />\nThe <a href=\"https://www.rspeaudio.com/ATC-Loudspeakers-s/2171.htm\">ATC Loudspeakers</a> SCM50ASL Pro is an active 3-way system suitable for reference monitoring in medium sized rooms, with a 234mm Super Linear bass driver and ATC\'s unique SM75-150S mid range soft dome driver.\nThe active design ensures optimum matching of six MOS-FET amp blocks to the drivers, providing plenty of transient headroom and maximum SPLs of up to 112dB.\nAn LF contour control provides five bass boost settings, and a flat reference response.\n<br /><br />\n<h3>ATC Loudspeakers SCM50ASL Pro Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">ATC 25mm/1” Dual Suspension ‘S-Spec’ Tweeter.</span></li>\n	<li>Full “SL” spec 9˝/234mm bass driver.</li>\n	<li>ATC 75mm “Super Dome” mid driver.</li>\n	<li>On board grounded source 350W Tri-amp pack.</li>\n	<li>LF contour control.</li>\n	<li>Clip indication.</li>\n	<li>6 year warranty.</li>\n</ul>\n<br />\n<h3>The ATC SCM Line</h3>\nThe SCM25/50/100/110 and 150 are a range of three way loudspeakers. All of the range, excluding the SCM25 are available as passive or active units, the SCM25 is only available as an active unit. Passive units have an SL suffix and active units an ASL suffix. Passive monitors are equipped with a “tri-wire” connection panel to enable separate amplification of the bass, mid and high frequency drivers. Active units have a built in three way Amplifier with frequency, gain and phase correction which has been individually optimized at the ATC manufacturing facility. Adjustment of input sensitivity and bass boost are available to the user via controls on the rear panel of the unit.\n<br /><br />\n<h3>About ATC Loudspeakers</h3>\nATC was founded in London in 1974 by Australian emigre Bill Woodman, who still heads the company today. An enthusiastic pianist and engineer he was naturally drawn to loudspeaker design and after a period working at Goodmans, where many of the names that went on to found British loudspeaker companies began their careers, he struck out on his own.The premise on which ATC began is a simple one, and one that in many respects is still true today: hi-fi loudspeakers tend to be detailed and accurate but of limited dynamic range, while professional monitor speakers tend to express the opposite character. ATC products were designed from the outset to offer the best of both. It’s an easy concept to describe, but surprisingly difficult to engineer\n<br /><br />Through ATC’s commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry including Sony Music and Telarc, ATC’s products are installed at some of the world’s most prestigious multi-channel studios and auditoria. Where ever the best is required you will find ATC.'),(1647,85,0,275,'ATC SCM50ASL Pro 3-Way Active Studio Monitors'),(1648,85,1,275,'ATC SCM50ASL Pro 3-Way Active Studio Monitors'),(1649,76,0,275,''),(1650,76,1,275,''),(1651,75,0,276,'<h1>Audeze LCD-2 Headphone with Travel Case</h1><span style=\"font-style: italic;\">Open back, over ear headphone equipped with Planar Magnetic Technology that put Audeze on the hi-fi map</span><i>.</i><br /><br />The Audeze LCD-2 headphone is the planar magnetic headphone that put Audeze on the high-end map, delivering audiophile quality, low-distortion sound that articulates the power and nuance of your favorite music. The LCD-2 is the most forgiving of poor recordings in the LCD Collection with a beautiful, musically rich presentation that communicates the warmth, power and glory of music.<br /><br /><h3>Audeze LCD-3 Features</h3><ul style=\"letter-spacing: normal;\"><li>Planar magnetic drivers for better dynamics and frequency response</li><li>Premium leather and Bamboo for style and durability</li><li>Fazor elements</li><li>Large ultra thin-film diaphragms</li><li>Double-sided magnetic structure</li></ul><br /><h3>Package Includes</h3><ul><li>2.5m 1/4in to dual 4-pin mini-XLR cable</li><li>3.5mm to 1/4in stereo adapter</li><li>Professional travel case</li></ul><br /><h3>Exclusive LCD-2 planar magnetic technology</h3><b>Acoustically engineered for accuracy</b><br />Audeze’s innovative planar magnetic technology delivers an astonishingly lifelike sound. <br /><br /><b>Diaphragms thinner than a human hair</b><br />We use space-age materials to fabricate an ultra thin diaphragm four times larger than typical headphones delivering fast response times, dramatically reduced distortion, higher resolution and improved imaging. <br /><br /><b>Near zero distortion</b><br />Double-sided magnet arrays delivers a uniform driving force across the entire diaphragm for near zero distortion. <br /><br /><b>Internal soundwaves</b><br />Patented Fazor Elements guide internal headphone soundwaves to avoid resonance producing a more accurate waveform. <br /><br /><h3>Designed, engineered and handcrafted in the USA</h3>The LCD-2 is thoroughly engineered for long-term comfort and beautiful sound. We closely match our planar transducers, and match our beautiful factory-made wood rings by grain and color. We use Shedua wood from tropical west Africa It’s not on the watchlist and is reported by the IUCN as being a species of least concern. We also match the earpads by leather texture and color. You can choose lambskin leather or Microsuede headbands and earcups that are filled with foam carefully selected for best sound and contribute to the level of comfort during long listening sessions. Pair the LCD-2 with a quality headphone amplifier or integrated amp for best sound.'),(1652,75,1,276,'<h1>Audeze LCD-2 Headphone with Travel Case</h1><span style=\"font-style: italic;\">Open back, over ear headphone equipped with Planar Magnetic Technology that put Audeze on the hi-fi map</span><i>.</i><br /><br />The Audeze LCD-2 headphone is the planar magnetic headphone that put Audeze on the high-end map, delivering audiophile quality, low-distortion sound that articulates the power and nuance of your favorite music. The LCD-2 is the most forgiving of poor recordings in the LCD Collection with a beautiful, musically rich presentation that communicates the warmth, power and glory of music.<br /><br /><h3>Audeze LCD-3 Features</h3><ul style=\"letter-spacing: normal;\"><li>Planar magnetic drivers for better dynamics and frequency response</li><li>Premium leather and Bamboo for style and durability</li><li>Fazor elements</li><li>Large ultra thin-film diaphragms</li><li>Double-sided magnetic structure</li></ul><br /><h3>Package Includes</h3><ul><li>2.5m 1/4in to dual 4-pin mini-XLR cable</li><li>3.5mm to 1/4in stereo adapter</li><li>Professional travel case</li></ul><br /><h3>Exclusive LCD-2 planar magnetic technology</h3><b>Acoustically engineered for accuracy</b><br />Audeze’s innovative planar magnetic technology delivers an astonishingly lifelike sound. <br /><br /><b>Diaphragms thinner than a human hair</b><br />We use space-age materials to fabricate an ultra thin diaphragm four times larger than typical headphones delivering fast response times, dramatically reduced distortion, higher resolution and improved imaging. <br /><br /><b>Near zero distortion</b><br />Double-sided magnet arrays delivers a uniform driving force across the entire diaphragm for near zero distortion. <br /><br /><b>Internal soundwaves</b><br />Patented Fazor Elements guide internal headphone soundwaves to avoid resonance producing a more accurate waveform. <br /><br /><h3>Designed, engineered and handcrafted in the USA</h3>The LCD-2 is thoroughly engineered for long-term comfort and beautiful sound. We closely match our planar transducers, and match our beautiful factory-made wood rings by grain and color. We use Shedua wood from tropical west Africa It’s not on the watchlist and is reported by the IUCN as being a species of least concern. We also match the earpads by leather texture and color. You can choose lambskin leather or Microsuede headbands and earcups that are filled with foam carefully selected for best sound and contribute to the level of comfort during long listening sessions. Pair the LCD-2 with a quality headphone amplifier or integrated amp for best sound.'),(1653,85,0,276,'Audeze LCD-2 Headphone with Travel Case'),(1654,85,1,276,'Audeze LCD-2 Headphone with Travel Case'),(1655,76,0,276,''),(1656,76,1,276,''),(1657,75,0,277,'<h1>Audeze LCD-3 Headphone with Travel Case</h1>\n<span style=\"font-size:16px; font-style:italic;\">Open back, over ear headphone equipped with Planar Magnetic Technology for a rich, virbrant sound that </span><i>has been called the best in the world.</i><br /><br />\nThe Audeze LCD-3 headphone is designed, engineered and handcrafted in the USA for accurate, high-quality audiophile sound. The LCD-3 is luxuriously spacious, with powerful bass, a rich and engaging midrange, and a top-end that draws you into the music. Its rich, vibrant sound has scale and authority derived from a deep, ambient soundstage with exciting detail and dynamics. The LCD-3 was said to be the best in the world and its natural timbre, especially through the midrange, was described as a thing of beauty.<br /><br />\n<h3>Audeze LCD-3 Features</h3>\n<ul>\n	<li>Planar magnetic drivers for better dynamics and frequency response</li>\n	<li>Premium leather and Zebra wood for style and durability</li>\n	<li>Fazor elements</li>\n	<li>Large ultra thin-film diaphragms</li>\n	<li>Double-sided magnetic structure</li>\n</ul>\n<br />\n<h3>Package Includes</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">LCD-3 planar magnetic headphone</span></li><li>1.9m 1/4\'\' to dual 4-pin mini-XLR cable</li><li>Professional travel case</li><li>User guide and warranty card</li>\n</ul>\n<br />\n<h3>Exclusive LCD-3 planar magnetic technology</h3>\n<b>\nAcoustically engineered for accuracy</b><br />\nAudeze’s innovative planar magnetic technology delivers an astonishingly lifelike sound.