(9476,75,1,1580,'<h1>Rupert Neve Designs 543 — 500-Series Mono Compressor/Limiter</h1>\n<span style=\"font-size:16px; font-style:italic;\">Unobtrusive dynamic control with selectable feed-forward/feedback modes, Peak/RMS detection and a built-in sidechain high-pass filter</span><br /><br />\nThe Rupert Neve Designs Portico 543 is a 500-series version of the highly regarded Portico 5043. The Portico 543 module is a full-featured compressor-limiter that allows you select between highly accurate feed-forward operation and the sweet musicality of feedback-style compression. Drawing on the unrivaled heritage of Mr. Rupert Neve along with an impressive feature set, the 500-series Portico 543 gives you the sonic signature of Neve’s custom transformer designs, individually controllable threshold, attack, release, makeup gain, ratio, Peak/RMS detection, and a built-in sidechain high-pass filter. On top of that, with the compressor inactive, the 543 compressor can be used as a transformer-coupled, high-performance line amplifier. Plus, two Portico 543 compressors can be linked for stereo operation as well. The Portico 543 chassis is built to standard 500-series specifications, with power and I/O provided by the rack.<br /><br />\n<h3>Rupert Neve Designs Portico 543 Compressor/Limiter unique features:</h3>\n<ul>\n	<li>Selectable feedback and feed-forward operation for classic or modern VCA response</li>\n	<li>Selectable Peak/RMS operation for clip prevention or natural-sounding program compression </li>\n	<li>Selectable 250Hz sidechain high-pass filter prevents sustained bass from activating compression </li>\n	<li>Can be used as a transformer-coupled, high-performance line amplifier</li>\n</ul>\n<h3>Rupert Neve Designs Portico 543 Compressor/Limiter key features:</h3>\n<ul>\n	<li>Gain range provided is from -6dB to +20dB</li>\n	<li>Ratio from 1:1 to 40:1</li>\n	<li>Threshold range from -30dBu to +20dBU</li>\n	<li>Attack time from 20mS to 75mS</li>\n	<li>Release/Recovery Time: Range of release time is 100mS to 2.5 Sec.</li>\n	<li>Stereo link operation also allows ducking</li>\n	<li>Two Peak LED meters show output level and gain reduction </li>\n</ul>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>\n<br />\n<h3>INSIDE THE BOX — Rupert Neve Designs Portico 543 Compressor/Limiter</h3>\n<h3>How the Compressor Works</h3>\nIn order to control gain, the Portico 543 compressor-limiter makes use of a very accurate, low-noise, low-distortion VCA having essentially no signature of its own for sonically transparent gain reduction. \n<br /><br />\nAll Portico modules use input and output transformers and almost entirely discrete component amplifiers to produce the musical signature for which they are known. These are factors that enable the Portico 543 to work unobtrusively within the context of a very high-quality audio chain.<br /><br />\n<h3>Feedback/Feed-forward</h3>\nThe 543 also has the ability to switch between feed-forward and feedback modes. If the VCA Control voltage is taken from the 543’s output, (i.e. after the VCA) it cannot act immediately on the VCA because it has already been modified by settings of the VCA and circuits through which it has passed. This is known as a feedback compressor. The two compression characteristics are quite different; there is more overshoot and both the attack and recovery ramps are changed, providing the user with powerful choices.  In most of Mr. Rupert Neve’s earliest designs, feedback detection controlling the VCA with a rectified voltage from the unit output was intrinsic to the musical dynamic response. However, the very nature of a feedback compressor limits the attack time of the compression circuit. To offer faster, more technically accurate response times, feed-forward detection was implemented on Mr. Rupert Neve’s more modern designs. With the FF/FB switch, both classic and modern VCA responses are available.\n<br /><br />\n<h3>RMS or Peak?</h3>\nOne of the more unique features of the 543 is the new Peak/RMS mode also found in the Portico II Channel. This switch allows the VCA to respond to both RMS (Root Mean Square) and peak levels. RMS circuits are considered to better mimic the way the ears perceive apparent loudness, while peak circuits tend to directly respond to the waveform voltage which may be more of a concern for prevention of clipping and maximizing levels. In this case, peak mode uses a combination of both methods to get the best of both worlds, and avoids the drawbacks of each method on its own.\n<br /><br />\n<h3>Ratio and Threshold</h3>\nAbove a given threshold, signals are reduced by an adjustable amount ranging from 1:1 (which is linear, or no reduction at all), to more than 40:1 which is equivalent to that of a limiter. Ratio is sometimes referred to as slope, because when depicted on a graph, the slope of the graph representing output versus input is what changes. Threshold control covers the Range from below -30dB to +22dBu. When threshold is set at a low level with a fairly high ratio, the amount of gain reduction will be considerable and it may be necessary to use some gain after the compressor to restore the apparent signal level.\n<br /><br />\n<h3>OUTSIDE THE BOX — Rupert Neve Designs Portico 543 Compressor/Limiter</h3>\n<strong>Compression:</strong> For signals below the \"threshold\" level that has been set, a compressor provides a linear path allowing signals to be amplified without the gain being adjusted in any way. When signals exceed the \"threshold\" level, the gain is reduced in a controlled manner that depends on the Ratio that has been set<br /><br />\n<strong>Gain:</strong> Gain range provided is from -6dB to +20dB. As already noted, when compression has taken place, it may be necessary to increase the overall gain to restore the apparent program level<br /><br />\n<strong>Peak:</strong> When engaged, the 543 uses a combination of peak and RMS (average) detection to determine level. When disengaged, it follows just RMS<br /><br />\n<strong>SC HPF:</strong> Introduces a HPF at 250Hz to the VCA side chain signal. This allows the compressor to disregard sustained low frequency content<br /><br />\n<strong>Ratio:</strong> Range from 1:1 to LIMIT (i.e. 40:1)<br /><br />\n<strong>Threshold:</strong> Range from -30dBu to +20dBU<br /><br />\n<strong>Attack Time:</strong> Range from 20mS to 75mS<br /><br />\n<strong>Release / Recovery Time:</strong> Range of release time is 100 mS to 2.5 Seconds.<br /><br />\n<strong>Stereo Operation:</strong> When the link switch is engaged on two 543 modules and settings are approximately the same values; gain reduction on both channels will be the same to preserve stereo balance and position. This will work properly in link buss enabled 500 series racks, or by hardwiring two 543 modules link busses together in non-compatible racks<br /><br />\n<strong>Ducking:</strong> When the link switch is engaged on two connected Portico 543 modules, the signal passing through the first module may be used to control the amplitude of a second module. For example, the level of music through channel A can be controlled by speech on channel B, i.e. reducing the music level to make a \"speech-over\" announcement<br /><br />\n<strong>Meters:</strong> Two Peak LED meters are provided that show output level and gain reduction. The output level meter covers the range from -10 to +22dBu and above which is regarded as overload. Reduction is calibrated in dB covering the range +1 to 22dBu, reading from right to left\n<br /><br />\n<h3>Who’s using Rupert Neve Designs </h3>\nSeriously?\n<br /><br />\n<h3>About Rupert Neve Designs</h3>\nIn 2005, the company acquired new premises in Wimberley, Texas to handle the increasing demand for products embodying the principles of very high musical quality that has become synonymous with Rupert Neve’s name over the years. Rupert Neve Designs announced the Portico Series in 2005 to much acclaim. The Portico Series modules are high quality analog building blocks for the front and back ends of digital systems (hence the name “Portico” as in entryway). In the years since release, the Portico Series has already garnered many important industry awards including five TEC awards, multiple PAR Excellence Awards, Mix Certified Hit Awards, and a MIPA award among others.\n<br /><br />\nThe original color scheme featured grey powder coating with a black and red inlay design available in both horizontal and vertical configurations. The first eight units were the 5012 Dual Pre, The 5042 True Tape FX, The 5032 Mic Pre EQ, The 5043 Dual Mono / Stereo Compressor, 5033 Five Band EQ, 5016 Mic Pre/DI (discontinued), 5014 Stereo Field Editor, and 5015 Mic Pre Compressor. <br /><br />\nIn 2009, the 5088 High Voltage and Discrete Mix System were released as the ultimate word in mix bus sound quality. The modular mix system is configurable to the user’s needs, and utilizes the various Portico Series modules for mic preamps and signal processing. The 90-Volt rails of the 5088 provide more than 10dB more dynamic range than any other Rupert Neve designed console, and the custom transformers on every input and output provide complete galvanic isolation. With the release of the 5088 Portico Series modules also received an update with the same style of light blue powder coating with anodized aluminum knobs.