\n<br /><br /><b>\nDiaphragms thinner than a human hair</b><br />\nWe use space-age materials to fabricate an ultra thin diaphragm four times larger than typical headphones delivering fast response times, dramatically reduced distortion, higher resolution and improved imaging.\n<br /><br /><b>\nNear zero distortion</b><br />\nDouble-sided magnet arrays delivers a uniform driving force across the entire diaphragm for near zero distortion.\n<br /><br /><b>\nInternal soundwaves</b><br />\nPatented Fazor Elements guide internal headphone soundwaves to avoid resonance producing a more accurate waveform.\n<br /><br />\n<h3>Designed, engineered and handcrafted in the USA</h3>\nThe LCD-3 is thoroughly engineered for long-term comfort and spacious, realistic sound. We closely match our planar transducers, and match our beautiful factory-made wood rings by grain and color. We use tropical West African Zebrano hardwood -- known as Zebra wood -- not listed in the CITES Appendices. We also match the earpads by leather texture and color. You can choose lambskin leather or Microsuede headbands and earcups that are filled with carefully selected foam for best sound and comfort during long listening sessions. Pair the LCD-3 with a quality headphone amplifier or integrated amp for best sound.\n<br /><br />'),(1658,75,1,277,'<h1>Audeze LCD-3 Headphone with Travel Case</h1>\n<span style=\"font-size:16px; font-style:italic;\">Open back, over ear headphone equipped with Planar Magnetic Technology for a rich, virbrant sound that </span><i>has been called the best in the world.</i><br /><br />\nThe Audeze LCD-3 headphone is designed, engineered and handcrafted in the USA for accurate, high-quality audiophile sound. The LCD-3 is luxuriously spacious, with powerful bass, a rich and engaging midrange, and a top-end that draws you into the music. Its rich, vibrant sound has scale and authority derived from a deep, ambient soundstage with exciting detail and dynamics. The LCD-3 was said to be the best in the world and its natural timbre, especially through the midrange, was described as a thing of beauty.<br /><br />\n<h3>Audeze LCD-3 Features</h3>\n<ul>\n	<li>Planar magnetic drivers for better dynamics and frequency response</li>\n	<li>Premium leather and Zebra wood for style and durability</li>\n	<li>Fazor elements</li>\n	<li>Large ultra thin-film diaphragms</li>\n	<li>Double-sided magnetic structure</li>\n</ul>\n<br />\n<h3>Package Includes</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">LCD-3 planar magnetic headphone</span></li><li>1.9m 1/4\'\' to dual 4-pin mini-XLR cable</li><li>Professional travel case</li><li>User guide and warranty card</li>\n</ul>\n<br />\n<h3>Exclusive LCD-3 planar magnetic technology</h3>\n<b>\nAcoustically engineered for accuracy</b><br />\nAudeze’s innovative planar magnetic technology delivers an astonishingly lifelike sound.\n<br /><br /><b>\nDiaphragms thinner than a human hair</b><br />\nWe use space-age materials to fabricate an ultra thin diaphragm four times larger than typical headphones delivering fast response times, dramatically reduced distortion, higher resolution and improved imaging.\n<br /><br /><b>\nNear zero distortion</b><br />\nDouble-sided magnet arrays delivers a uniform driving force across the entire diaphragm for near zero distortion.\n<br /><br /><b>\nInternal soundwaves</b><br />\nPatented Fazor Elements guide internal headphone soundwaves to avoid resonance producing a more accurate waveform.\n<br /><br />\n<h3>Designed, engineered and handcrafted in the USA</h3>\nThe LCD-3 is thoroughly engineered for long-term comfort and spacious, realistic sound. We closely match our planar transducers, and match our beautiful factory-made wood rings by grain and color. We use tropical West African Zebrano hardwood -- known as Zebra wood -- not listed in the CITES Appendices. We also match the earpads by leather texture and color. You can choose lambskin leather or Microsuede headbands and earcups that are filled with carefully selected foam for best sound and comfort during long listening sessions. Pair the LCD-3 with a quality headphone amplifier or integrated amp for best sound.\n<br /><br />'),(1659,85,0,277,''),(1660,85,1,277,''),(1661,76,0,277,''),(1662,76,1,277,''),(1663,75,0,278,'<h1>Audeze LCD-4 Headphone with Travel Case</h1>\n<span style=\"font-size:16px; font-style:italic;\">The most advanced open back, over ear headphone from Audeze. Equipped with Planar Magnetic Technology for a rich, virbrant sound.</span><br /><br />\nThe Audeze LCD-4 represents the pinnacle of planar magnetic technology and is far and away Audeze’s most advanced headphone that delivers startling dynamics and incredibly open and spacious sound. Audeze\'s new flagship headphone features game-changing technology, like its first-of-the-kind nano-scale diaphragm with Double Fluxor Magnet Arrays that nearly double the driving power. <br /><br />\n<h3>Audeze LCD-4 Features</h3>\n<ul>\n	<li>Planar magnetic drivers for better dynamics and frequency response</li>\n	<li>Premium leather and Macassar Ebony wood for style and durability</li>\n	<li>Flux density 1.5 Tesla</li>\n	<li>Large ultra-thin nano grade Uniforce diaphragms</li>\n	<li>Double Fluxor magnetic arrays</li>\n	<li>Fazor elements</li>\n</ul>\n<br />\n<h3>Package Includes</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">LCD-4 planar magnetic headphones</span></li><li>1.9m 1/4\'\' to dual 4-pin mini-XLR Premium LCD cable</li><li>Professional travel case</li><li>User guide and warranty card</li>\n</ul>\n<br />\n<h3>Exclusive LCD-4 planar magnetic technology</h3>\n<b>Acoustically engineered for accuracy</b><br />\nThe LCD-4 is far and away Audeze’s most advanced headphone featuring innovative planar magnetic technology that delivers startling dynamics and incredibly open and spacious sound.<br /><br />\n<b>Near weightless nano-scale diaphragm</b><br />\nThe LCD-4 features our most advanced diaphragm design; our exclusive nano-scale film actually weighs less than the air it displaces! Benefits include faster response times for better imaging, and the flattest, deepest, most accurate bass response of any headphone available.<br /><br />\n<b>Audeze nearly doubles the magnetic driving force</b><br />\nDouble-Fluxor Magnet Arrays focus the magnetic flux to a previously unheard of 1.5 Tesla, nearly doubling the power driving the diaphragm for improved transient response and far greater resolution.<br /><br />\n<b>Near zero distortion</b><br />\nPatented Fluxor Magnet Arrays focus the magnetic flux nearly doubling the power driving the diaphragm for even lower distortion and greater accuracy.<br /><br />\n<b>Internal soundwaves</b><br />\nPatented Fazor Elements guide internal headphone soundwaves to avoid resonance for a more accurate waveform.\n<br />\n<br />\n<h3>Designed, engineered and handcrafted in the USA</h3>\nThe LCD-4 headphone is thoroughly engineered and meticulously hand-built using the finest, most luxurious materials combined with cutting-edge planar magnetic technology. It takes four weeks to finish the beautifully-finished 30-year-old Macassar Ebony wood rings, a dense finely-textured hardwood with a very smooth finish when polished. We closely match transducers, then match our rings by grain and color. We match earpads by leather texture and color. Choose real lambskin leather or microsuede headbands. The earpads are filled with carefully chosen acoustical foam.<br /><br />'),(1664,75,1,278,'<h1>Audeze LCD-4 Headphone with Travel Case</h1>\n<span style=\"font-size:16px; font-style:italic;\">The most advanced open back, over ear headphone from Audeze. Equipped with Planar Magnetic Technology for a rich, virbrant sound.</span><br /><br />\nThe Audeze LCD-4 represents the pinnacle of planar magnetic technology and is far and away Audeze’s most advanced headphone that delivers startling dynamics and incredibly open and spacious sound. Audeze\'s new flagship headphone features game-changing technology, like its first-of-the-kind nano-scale diaphragm with Double Fluxor Magnet Arrays that nearly double the driving power. <br /><br />\n<h3>Audeze LCD-4 Features</h3>\n<ul>\n	<li>Planar magnetic drivers for better dynamics and frequency response</li>\n	<li>Premium leather and Macassar Ebony wood for style and durability</li>\n	<li>Flux density 1.5 Tesla</li>\n	<li>Large ultra-thin nano grade Uniforce diaphragms</li>\n	<li>Double Fluxor magnetic arrays</li>\n	<li>Fazor elements</li>\n</ul>\n<br />\n<h3>Package Includes</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">LCD-4 planar magnetic headphones</span></li><li>1.9m 1/4\'\' to dual 4-pin mini-XLR Premium LCD cable</li><li>Professional travel case</li><li>User guide and warranty card</li>\n</ul>\n<br />\n<h3>Exclusive LCD-4 planar magnetic technology</h3>\n<b>Acoustically engineered for accuracy</b><br />\nThe LCD-4 is far and away Audeze’s most advanced headphone featuring innovative planar magnetic technology that delivers startling dynamics and incredibly open and spacious sound.<br /><br />\n<b>Near weightless nano-scale diaphragm</b><br />\nThe LCD-4 features our most advanced diaphragm design; our exclusive nano-scale film actually weighs less than the air it displaces! Benefits include faster response times for better imaging, and the flattest, deepest, most accurate bass response of any headphone available.<br /><br />\n<b>Audeze nearly doubles the magnetic driving force</b><br />\nDouble-Fluxor Magnet Arrays focus the magnetic flux to a previously unheard of 1.5 Tesla, nearly doubling the power driving the diaphragm for improved transient response and far greater resolution.