<br /><br />\n<h3>The Portico 543 Compressor-Limiter will add both classic and modern gain reduction to your 500-series collection the way only a Rupert Neve-designed compressor can. For more information, call or chat with an RSPE representative today.</h3>\n<br />This product is also available as part of the RSPE Demo 4 Free & Rental Program, <span class=\"colors_productprice\" style=\"font-weight: bold; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Rupert_Neve_Portico_543_RENT_p/rnd-543-cmp-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(9477,85,0,1580,'Rupert Neve Portico 543 - 500 Series Mono Compressor / Limiter'),(9478,85,1,1580,'Rupert Neve Portico 543 - 500 Series Mono Compressor / Limiter'),(9479,76,0,1580,''),(9480,76,1,1580,''),(9481,75,0,1581,'<h1>Rupert Neve Designs 545 - 500 Series Primary Source Enhancer</h1>\n<i>Delivering the world’s most natural feedback reduction and adding focus to your primary sources, the 545 is a truly unique tool for improving your live sound.</i><br /><br />\nThe Rupert Neve 545 Primary Source Enhancer, based around the circuitry in the acclaimed Portico 5045 – which has benefited countless tours, arenas, houses of worship and broadcast stages worldwide –  is a mono device for vocal or instrumental applications, and is compatible with any 500-Series rack. Exceptionally useful at reducing feedback without negatively impacting the sonic integrity of the source, the 545 effectively increases the level of a live microphone signal before feedback occurs by up to 20dB. With simply laid out, easily adjustable controls, the 545 is an invaluable addition to any setup where feedback or reverberation are problematic.<br /><br />\n<ul>\n</ul>\n<ul>\n</ul>\n<h3>All Analogue Design</h3>\nThe 545 shares some traits with conventional \"noise gates\", but operates on a different principle. One common aspect is that both reduce the gain during the absence of signal – or more specifically, both begin to attenuate when the level of a signal falls below a certain user-defined threshold. The 545 senses when someone is speaking or singing into the mic and allows the signal to pass through, and senses when the person has stopped talking or singing and reduces the gain appropriately, reducing the system’s tendency to feed back.\n<br /><br />\nImportantly, the 545 does not utilize filtering or digital processing to achieve its significant benefits. Built around Rupert Neve Designs’ custom input and output transformers, its all-analog circuitry provides superb control and sonic performance without compromising the integrity of the source material. This makes the 545 the most intuitive, natural-sounding and effective method of feedback reduction available on the market.<br /><br />\nSimple, Intuitive Controls\nWith a minimal control set, the 545’s ease of use makes it ideal even for circumstances where a full-time or experienced engineer is not readily available, and allows for rapid adjustments on-the-fly even during performances.\n<br /><br />\n<h3>Engage</h3>\nIlluminated push-button that engages the Primary Source Enhancer’s effect.\n<br /><br />\n<h3>Active</h3>\nThis LED indicates when the 545 is actively affecting signal – a.k.a. when the input signal has overcome the enhancement threshold. Since this LED should generally be illuminated when the desired source is present (a vocalist singing, for example) it is extremely helpful in setting up the 545 for use.\n<br /><br />\n<h3>Threshold</h3>\nSets the dBu level at which the Primary Source Enhancer engages.\n<br /><br />\n<h3>Depth</h3>\nThe DEPTH knob controls the maximum amount of effect from the 545 – or in other words, how much attenuation is applied after the input signal falls below the set THRESHOLD. By rotating the DEPTH control clockwise from 0dB towards -20dB, the 545 will attenuate the input signal more dramatically, letting the user find the perfect balance between audibility of the Primary Source Enhancement effect and feedback reduction.\n<br /><br />\n<h3>Fast</h3>\nThe FAST control is an illuminated push-button that selects between two available time constants, tuning the 545’s response by determining how quickly the attenuation occurs in the quiet sections between words or phrases. Without this button pressed, the 545 achieves a slower attack and release that is useful as a starting point for most sources. Pressing the FAST push-button engages the faster attack and release time constant, useful on more dynamic sources or passages where faster transient detection is necessary.