<br /><br />\n<b>Near zero distortion</b><br />\nPatented Fluxor Magnet Arrays focus the magnetic flux nearly doubling the power driving the diaphragm for even lower distortion and greater accuracy.<br /><br />\n<b>Internal soundwaves</b><br />\nPatented Fazor Elements guide internal headphone soundwaves to avoid resonance for a more accurate waveform.\n<br />\n<br />\n<h3>Designed, engineered and handcrafted in the USA</h3>\nThe LCD-4 headphone is thoroughly engineered and meticulously hand-built using the finest, most luxurious materials combined with cutting-edge planar magnetic technology. It takes four weeks to finish the beautifully-finished 30-year-old Macassar Ebony wood rings, a dense finely-textured hardwood with a very smooth finish when polished. We closely match transducers, then match our rings by grain and color. We match earpads by leather texture and color. Choose real lambskin leather or microsuede headbands. The earpads are filled with carefully chosen acoustical foam.<br /><br />'),(1665,85,0,278,''),(1666,85,1,278,''),(1667,76,0,278,''),(1668,76,1,278,''),(1669,75,0,279,'<h2>Audeze LCD-X Reference-Level Headphone with Travel Case</h2><i>Open back, over ear reference headphone equipped with Planar Magnetic Technology for a rich, virbrant sound.</i><br /><br />The Audeze LCD-X Reference Headphone is incredibly dynamic, nimble, neutral and transparent, accurately revealing everything on the recording. It quickly became the ultimate tool for recording engineers, musicians and audiophiles alike for its clean, accurate sound. The sense of space is enormous, the midrange and high frequencies offer fantastic detail so you can hear further into the recording with more air and separation between performers.<br /><br /><h3>Audeze LCD-X Features</h3><ul style=\"letter-spacing: normal;\"><li>Planar magnetic drivers for better dynamics and frequency response</li><li>Premium leather and Aluminum for style and durability</li><li>Fazor elements</li><li>Large ultra thin-film diaphragms</li><li>Double-sided magnetic structure</li></ul><br /><h3>Package Includes</h3><ul><li>ADZ6SE Cable (single-ended 1/4\"): 1/4” TRS to 2x4-pin mini XLR</li><li>ADZ6B4 Cable (balanced 4-pin): 4-pin XLR to 2x4-pin mini XLR</li><li>1/4\" to 1/8\" adapter</li><li>Ruggedized travel case</li><li>Warranty documents</li></ul><br /><h3>Exclusive LCD-X planar magnetic technology</h3><b>Acoustically engineered for accuracy</b><br />Audeze’s innovative planar magnetic technology delivers an astonishingly lifelike sound. <br /><br /><b>Diaphragms thinner than a human hair</b><br />We use space-age materials to fabricate an ultra thin diaphragm four times larger than typical headphones delivering fast response times, dramatically reduced distortion, higher resolution and improved imaging. <br /><br /><b>Near zero distortion</b><br />Double-sided magnet arrays delivers a uniform driving force across the entire diaphragm for near zero distortion. <br /><br /><b>Internal soundwaves</b><br />Patented Fazor Elements guide internal headphone soundwaves to avoid resonance producing a more accurate waveform. <br /><br /><h3>Designed, engineered and handcrafted in the USA</h3>The LCD-X headphone is thoroughly engineered and meticulously hand-built using the finest, most luxurious materials combined with cutting-edge planar magnetic technology. We closely match transducers and even match the earpads by leather texture and color. You may choose real lambskin leather or our Microsuede earpads and headband. All earpads are filled with carefully chosen acoustical foam for best fit and sound. The LCD-X will play on portable devices but sounds best driven by a quality amplifier.<br /><br />'),(1670,75,1,279,'<h2>Audeze LCD-X Reference-Level Headphone with Travel Case</h2><i>Open back, over ear reference headphone equipped with Planar Magnetic Technology for a rich, virbrant sound.</i><br /><br />The Audeze LCD-X Reference Headphone is incredibly dynamic, nimble, neutral and transparent, accurately revealing everything on the recording. It quickly became the ultimate tool for recording engineers, musicians and audiophiles alike for its clean, accurate sound. The sense of space is enormous, the midrange and high frequencies offer fantastic detail so you can hear further into the recording with more air and separation between performers.<br /><br /><h3>Audeze LCD-X Features</h3><ul style=\"letter-spacing: normal;\"><li>Planar magnetic drivers for better dynamics and frequency response</li><li>Premium leather and Aluminum for style and durability</li><li>Fazor elements</li><li>Large ultra thin-film diaphragms</li><li>Double-sided magnetic structure</li></ul><br /><h3>Package Includes</h3><ul><li>ADZ6SE Cable (single-ended 1/4\"): 1/4” TRS to 2x4-pin mini XLR</li><li>ADZ6B4 Cable (balanced 4-pin): 4-pin XLR to 2x4-pin mini XLR</li><li>1/4\" to 1/8\" adapter</li><li>Ruggedized travel case</li><li>Warranty documents</li></ul><br /><h3>Exclusive LCD-X planar magnetic technology</h3><b>Acoustically engineered for accuracy</b><br />Audeze’s innovative planar magnetic technology delivers an astonishingly lifelike sound. <br /><br /><b>Diaphragms thinner than a human hair</b><br />We use space-age materials to fabricate an ultra thin diaphragm four times larger than typical headphones delivering fast response times, dramatically reduced distortion, higher resolution and improved imaging. <br /><br /><b>Near zero distortion</b><br />Double-sided magnet arrays delivers a uniform driving force across the entire diaphragm for near zero distortion. <br /><br /><b>Internal soundwaves</b><br />Patented Fazor Elements guide internal headphone soundwaves to avoid resonance producing a more accurate waveform. <br /><br /><h3>Designed, engineered and handcrafted in the USA</h3>The LCD-X headphone is thoroughly engineered and meticulously hand-built using the finest, most luxurious materials combined with cutting-edge planar magnetic technology. We closely match transducers and even match the earpads by leather texture and color. You may choose real lambskin leather or our Microsuede earpads and headband. All earpads are filled with carefully chosen acoustical foam for best fit and sound. The LCD-X will play on portable devices but sounds best driven by a quality amplifier.<br /><br />'),(1671,85,0,279,'Audeze LCD-X Reference-Level Headphone with Travel Case'),(1672,85,1,279,'Audeze LCD-X Reference-Level Headphone with Travel Case'),(1673,76,0,279,''),(1674,76,1,279,''),(1675,75,0,280,'<h2>Audeze LCD-XC High-Performance Closed-Back Planar Magnetic Headphone</h2><h2><i style=\"font-size: 16px; font-weight: 400; color: rgb(48, 56, 71);\">The spectacular sound of Audeze\'s Planar Magnetic Technology now in a closed-back headphone for increased isolation.</i></h2>The Audeze LCD-XC Closed-Back Headphone is incredibly dynamic, nimble, neutral and transparent, accurately revealing everything on the recording. It quickly became the ultimate tool for recording engineers, musicians and audiophiles alike for its clean, accurate sound. The closed-back design offers all the benefits of a planar magnetic headphone with increased isolation and greatly reduced ambient noise for a private and powerful listening experience. Your favorite music erupts from a silent background taking on a life of its own. The sense of space is enormous, the midrange and high frequencies offer fantastic detail so you can hear further into the recording with more air and separation between performers.<br /><br /><h3>Audeze LCD-XC Features</h3><ul style=\"letter-spacing: normal;\"><li>Planar magnetic drivers for better dynamics and frequency response</li><li>Premium leather and Zebra wood for style and durability</li><li>Fazor elements</li><li>Large ultra thin-film diaphragms</li><li>Double-sided magnetic structure</li></ul><br /><h3>Package Includes</h3><ul><li>2.5m 1/4in to dual 4-pin mini-XLR cable</li><li>3.5mm to 1/4in stereo adapter</li><li>Professional travel case</li></ul><br /><h3>Exclusive LCD-X planar magnetic technology</h3><b>Acoustically engineered for accuracy</b><br />Audeze’s innovative planar magnetic technology delivers an astonishingly lifelike sound. <br /><br /><b>Diaphragms thinner than a human hair</b><br />We use space-age materials to fabricate an ultra thin diaphragm four times larger than typical headphones delivering fast response times, dramatically reduced distortion, higher resolution and improved imaging. <br /><br /><b>Near zero distortion</b><br />Double-sided magnet arrays delivers a uniform driving force across the entire diaphragm for near zero distortion. <br /><br /><b>Internal soundwaves</b><br />Patented Fazor Elements guide internal headphone soundwaves to avoid resonance producing a more accurate waveform. <br /><br /><h3>Designed, engineered and handcrafted in the USA</h3>The LCD-XC headphone is thoroughly engineered and meticulously hand-built using the finest, most luxurious materials combined with cutting-edge planar magnetic technology. We closely match the transducers, then match the gorgeous equatorial African Bubinga wood earcups. Bubinga is not listed in the CITES Appendices or on the IUCN Red List of Threatened Species. We match earpads by leather texture and color. Choose real lambskin leather or microsuede headbands. The earpads are filled with carefully chosen acoustical foam. You can pair the LCD-XC with portable devices but it sounds best driven by a quality amplifier.'),(1676,75,1,280,'<h2>Audeze LCD-XC High-Performance Closed-Back Planar Magnetic Headphone</h2><h2><i style=\"font-size: 16px; font-weight: 400; color: rgb(48, 56, 71);\">The spectacular sound of Audeze\'s Planar Magnetic Technology now in a closed-back headphone for increased isolation.