\n<br /><br />\n<h3>Peak</h3>\nIlluminated push-button that selects between RMS and Peak detection modes. When illuminated, the 545 is in PEAK mode – useful for detecting faster transient peaks, and for creative dynamic envelope shaping. When not illuminated, the 545 is in RMS mode, which utilizes a slower, more averaged response characteristic in the sidechain.\n<br /><br />\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>'),(9482,75,1,1581,'<h1>Rupert Neve Designs 545 - 500 Series Primary Source Enhancer</h1>\n<i>Delivering the world’s most natural feedback reduction and adding focus to your primary sources, the 545 is a truly unique tool for improving your live sound.</i><br /><br />\nThe Rupert Neve 545 Primary Source Enhancer, based around the circuitry in the acclaimed Portico 5045 – which has benefited countless tours, arenas, houses of worship and broadcast stages worldwide –  is a mono device for vocal or instrumental applications, and is compatible with any 500-Series rack. Exceptionally useful at reducing feedback without negatively impacting the sonic integrity of the source, the 545 effectively increases the level of a live microphone signal before feedback occurs by up to 20dB. With simply laid out, easily adjustable controls, the 545 is an invaluable addition to any setup where feedback or reverberation are problematic.<br /><br />\n<ul>\n</ul>\n<ul>\n</ul>\n<h3>All Analogue Design</h3>\nThe 545 shares some traits with conventional \"noise gates\", but operates on a different principle. One common aspect is that both reduce the gain during the absence of signal – or more specifically, both begin to attenuate when the level of a signal falls below a certain user-defined threshold. The 545 senses when someone is speaking or singing into the mic and allows the signal to pass through, and senses when the person has stopped talking or singing and reduces the gain appropriately, reducing the system’s tendency to feed back.\n<br /><br />\nImportantly, the 545 does not utilize filtering or digital processing to achieve its significant benefits. Built around Rupert Neve Designs’ custom input and output transformers, its all-analog circuitry provides superb control and sonic performance without compromising the integrity of the source material. This makes the 545 the most intuitive, natural-sounding and effective method of feedback reduction available on the market.<br /><br />\nSimple, Intuitive Controls\nWith a minimal control set, the 545’s ease of use makes it ideal even for circumstances where a full-time or experienced engineer is not readily available, and allows for rapid adjustments on-the-fly even during performances.\n<br /><br />\n<h3>Engage</h3>\nIlluminated push-button that engages the Primary Source Enhancer’s effect.\n<br /><br />\n<h3>Active</h3>\nThis LED indicates when the 545 is actively affecting signal – a.k.a. when the input signal has overcome the enhancement threshold. Since this LED should generally be illuminated when the desired source is present (a vocalist singing, for example) it is extremely helpful in setting up the 545 for use.\n<br /><br />\n<h3>Threshold</h3>\nSets the dBu level at which the Primary Source Enhancer engages.\n<br /><br />\n<h3>Depth</h3>\nThe DEPTH knob controls the maximum amount of effect from the 545 – or in other words, how much attenuation is applied after the input signal falls below the set THRESHOLD. By rotating the DEPTH control clockwise from 0dB towards -20dB, the 545 will attenuate the input signal more dramatically, letting the user find the perfect balance between audibility of the Primary Source Enhancement effect and feedback reduction.\n<br /><br />\n<h3>Fast</h3>\nThe FAST control is an illuminated push-button that selects between two available time constants, tuning the 545’s response by determining how quickly the attenuation occurs in the quiet sections between words or phrases. Without this button pressed, the 545 achieves a slower attack and release that is useful as a starting point for most sources. Pressing the FAST push-button engages the faster attack and release time constant, useful on more dynamic sources or passages where faster transient detection is necessary.\n<br /><br />\n<h3>Peak</h3>\nIlluminated push-button that selects between RMS and Peak detection modes. When illuminated, the 545 is in PEAK mode – useful for detecting faster transient peaks, and for creative dynamic envelope shaping. When not illuminated, the 545 is in RMS mode, which utilizes a slower, more averaged response characteristic in the sidechain.