</i></h2>The Audeze LCD-XC Closed-Back Headphone is incredibly dynamic, nimble, neutral and transparent, accurately revealing everything on the recording. It quickly became the ultimate tool for recording engineers, musicians and audiophiles alike for its clean, accurate sound. The closed-back design offers all the benefits of a planar magnetic headphone with increased isolation and greatly reduced ambient noise for a private and powerful listening experience. Your favorite music erupts from a silent background taking on a life of its own. The sense of space is enormous, the midrange and high frequencies offer fantastic detail so you can hear further into the recording with more air and separation between performers.<br /><br /><h3>Audeze LCD-XC Features</h3><ul style=\"letter-spacing: normal;\"><li>Planar magnetic drivers for better dynamics and frequency response</li><li>Premium leather and Zebra wood for style and durability</li><li>Fazor elements</li><li>Large ultra thin-film diaphragms</li><li>Double-sided magnetic structure</li></ul><br /><h3>Package Includes</h3><ul><li>2.5m 1/4in to dual 4-pin mini-XLR cable</li><li>3.5mm to 1/4in stereo adapter</li><li>Professional travel case</li></ul><br /><h3>Exclusive LCD-X planar magnetic technology</h3><b>Acoustically engineered for accuracy</b><br />Audeze’s innovative planar magnetic technology delivers an astonishingly lifelike sound. <br /><br /><b>Diaphragms thinner than a human hair</b><br />We use space-age materials to fabricate an ultra thin diaphragm four times larger than typical headphones delivering fast response times, dramatically reduced distortion, higher resolution and improved imaging. <br /><br /><b>Near zero distortion</b><br />Double-sided magnet arrays delivers a uniform driving force across the entire diaphragm for near zero distortion. <br /><br /><b>Internal soundwaves</b><br />Patented Fazor Elements guide internal headphone soundwaves to avoid resonance producing a more accurate waveform. <br /><br /><h3>Designed, engineered and handcrafted in the USA</h3>The LCD-XC headphone is thoroughly engineered and meticulously hand-built using the finest, most luxurious materials combined with cutting-edge planar magnetic technology. We closely match the transducers, then match the gorgeous equatorial African Bubinga wood earcups. Bubinga is not listed in the CITES Appendices or on the IUCN Red List of Threatened Species. We match earpads by leather texture and color. Choose real lambskin leather or microsuede headbands. The earpads are filled with carefully chosen acoustical foam. You can pair the LCD-XC with portable devices but it sounds best driven by a quality amplifier.'),(1677,85,0,280,'Audeze LCD-XC Headphone with Travel Case'),(1678,85,1,280,'Audeze LCD-XC Headphone with Travel Case'),(1679,76,0,280,''),(1680,76,1,280,''),(1681,75,0,281,'<h1>Audio Ease Altiverb 7 Plug-in</h1>\nAudio Ease Altiverb 7 is the industry standard convolution reverb plug-in. It uses top quality samples of real spaces to create reverb, ranging from Sydney Opera House to the cockpit of a Jumbo Jet. Altiverb 7 is efficient on the cpu, offers many parameters to tweak reverb, is total recall automatable, and has 64 bit support. New impulse responses are added regularly, available for free to all registered Altiverb 7 users.\n<br />\n<h3><br />Altiverb 7 <span style=\"background-color: initial;\">Regular version features:</span></h3>\n<span style=\"background-color: initial;\"></span>\n<ul>\n	<li>up to stereo input and output</li>\n	<li>up to 96 kHz sampling rates</li>\n</ul>\n<br />\n<h3>Altiverb Music Spaces</h3>\n<h3>\n</h3>\n<h4>Music Spaces</h4>\nThe Altiverb Library of Acoustics contains the most sought after spaces for music. The main concert halls of the cities of Berlin, Los Angeles Vienna and Amsterdam for your orchestral work. Or legendary rock studios from New York or Paris. But you can also put your audio in French Cathedrals, the Gol Gumbaz of India or London\'s Wembley stadium.\n<br /><br />\n<h4>Vintage reverb gear</h4>\nAltiverb contains a tremendous amount of classic reverb gear and purpose built echo chambers. You\'ll find all the EMT plates you want, spring reverbs, classic digital gear like the 480, 224, the AMS RMX 16 or the EMT 240. Add the Frank Sinatra and Beach Boys echo chambers and you have everything you need to recreate all those classic sounds.\n<br /><br />\n<h4>Experimental Responses</h4>\nGrab any sound from your tracks or the Finder and toss it on Altiverb to use it as an impulse response. Try piano chords, breaking glass, spoken word, thunder or a drum loop. In convolution each sample of the input is replaced by the entire impulse response. So if you use a piano chord as an impulse Response, and you clap your hands into Altiverb, out comes the chord.\n<br /><br />\n<h4>Stage Positioning</h4>\nAn exhaustive recording session in a Viennese concert hall gave us an algorithm that allows you to accurately place your sound anywhere on stage of all our concert halls, or in any of our other rooms. Physically correct sound placement using the Altiverb Stage Positioner creates a stunningly realistic audio panorama.\n audio demo\n<br /><br />\n<h4>Musical gates and delays</h4>\nTo tie your reverb effects more to your tracks Altiverb 7 features a reverb gate that is set using note values. And it is tied to your song\'s tempo. Any reverb tail can be reversed and handles the same way, and Altiverb\'s pre-delay can also be set in this manner, so it is easy to put that slap-back delay in a musical spot.\n<br /><br />\n<h4>Brightness and Chaos</h4>\nThe Brightness parameter closely fits a classic synthetic reverb on top of the Impulse Response. This adds a particular brightness in a way EQ never can. Toss in a bit of chaotic modulation in your reverb and not every hit will sound identical in the reverb. Slightly out of tune notes will be covered up in the reverb tail by modulation.\n<br /><br />\n<h3>Altiverb 7 for audio post for picture</h3>\n<h4>Spaces for post</h4>\nThe Altiverb Library of Acoustics contains hundreds of spaces geared towards audio post for picture. This includes 18 bed rooms, 30 car interiors, trains, boats, many streets and forests, the cockpit of a boeing 747, clubs, sports stadiums, bathrooms, closets and cupboards.\n<br /><br />\n<h4>Total recall automation</h4>\nEverything, including the impulse response choice is automatable in Altiverb 7. This means that you do not have to jump through hoops to simply automate Altiverb 7 100% accurately. While there are still single-click snapshots, you do not need them to automate Altiverb fully.\n<br /><br />\n<h4>Matching Heaven</h4>\nTo make an IR just drag a sweep recording onto Altiverb. Use a portable radio, a starter pistol shot. Altiverb 7 even has built in correction curves for the most popular clapper boards. Next time you need to match production acoustics and all you have is a slate clap, think of Altiverb.\n<br /><br />\n<h4>Keyword Searching</h4>\nYou do not have to endlessly browse through hundreds of spaces to find exactly what you need. Altiverb 7 has a powerful keyword search field so you can look for items like \'metallic resonances\' \'bed room\', \'street slapback\' or \'brick room\'\n<br /><br />\n<h4>Find similar Sounding IRs</h4>\nYou found a space that works but it\'s not quite the thing yet? You can tweak EQ or damping parameters, but you can also try Altiverb\'s \'Similar\' button. It will list a number of similar sounding alternatives to the currently chosen impulse response.\n<br /><br />\n<h4>Walls, Floors and Doors</h4>\nAltiverb contains many samples made through walls, doors and floors. If you need a rejected lover to beg from behind the front door, that party-at-the-neighbours sound or an upstairs piano practice, browse the next-door category of impulse responses.\n<br /><br />'),(1682,75,1,281,'<h1>Audio Ease Altiverb 7 Plug-in</h1>\nAudio Ease Altiverb 7 is the industry standard convolution reverb plug-in. It uses top quality samples of real spaces to create reverb, ranging from Sydney Opera House to the cockpit of a Jumbo Jet. Altiverb 7 is efficient on the cpu, offers many parameters to tweak reverb, is total recall automatable, and has 64 bit support. New impulse responses are added regularly, available for free to all registered Altiverb 7 users.\n<br />\n<h3><br />Altiverb 7 <span style=\"background-color: initial;\">Regular version features:</span></h3>\n<span style=\"background-color: initial;\"></span>\n<ul>\n	<li>up to stereo input and output</li>\n	<li>up to 96 kHz sampling rates</li>\n</ul>\n<br />\n<h3>Altiverb Music Spaces</h3>\n<h3>\n</h3>\n<h4>Music Spaces</h4>\nThe Altiverb Library of Acoustics contains the most sought after spaces for music. The main concert halls of the cities of Berlin, Los Angeles Vienna and Amsterdam for your orchestral work. Or legendary rock studios from New York or Paris. But you can also put your audio in French Cathedrals, the Gol Gumbaz of India or London\'s Wembley stadium.\n<br /><br />\n<h4>Vintage reverb gear</h4>\nAltiverb contains a tremendous amount of classic reverb gear and purpose built echo chambers. You\'ll find all the EMT plates you want, spring reverbs, classic digital gear like the 480, 224, the AMS RMX 16 or the EMT 240. Add the Frank Sinatra and Beach Boys echo chambers and you have everything you need to recreate all those classic sounds.\n<br /><br />\n<h4>Experimental Responses</h4>\nGrab any sound from your tracks or the Finder and toss it on Altiverb to use it as an impulse response. Try piano chords, breaking glass, spoken word, thunder or a drum loop. In convolution each sample of the input is replaced by the entire impulse response. So if you use a piano chord as an impulse Response, and you clap your hands into Altiverb, out comes the chord.\n<br /><br />\n<h4>Stage Positioning</h4>\nAn exhaustive recording session in a Viennese concert hall gave us an algorithm that allows you to accurately place your sound anywhere on stage of all our concert halls, or in any of our other rooms. Physically correct sound placement using the Altiverb Stage Positioner creates a stunningly realistic audio panorama.\n audio demo\n<br /><br />\n<h4>Musical gates and delays</h4>\nTo tie your reverb effects more to your tracks Altiverb 7 features a reverb gate that is set using note values. And it is tied to your song\'s tempo. Any reverb tail can be reversed and handles the same way, and Altiverb\'s pre-delay can also be set in this manner, so it is easy to put that slap-back delay in a musical spot.\n<br /><br />\n<h4>Brightness and Chaos</h4>\nThe Brightness parameter closely fits a classic synthetic reverb on top of the Impulse Response. This adds a particular brightness in a way EQ never can. Toss in a bit of chaotic modulation in your reverb and not every hit will sound identical in the reverb. Slightly out of tune notes will be covered up in the reverb tail by modulation.\n<br /><br />\n<h3>Altiverb 7 for audio post for picture</h3>\n<h4>Spaces for post</h4>\nThe Altiverb Library of Acoustics contains hundreds of spaces geared towards audio post for picture. This includes 18 bed rooms, 30 car interiors, trains, boats, many streets and forests, the cockpit of a boeing 747, clubs, sports stadiums, bathrooms, closets and cupboards.\n<br /><br />\n<h4>Total recall automation</h4>\nEverything, including the impulse response choice is automatable in Altiverb 7. This means that you do not have to jump through hoops to simply automate Altiverb 7 100% accurately. While there are still single-click snapshots, you do not need them to automate Altiverb fully.\n<br /><br />\n<h4>Matching Heaven</h4>\nTo make an IR just drag a sweep recording onto Altiverb. Use a portable radio, a starter pistol shot. Altiverb 7 even has built in correction curves for the most popular clapper boards. Next time you need to match production acoustics and all you have is a slate clap, think of Altiverb.\n<br /><br />\n<h4>Keyword Searching</h4>\nYou do not have to endlessly browse through hundreds of spaces to find exactly what you need. Altiverb 7 has a powerful keyword search field so you can look for items like \'metallic resonances\' \'bed room\', \'street slapback\' or \'brick room\'\n<br /><br />\n<h4>Find similar Sounding IRs</h4>\nYou found a space that works but it\'s not quite the thing yet? You can tweak EQ or damping parameters, but you can also try Altiverb\'s \'Similar\' button. It will list a number of similar sounding alternatives to the currently chosen impulse response.\n<br /><br />\n<h4>Walls, Floors and Doors</h4>\nAltiverb contains many samples made through walls, doors and floors. If you need a rejected lover to beg from behind the front door, that party-at-the-neighbours sound or an upstairs piano practice, browse the next-door category of impulse responses.\n<br /><br />'),(1683,85,0,281,'Audio Ease Altiverb Plug-in'),(1684,85,1,281,'Audio Ease Altiverb Plug-in'),(1685,76,0,281,''),(1686,76,1,281,''),(1687,75,0,282,'<h1>Audio Ease Altiverb 7 XL Plug-in</h1>\nAudio Ease Altiverb 7 is the industry standard convolution reverb plug-in. It uses top quality samples of real spaces to create reverb, ranging from Sydney Opera House to the cockpit of a Jumbo Jet. Altiverb 7 is efficient on the cpu, offers many parameters to tweak reverb, is total recall automatable, and has 64 bit support. New impulse responses are added regularly, available for free to all registered Altiverb 7 users.\n<br />\n<h3><br />Altiverb 7 <span style=\"background-color: initial;\">XL version features:</span></h3>\n<span style=\"background-color: initial;\"></span>\n<ul>\n	<li>up to 5.1 surround input and output</li>\n	<li>up to 384 kHz sampling rates</li>\n	<li>TDM plug-in for Pro Tools HD 10 (and 9 and 8).</li>\n</ul>\n<br />\n<h3>Altiverb Music Spaces</h3>\n<h3>\n</h3>\n<h4>Music Spaces</h4>\nThe Altiverb Library of Acoustics contains the most sought after spaces for music. The main concert halls of the cities of Berlin, Los Angeles Vienna and Amsterdam for your orchestral work. Or legendary rock studios from New York or Paris. But you can also put your audio in French Cathedrals, the Gol Gumbaz of India or London\'s Wembley stadium.\n<br /><br />\n<h4>Vintage reverb gear</h4>\nAltiverb contains a tremendous amount of classic reverb gear and purpose built echo chambers. You\'ll find all the EMT plates you want, spring reverbs, classic digital gear like the 480, 224, the AMS RMX 16 or the EMT 240. Add the Frank Sinatra and Beach Boys echo chambers and you have everything you need to recreate all those classic sounds.\n<br /><br />\n<h4>Experimental Responses</h4>\nGrab any sound from your tracks or the Finder and toss it on Altiverb to use it as an impulse response. Try piano chords, breaking glass, spoken word, thunder or a drum loop. In convolution each sample of the input is replaced by the entire impulse response. So if you use a piano chord as an impulse Response, and you clap your hands into Altiverb, out comes the chord.\n<br /><br />\n<h4>Stage Positioning</h4>\nAn exhaustive recording session in a Viennese concert hall gave us an algorithm that allows you to accurately place your sound anywhere on stage of all our concert halls, or in any of our other rooms. Physically correct sound placement using the Altiverb Stage Positioner creates a stunningly realistic audio panorama.\n audio demo\n<br /><br />\n<h4>Musical gates and delays</h4>\nTo tie your reverb effects more to your tracks Altiverb 7 features a reverb gate that is set using note values. And it is tied to your song\'s tempo. Any reverb tail can be reversed and handles the same way, and Altiverb\'s pre-delay can also be set in this manner, so it is easy to put that slap-back delay in a musical spot.\n<br /><br />\n<h4>Brightness and Chaos</h4>\nThe Brightness parameter closely fits a classic synthetic reverb on top of the Impulse Response. This adds a particular brightness in a way EQ never can. Toss in a bit of chaotic modulation in your reverb and not every hit will sound identical in the reverb. Slightly out of tune notes will be covered up in the reverb tail by modulation.\n<br /><br />\n<h3>Altiverb 7 for audio post for picture</h3>\n<h4>Spaces for post</h4>\nThe Altiverb Library of Acoustics contains hundreds of spaces geared towards audio post for picture. This includes 18 bed rooms, 30 car interiors, trains, boats, many streets and forests, the cockpit of a boeing 747, clubs, sports stadiums, bathrooms, closets and cupboards.\n<br /><br />\n<h4>Total recall automation</h4>\nEverything, including the impulse response choice is automatable in Altiverb 7. This means that you do not have to jump through hoops to simply automate Altiverb 7 100% accurately. While there are still single-click snapshots, you do not need them to automate Altiverb fully.\n<br /><br />\n<h4>Matching Heaven</h4>\nTo make an IR just drag a sweep recording onto Altiverb. Use a portable radio, a starter pistol shot. Altiverb 7 even has built in correction curves for the most popular clapper boards. Next time you need to match production acoustics and all you have is a slate clap, think of Altiverb.\n<br /><br />\n<h4>Keyword Searching</h4>\nYou do not have to endlessly browse through hundreds of spaces to find exactly what you need. Altiverb 7 has a powerful keyword search field so you can look for items like \'metallic resonances\' \'bed room\', \'street slapback\' or \'brick room\'\n<br /><br />\n<h4>Find similar Sounding IRs</h4>\nYou found a space that works but it\'s not quite the thing yet? You can tweak EQ or damping parameters, but you can also try Altiverb\'s \'Similar\' button. It will list a number of similar sounding alternatives to the currently chosen impulse response.\n<br /><br />\n<h4>Walls, Floors and Doors</h4>\nAltiverb contains many samples made through walls, doors and floors. If you need a rejected lover to beg from behind the front door, that party-at-the-neighbours sound or an upstairs piano practice, browse the next-door category of impulse responses.\n<br /><br />'),(1688,75,1,282,'<h1>Audio Ease Altiverb 7 XL Plug-in</h1>\nAudio Ease Altiverb 7 is the industry standard convolution reverb plug-in. It uses top quality samples of real spaces to create reverb, ranging from Sydney Opera House to the cockpit of a Jumbo Jet. Altiverb 7 is efficient on the cpu, offers many parameters to tweak reverb, is total recall automatable, and has 64 bit support. New impulse responses are added regularly, available for free to all registered Altiverb 7 users.\n<br />\n<h3><br />Altiverb 7 <span style=\"background-color: initial;\">XL version features:</span></h3>\n<span style=\"background-color: initial;\"></span>\n<ul>\n	<li>up to 5.1 surround input and output</li>\n	<li>up to 384 kHz sampling rates</li>\n	<li>TDM plug-in for Pro Tools HD 10 (and 9 and 8).</li>\n</ul>\n<br />\n<h3>Altiverb Music Spaces</h3>\n<h3>\n</h3>\n<h4>Music Spaces</h4>\nThe Altiverb Library of Acoustics contains the most sought after spaces for music. The main concert halls of the cities of Berlin, Los Angeles Vienna and Amsterdam for your orchestral work. Or legendary rock studios from New York or Paris. But you can also put your audio in French Cathedrals, the Gol Gumbaz of India or London\'s Wembley stadium.\n<br /><br />\n<h4>Vintage reverb gear</h4>\nAltiverb contains a tremendous amount of classic reverb gear and purpose built echo chambers. You\'ll find all the EMT plates you want, spring reverbs, classic digital gear like the 480, 224, the AMS RMX 16 or the EMT 240. Add the Frank Sinatra and Beach Boys echo chambers and you have everything you need to recreate all those classic sounds.\n<br /><br />\n<h4>Experimental Responses</h4>\nGrab any sound from your tracks or the Finder and toss it on Altiverb to use it as an impulse response. Try piano chords, breaking glass, spoken word, thunder or a drum loop. In convolution each sample of the input is replaced by the entire impulse response. So if you use a piano chord as an impulse Response, and you clap your hands into Altiverb, out comes the chord.\n<br /><br />\n<h4>Stage Positioning</h4>\nAn exhaustive recording session in a Viennese concert hall gave us an algorithm that allows you to accurately place your sound anywhere on stage of all our concert halls, or in any of our other rooms. Physically correct sound placement using the Altiverb Stage Positioner creates a stunningly realistic audio panorama.\n audio demo\n<br /><br />\n<h4>Musical gates and delays</h4>\nTo tie your reverb effects more to your tracks Altiverb 7 features a reverb gate that is set using note values. And it is tied to your song\'s tempo. Any reverb tail can be reversed and handles the same way, and Altiverb\'s pre-delay can also be set in this manner, so it is easy to put that slap-back delay in a musical spot.\n<br /><br />\n<h4>Brightness and Chaos</h4>\nThe Brightness parameter closely fits a classic synthetic reverb on top of the Impulse Response. This adds a particular brightness in a way EQ never can. Toss in a bit of chaotic modulation in your reverb and not every hit will sound identical in the reverb. Slightly out of tune notes will be covered up in the reverb tail by modulation.\n<br /><br />\n<h3>Altiverb 7 for audio post for picture</h3>\n<h4>Spaces for post</h4>\nThe Altiverb Library of Acoustics contains hundreds of spaces geared towards audio post for picture. This includes 18 bed rooms, 30 car interiors, trains, boats, many streets and forests, the cockpit of a boeing 747, clubs, sports stadiums, bathrooms, closets and cupboards.\n<br /><br />\n<h4>Total recall automation</h4>\nEverything, including the impulse response choice is automatable in Altiverb 7. This means that you do not have to jump through hoops to simply automate Altiverb 7 100% accurately. While there are still single-click snapshots, you do not need them to automate Altiverb fully.\n<br /><br />\n<h4>Matching Heaven</h4>\nTo make an IR just drag a sweep recording onto Altiverb. Use a portable radio, a starter pistol shot. Altiverb 7 even has built in correction curves for the most popular clapper boards. Next time you need to match production acoustics and all you have is a slate clap, think of Altiverb.\n<br /><br />\n<h4>Keyword Searching</h4>\nYou do not have to endlessly browse through hundreds of spaces to find exactly what you need. Altiverb 7 has a powerful keyword search field so you can look for items like \'metallic resonances\' \'bed room\', \'street slapback\' or \'brick room\'\n<br /><br />\n<h4>Find similar Sounding IRs</h4>\nYou found a space that works but it\'s not quite the thing yet? You can tweak EQ or damping parameters, but you can also try Altiverb\'s \'Similar\' button. It will list a number of similar sounding alternatives to the currently chosen impulse response.\n<br /><br />\n<h4>Walls, Floors and Doors</h4>\nAltiverb contains many samples made through walls, doors and floors. If you need a rejected lover to beg from behind the front door, that party-at-the-neighbours sound or an upstairs piano practice, browse the next-door category of impulse responses.\n<br /><br />'),(1689,85,0,282,'Audio Ease Altiverb XL Plug-in'),(1690,85,1,282,'Audio Ease Altiverb XL Plug-in'),(1691,76,0,282,''),(1692,76,1,282,''),(1693,75,0,283,'<h1>Audio Ease BarbaBatch Plug-In</h1>Barbabatch is a professional batch sound file conversion application for Mac OS X. BarbaBatch converts 50+ formats and its conversion quality and speed are unrivaled and for over a decade BarbaBatch has been winning awards and acclaim for this.<br /><br />\n<h3>High end sample rate conversion</h3>\n	BarbaBatch, with its unrivaled samplerate conversion algorithm, supports files like BWF, Sonic Solutions and 32 bit float files. It supports 192kHz sampling rate and the Redbook CD image extraction has made it popular among mastering engineers.\n<br /><br />\n<h3>Telephony & game audio</h3>\n	The wide range of telephony formats together with dynamic compression and samplerate conversion that make low quality audio sound not as low as you\'d expect, has made BarbaBatch exell in telephony audio.\n<br /><br />\n	Smooth and fast batch capabilities and extensive logging, allowing tens of thousands of files to be converted to multiple output formats in one run make BarbaBatch the production choice for 6 out of 10 top selling computer games producers.\n<br /><br />\n	Automated CD ripping of faded snippets to many streaming sound formats make BarbaBatch ideal for delivery of web based audio.\n<br /><br />'),(1694,75,1,283,'<h1>Audio Ease BarbaBatch Plug-In</h1>Barbabatch is a professional batch sound file conversion application for Mac OS X. BarbaBatch converts 50+ formats and its conversion quality and speed are unrivaled and for over a decade BarbaBatch has been winning awards and acclaim for this.<br /><br />\n<h3>High end sample rate conversion</h3>\n	BarbaBatch, with its unrivaled samplerate conversion algorithm, supports files like BWF, Sonic Solutions and 32 bit float files. It supports 192kHz sampling rate and the Redbook CD image extraction has made it popular among mastering engineers.\n<br /><br />\n<h3>Telephony & game audio</h3>\n	The wide range of telephony formats together with dynamic compression and samplerate conversion that make low quality audio sound not as low as you\'d expect, has made BarbaBatch exell in telephony audio.\n<br /><br />\n	Smooth and fast batch capabilities and extensive logging, allowing tens of thousands of files to be converted to multiple output formats in one run make BarbaBatch the production choice for 6 out of 10 top selling computer games producers.\n<br /><br />\n	Automated CD ripping of faded snippets to many streaming sound formats make BarbaBatch ideal for delivery of web based audio.\n<br /><br />'),(1695,85,0,283,'Audio Ease BarbaBatch Plug-in'),(1696,85,1,283,'Audio Ease BarbaBatch Plug-in'),(1697,76,0,283,''),(1698,76,1,283,''),(1699,75,0,284,'<h1>Audio Ease Snapper Plug-in</h1>\nSnapper allow you to display and edit audio files directly in the Mac Finder. When you select an audio file in the Mac Finder, Snapper immediately appears right beneath the current window, showing you the wave form.\n<br/><br/>\n<h3>Play</h3>\n	Hit the space bar or double-click in the wave form to play. Or use auto-play to start playing the moment you select the file. Vari-speed is available too.\n<br/><br/>\n<h3>Drag, Drop and Convert</h3>\n	In the Snapper wave form you can select a part of the sound file and:\n<ul>\n	<li>drag it out, to create a new file.</li>\n	<li>drag it to any DAW, sequencer or audio editor</li>\n	<li>turn the selection into an mp3 file. (or m4a)</li>\n	<li>split interleaved stereo files into separate .L and .R file sets or vise versa</li>\n	<li>convert to m4a and attach it to an email in one go.</li>\n	<li>export to WAV (BWF, Broadcast Wave), mp3, or m4a (MPEG-4 audio).</li>\n</ul>\n<br/>\n<h3>Which formats can it handle?</h3>\nSnapper opens over 50 sound file formats. That includes compressed files, split stereo, 192 kHz, 5.1 surround files, cds and videos containing audio. Snapper shows loops, markers, timestamps, regions, BWF annotations, even album covers. You name it, Snapper can handle it. For some formats you need to install external components, here\'s more on that.\n<br/><br/>\n<h3>Finder</h3>\n	Snapper follows your file selection in the Finder. It shows a wave form as soon as you select an audio file.\n<br/><br/>\n<h3>Pro Tools, Nuendo, Logic, Cubase, Live</h3>\n<div>\n	You can drag (selections from) files directly to the cursor of your sequencer or audio editor.\n	<br/>\n</div>'),(1700,75,1,284,'<h1>Audio Ease Snapper Plug-in</h1>\nSnapper allow you to display and edit audio files directly in the Mac Finder. When you select an audio file in the Mac Finder, Snapper immediately appears right beneath the current window, showing you the wave form.\n<br/><br/>\n<h3>Play</h3>\n	Hit the space bar or double-click in the wave form to play. Or use auto-play to start playing the moment you select the file. Vari-speed is available too.\n<br/><br/>\n<h3>Drag, Drop and Convert</h3>\n	In the Snapper wave form you can select a part of the sound file and:\n<ul>\n	<li>drag it out, to create a new file.</li>\n	<li>drag it to any DAW, sequencer or audio editor</li>\n	<li>turn the selection into an mp3 file. (or m4a)</li>\n	<li>split interleaved stereo files into separate .L and .R file sets or vise versa</li>\n	<li>convert to m4a and attach it to an email in one go.</li>\n	<li>export to WAV (BWF, Broadcast Wave), mp3, or m4a (MPEG-4 audio).</li>\n</ul>\n<br/>\n<h3>Which formats can it handle?</h3>\nSnapper opens over 50 sound file formats. That includes compressed files, split stereo, 192 kHz, 5.1 surround files, cds and videos containing audio. Snapper shows loops, markers, timestamps, regions, BWF annotations, even album covers. You name it, Snapper can handle it. For some formats you need to install external components, here\'s more on that.\n<br/><br/>\n<h3>Finder</h3>\n	Snapper follows your file selection in the Finder. It shows a wave form as soon as you select an audio file.\n<br/><br/>\n<h3>Pro Tools, Nuendo, Logic, Cubase, Live</h3>\n<div>\n	You can drag (selections from) files directly to the cursor of your sequencer or audio editor.\n	<br/>\n</div>'),(1701,85,0,284,'Audio Ease Snapper Plug-in'),(1702,85,1,284,'Audio Ease Snapper Plug-in'),(1703,76,0,284,''),(1704,76,1,284,''),(1705,75,0,285,'<h1>Audio Ease Speakerphone 2 Plug-in</h1>\nThe Audio Ease Speakerphone audio plug-in gives you authentic speakers of any size together with their natural environments.\n<br/><br/>\nAll the walkie-talkies, distant transistor radios, upstairs TV sets, bullhorns, cell phones and guitar cabinets you will ever need. Speakerphone (Mac , Windows, iLok or challenge response) will add dial tones, operator, static, and you can select from a wealth of ambiences on either the caller or receiver\'s end.\n<br/><br/>\n400 speaker impulse responses, 23 microphones, 106 \'Covers\' (from blankets to car trunks), 53 Altiverb rooms and outdoor spaces, 5 gigabyte of ambiences and sound FX, and 12 DSP modules from Leslie to GSM compression, conveniently presented to you in well over 500 presets.\n<br/><br/>\n<h3>Audio Ease Speakerphone 2 Features</h3>\n<h4>PRESETS</h4>\nSelect one of the many hundreds of presets from the preset browser that appears when you click in the preset bar.\n<br/><br/>\n<h4>SNAPSHOTS    </h4>\nA preset can also be stored in one of 10 numbered slots below the preset bar. Do this by clicking ‘store’, followed by a click on the desired slot. Recall a preset by clicking on the slot. ‘automation preset index’ is an automatable parameter. You can therefore invoke switches using your workstation’s parameter automation. In Pro Tools this also works in case ‘automation preset index’ is the only parameter that is automation enabled. The contents of all automation preset slots are in turn saved in a single (Pro Tools) Preset, as well as in the Session file.\n<br/><br/>\n<h4>AUTOLEVEL    </h4>\nThis is an automatic leveler to ensure that the input is just loud enough for the presets to sound good.\n<br/><br/>\n<h4>DRY / WET    </h4>\nThe Wet Dry control gradually moves between processed and unprocessed (Bypassed) sound in a very elaborate way. A movement from WET to DRY will gradually open up filters, including the speaker IR, and diminish the effects of modules like Distortion and Codec each in a unique way. The overall result of a movement from WET to DRY is a seamless ‘opening’ up of the sound from the complete preset to unprocessed sound. If, for instance, you have your mix sounding from a jukebox in the back of a bar, you can slowly ‘open up’ the sound to full stereo buy dragging the WET/DRY slider. Or click the right most KICK text to make the slider move from wet to dry, automatically, at a speed determined by the KICK slider.\n<br/><br/>\n<h4>MUTE ON STOP </h4>\n‘Mute on stop’ means playback of samples from the sample bay will be paused when your sequencer is not playing.\n<h4>SPEAKER      </h4>\nAt the heart of the speaker simulator lies a library of recordings of different speakers, often referred to as Impulse Responses, or IR’s.\nWhen you click a speaker category icon, like the phone or the radio, a browser window appears that lets you select a speaker in that category.\nThe impulse responses by themselves capture many characteristics, both in frequency and time, of the sampled speaker. The speaker module lets you select a speaker impulse response, and it shows its corresponding photograph. Double clicking that photograph brings up additional info on the selected Impulse Response If you want to check out which speakers we have for you then select ‘speakers‘ below.\n<br/><br/>\n<h4>DISTORTION   </h4>\nEmulate a speaker\'s or amplifier\'s over modulation. In the distortion module audio is first passed through the Pre EQ. If you engage it by clicking its on/off button you can control both a parametric EQ and a low pass filter with resonance in the same graph. Bandwidth, or Q, for the Parametric EQ can be adjusted with the small rotary control. Next, the signal hits the PRE gain, which typically amplifies so the waveform will become more or less distorted in the next module: the Distortion Type. The actual distortion model is selected in the ‘TYPE’ popup. Some are amp models, others are wave shapers, all of them are further controlled using the CURVE graph at the bottom of the distortion module. POST-gain controls the distortion\'s output volume. You can also click the connection-button in between PRE and POST to have post gain automatically decrease when pre gain increases and vise versa. Finally you can Mix the distorted signal with the undistorted input signal using the MIX control.\n<br/><br/>\n<h4>MIC          </h4>\nSimilar to the speaker selector, but here a microphone impulse response can be selected. The available microphone time and frequency characteristics of the microphones depicted, and therefore make it sound as if the selected microphone was used in the result. Use it to make an announcer speak through a typical announcer microphone, or to pick up a guitar cabinet using a classic microphone for the purpose, for instance a Royer.\n<br/><br/>\n<h4>ROOM         </h4>\nConvolution reverb, powered by Altiverb, for room, outdoor space, hall, resonant enclosure, and reverb gear simulation. Room creates reverb based on recordings of actual spaces ranging from a railway station hall to the cockpit of a MIG fighter plane. Samples of spring and plate reverbs and even real outdoor streets are available as well.\n<br/><br/>\n<h4>COVER        </h4>\nA variety of objects can cover a sound source. Blankets, suitcases, boxes, glass cups, car trunks, walls are just few. The pitch of these resonating little acoustics can ben adjusted.\n<br/><br/>\n<h4>EQ           </h4>\nFive types of frequency filters. \nLow and High shelving filters, High pass filter and low pass filter and two bands of parametric equalization with adjustable q-factor.\n<br/><br/>\n<h4>CRUSH        </h4>\nWord length reduction and sampling rate reduction. \nDrag the cross hair down to reduce word length (reduce from 32 bit input to 2 bit output). Move to the left to reduce sampling rate. To maximize aliasing effects the most crude of sample rate conversion algorithms lies beneath the Crush module.\n<br/><br/>\n<h4>GATE         </h4>\nClassic gate, you can set it to duck or entirely mute the input. This can be used to create connections that drop out, to clean up guitar input, etc.\n<br/><br/>\n<h4>COMPRESSOR   </h4>\nEmulate the pumping of video cameras, enhance the guitar input signal and there are presets for the extreme types of compression that are present in walkie-talkies and megaphones.\n<br/><br/>\n<h4>GRAMOPHONE   </h4>\nGramophone effects simulator. Influence a pitch curve due to \'Wow\' (effect of an off-center hole) and Curve (a bumpy record). Also Add ticks and crackles that knock holes in the input audio.\n<br/><br/>\n<h4>LESLIE       </h4>\nThis module emulates a Leslie speaker, typically associated with Hammond organs.\nA Leslie speaker, on the inside, rotates a horn speaker for the mid to high frequencies, and it rotates a horizontal baffle below a downward facing low frequency woofer. The result is rich rotating sound utilizing the Doppler effect (pitch shifting that can be heard while a sound source moves to or from the listener)\n<br/><br/>\n<h4>MOD          </h4>\nThe modulation (mod) module offers five types of classic modulation effects, available in the top left popup. \nThese are: Tremolo, Chorus, Phaser, Flanger or Vibrato. \n<br/>\nDEPTH controls the amount of the modulation effect. <br/>\nSPEED controls how fast the modulation oscillates. Speed can either be set in FREE mode or in SYNC mode. SYNC ties speed to the host sequencer\'s tempo and displays it with a note value.<br/><br/>\n<h4>TELECOM      </h4>\n(Cellular) phone connection protocol simulation. Apart from emulating cell phones the codec can be tweaked to make whispering presets, robots and vocal synthesizer effects.\n<br/><br/>\n<h4>DELAY        </h4>\nMono or stereo feedback delay with a high pass or low pass filter in the feedback loop. The delay can be synced to host tempo, in which case the delay time rotary knobs are exchanged by notes. Clicking on a note then brings up a note-value selector box. The Cross feed parameter determines how much of the left channel signal gets fed into the right channel delay path.\n<br/><br/>\n<h4>RADIO TUNING </h4>\nSimulates the various effects of a radio receiver dial. \nVertical movement of the cross-hairs changes the frequency of inter-modulation side tones, and when the cross hair is moved out of the horizontal center, the reception of the signal worsens (distortion and noise is added).\n<br/><br/>\n<h4>MULTI LFO    </h4>\nFour Low Frequency Oscillators (LFO) and two envelope followers (env) for automated parameter control. Simply click and drag a cable to a parameter that you want to control with the LFO. The speed can be synced to the host\'s tempo and there is a wealth of different waveforms to choose from.\n<br/><br/>\n<h4>SAMPLEBAY    </h4>\nYou can build complete environments for the speakers right here, via mouse clicks or MIDI.\nSeveral gigabytes of samples and music are installed with Speakerphone, free for use in your production. 5 tables of twelve samples are accessible at a time for playback via mouse clicks or MIDI. \nThe samples range from extras like knobs and closing car doors to ambiences and music, and they are used throughout the presets that come with Speakerphone. \nYou can drag samples from the sample bay to your tracks and vise versa. And you can add your own library as well.\n<br/><br/>'),(1706,75,1,285,'<h1>Audio Ease Speakerphone 2 Plug-in</h1>\nThe Audio Ease Speakerphone audio plug-in gives you authentic speakers of any size together with their natural environments.\n<br/><br/>\nAll the walkie-talkies, distant transistor radios, upstairs TV sets, bullhorns, cell phones and guitar cabinets you will ever need. Speakerphone (Mac , Windows, iLok or challenge response) will add dial tones, operator, static, and you can select from a wealth of ambiences on either the caller or receiver\'s end.\n<br/><br/>\n400 speaker impulse responses, 23 microphones, 106 \'Covers\' (from blankets to car trunks), 53 Altiverb rooms and outdoor spaces, 5 gigabyte of ambiences and sound FX, and 12 DSP modules from Leslie to GSM compression, conveniently presented to you in well over 500 presets.\n<br/><br/>\n<h3>Audio Ease Speakerphone 2 Features</h3>\n<h4>PRESETS</h4>\nSelect one of the many hundreds of presets from the preset browser that appears when you click in the preset bar.\n<br/><br/>\n<h4>SNAPSHOTS    </h4>\nA preset can also be stored in one of 10 numbered slots below the preset bar. Do this by clicking ‘store’, followed by a click on the desired slot. Recall a preset by clicking on the slot. ‘automation preset index’ is an automatable parameter. You can therefore invoke switches using your workstation’s parameter automation. In Pro Tools this also works in case ‘automation preset index’ is the only parameter that is automation enabled. The contents of all automation preset slots are in turn saved in a single (Pro Tools) Preset, as well as in the Session file.\n<br/><br/>\n<h4>AUTOLEVEL    </h4>\nThis is an automatic leveler to ensure that the input is just loud enough for the presets to sound good.\n<br/><br/>\n<h4>DRY / WET    </h4>\nThe Wet Dry control gradually moves between processed and unprocessed (Bypassed) sound in a very elaborate way. A movement from WET to DRY will gradually open up filters, including the speaker IR, and diminish the effects of modules like Distortion and Codec each in a unique way. The overall result of a movement from WET to DRY is a seamless ‘opening’ up of the sound from the complete preset to unprocessed sound. If, for instance, you have your mix sounding from a jukebox in the back of a bar, you can slowly ‘open up’ the sound to full stereo buy dragging the WET/DRY slider. Or click the right most KICK text to make the slider move from wet to dry, automatically, at a speed determined by the KICK slider.\n<br/><br/>\n<h4>MUTE ON STOP </h4>\n‘Mute on stop’ means playback of samples from the sample bay will be paused when your sequencer is not playing.\n<h4>SPEAKER      </h4>\nAt the heart of the speaker simulator lies a library of recordings of different speakers, often referred to as Impulse Responses, or IR’s.\nWhen you click a speaker category icon, like the phone or the radio, a browser window appears that lets you select a speaker in that category.\nThe impulse responses by themselves capture many characteristics, both in frequency and time, of the sampled speaker. The speaker module lets you select a speaker impulse response, and it shows its corresponding photograph. Double clicking that photograph brings up additional info on the selected Impulse Response If you want to check out which speakers we have for you then select ‘speakers‘ below.\n<br/><br/>\n<h4>DISTORTION   </h4>\nEmulate a speaker\'s or amplifier\'s over modulation. In the distortion module audio is first passed through the Pre EQ. If you engage it by clicking its on/off button you can control both a parametric EQ and a low pass filter with resonance in the same graph. Bandwidth, or Q, for the Parametric EQ can be adjusted with the small rotary control. Next, the signal hits the PRE gain, which typically amplifies so the waveform will become more or less distorted in the next module: the Distortion Type. The actual distortion model is selected in the ‘TYPE’ popup. Some are amp models, others are wave shapers, all of them are further controlled using the CURVE graph at the bottom of the distortion module. POST-gain controls the distortion\'s output volume. You can also click the connection-button in between PRE and POST to have post gain automatically decrease when pre gain increases and vise versa. Finally you can Mix the distorted signal with the undistorted input signal using the MIX control.\n<br/><br/>\n<h4>MIC          </h4>\nSimilar to the speaker selector, but here a microphone impulse response can be selected. The available microphone time and frequency characteristics of the microphones depicted, and therefore make it sound as if the selected microphone was used in the result. Use it to make an announcer speak through a typical announcer microphone, or to pick up a guitar cabinet using a classic microphone for the purpose, for instance a Royer.\n<br/><br/>\n<h4>ROOM         </h4>\nConvolution reverb, powered by Altiverb, for room, outdoor space, hall, resonant enclosure, and reverb gear simulation. Room creates reverb based on recordings of actual spaces ranging from a railway station hall to the cockpit of a MIG fighter plane. Samples of spring and plate reverbs and even real outdoor streets are available as well.\n<br/><br/>\n<h4>COVER        </h4>\nA variety of objects can cover a sound source. Blankets, suitcases, boxes, glass cups, car trunks, walls are just few. The pitch of these resonating little acoustics can ben adjusted.\n<br/><br/>\n<h4>EQ           </h4>\nFive types of frequency filters. \nLow and High shelving filters, High pass filter and low pass filter and two bands of parametric equalization with adjustable q-factor.\n<br/><br/>\n<h4>CRUSH        </h4>\nWord length reduction and sampling rate reduction. \nDrag the cross hair down to reduce word length (reduce from 32 bit input to 2 bit output). Move to the left to reduce sampling rate. To maximize aliasing effects the most crude of sample rate conversion algorithms lies beneath the Crush module.\n<br/><br/>\n<h4>GATE         </h4>\nClassic gate, you can set it to duck or entirely mute the input. This can be used to create connections that drop out, to clean up guitar input, etc.\n<br/><br/>\n<h4>COMPRESSOR   </h4>\nEmulate the pumping of video cameras, enhance the guitar input signal and there are presets for the extreme types of compression that are present in walkie-talkies and megaphones.\n<br/><br/>\n<h4>GRAMOPHONE   </h4>\nGramophone effects simulator. Influence a pitch curve due to \'Wow\' (effect of an off-center hole) and Curve (a bumpy record). Also Add ticks and crackles that knock holes in the input audio.\n<br/><br/>\n<h4>LESLIE       </h4>\nThis module emulates a Leslie speaker, typically associated with Hammond organs.\nA Leslie speaker, on the inside, rotates a horn speaker for the mid to high frequencies, and it rotates a horizontal baffle below a downward facing low frequency woofer. The result is rich rotating sound utilizing the Doppler effect (pitch shifting that can be heard while a sound source moves to or from the listener)\n<br/><br/>\n<h4>MOD          </h4>\nThe modulation (mod) module offers five types of classic modulation effects, available in the top left popup. \nThese are: Tremolo, Chorus, Phaser, Flanger or Vibrato. \n<br/>\nDEPTH controls the amount of the modulation effect. <br/>\nSPEED controls how fast the modulation oscillates. Speed can either be set in FREE mode or in SYNC mode. SYNC ties speed to the host sequencer\'s tempo and displays it with a note value.<br/><br/>\n<h4>TELECOM      </h4>\n(Cellular) phone connection protocol simulation. Apart from emulating cell phones the codec can be tweaked to make whispering presets, robots and vocal synthesizer effects.\n<br/><br/>\n<h4>DELAY        </h4>\nMono or stereo feedback delay with a high pass or low pass filter in the feedback loop. The delay can be synced to host tempo, in which case the delay time rotary knobs are exchanged by notes. Clicking on a note then brings up a note-value selector box. The Cross feed parameter determines how much of the left channel signal gets fed into the right channel delay path.\n<br/><br/>\n<h4>RADIO TUNING </h4>\nSimulates the various effects of a radio receiver dial. \nVertical movement of the cross-hairs changes the frequency of inter-modulation side tones, and when the cross hair is moved out of the horizontal center, the reception of the signal worsens (distortion and noise is added).\n<br/><br/>\n<h4>MULTI LFO    </h4>\nFour Low Frequency Oscillators (LFO) and two envelope followers (env) for automated parameter control. Simply click and drag a cable to a parameter that you want to control with the LFO. The speed can be synced to the host\'s tempo and there is a wealth of different waveforms to choose from.\n<br/><br/>\n<h4>SAMPLEBAY    </h4>\nYou can build complete environments for the speakers right here, via mouse clicks or MIDI.\nSeveral gigabytes of samples and music are installed with Speakerphone, free for use in your production. 5 tables of twelve samples are accessible at a time for playback via mouse clicks or MIDI. \nThe samples range from extras like knobs and closing car doors to ambiences and music, and they are used throughout the presets that come with Speakerphone. \nYou can drag samples from the sample bay to your tracks and vise versa. And you can add your own library as well.\n<br/><br/>'),(1707,85,0,285,'Audio Ease Speakerphone 2 Plug-in'),(1708,85,1,285,'Audio Ease Speakerphone 2 Plug-in'),(1709,76,0,285,''),(1710,76,1,285,''),