\n<br /><br />\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>'),(9483,85,0,1581,'Rupert Neve Designs 545 - 500 Series Primary Source Enhancer'),(9484,85,1,1581,'Rupert Neve Designs 545 - 500 Series Primary Source Enhancer'),(9485,76,0,1581,''),(9486,76,1,1581,''),(9487,75,0,1582,'<h1>Rupert Neve Designs 551 - 500 Series Inductor EQ</h1>\n<span style=\"font-size:16px; font-style:italic;\">Get the only 500 Series EQ actually designed by the legendary Rupert Neve</span><br/><br/>The Rupert Neve 551 EQ features 3 bands of EQ inspired by Mr. Neve’s most prized vintage designs, along with custom-wound inductors, transformers and class-A gain blocks, the 551 brings the thick, powerful lows and sweet highs of Rupert’s classics to the 500-Series format for the very first time. <br/><br/>\n<h3>The “Best-Of” EQ</h3>\nThe 3-band, custom-tapped inductor EQ on the 551 was inspired by RND’s favorite portions of Rupert’s vintage EQ designs. The low frequency band is designed to produce a creamy, resonant bass response – however, unlike the vintage modules that inspired it, the LF band on the 551 can be used as either a shelf or a peak filter, adding punch, dimension, and control to your low end. The 551’s inductor midrange band is ideal for sweetening vocals and instruments while bringing them forward in a mix, and its proportional “Q” response makes it well-suited for minimizing problematic frequencies. The high frequency band is a hybrid vintage / modern design, blending inductor circuitry with capacitor-based topologies to achieve vintage tones with enhanced control. The High Pass filter is a 12dB/octave design with a fixed 80Hz frequency, and can be used in tandem with the low frequency EQ to add low-end presence without clouding the source material.\n<br/><br/>\nAs Rupert originally intended with his most prized classic designs, each EQ section uses low-feedback, class-A discrete electronics to prevent low-level artifacts and harshness from detracting from the tonal shaping. However, this new circuit is a decidedly modern design with updated techniques and components that were simply not available 35 years ago, and should not be considered a “clone”.<br/><br/>\nBoth the high and low band can be switched from shelf to peak curves and offer 15 dB of boost or cut. The high band can be switched from 8 kHz to 16 kHz, and the low band can be selected at 35 Hz, 60 Hz, 100 Hz or 220 Hz. The inductor based Mid Band offers 6 center frequencies; 200 Hz, 350 Hz, 700 Hz, 1.5 kHz, 3 kHz and 6 kHz. The Mid Band also has a “Mid Hi Q” switch to narrow the bandwidth (increase the Q) of the filter. <br/><br/>\n<strong>Inductor EQ</strong><br/>\nThe first 500-Series EQ designed by Rupert Neve. 551 EQ\'s are built around custom-wound Inductors and are based on our favorite bands from Mr. Neve\'s classic EQ modules<br/><br/>\n<strong>Low EQ</strong><br/>\n+/- 15dB Shelf or Peak, selectable at 35 Hz, 60 Hz, 100 Hz or 220 Hz<br/><br/>\n<strong>Mid EQ</strong><br/>\n+/- 15dB with 6 center frequencies; 200 Hz, 350 Hz, 700 Hz, 1.5 kHz, 3 kHz and 6 kHz, with High Peak switch to narrow the bandwidth (increase the Q) of the filter<br/><br/>\n<strong>High Shelf</strong><br/>\n+/- 15dB Shelf or Peak selectable at 8 kHz or 16 kHz<br/><br/>\n<strong>HPF</strong><br/>\n12 dB/octave high pass filter with a fixed 80 Hz frequency<br/><br/>\n<strong>Transformer I/O</strong><br/>\nBuilt around Rupert\'s custom transformers, designed especially for the 500-Series format<br/><br/>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\"/>\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\"/></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>\n<br/><br/>\n<h3>Why Inductors?</h3>\nSo, what are inductors? They’re wires wound around a coil that provide a form of frequency-dependant resistance. When they saturate, they bring out beautifully musical harmonics that give your tracks the smooth, polished sound that has made Rupert’s consoles and equipment so desirable for over fifty years. While it is possible to create a functioning EQ using off-the-shelf inductors, the attention to detail in controlling variables such as the winding and core materials in relation to the surrounding circuitry allows the 551 EQ to capture the vitality of Rupert’s older designs. While capacitor-based designs – like the 5033 – are often preferable for surgically sculpting tracks, the inductor EQ found in the 551 is capable of adding punch, vibrance, and personality to the source material that goes far beyond general frequency modification.\n<br/><br/>\n<h3>Designing for the 500 Series</h3>\nRupert Neve: “While creating functional 500-Series modules is relatively simple, designing those modules to equal their non-500 series counterparts with the current, voltage and space restraints is quite challenging. In creating our own 500-Series modules, we experimented with a number of different transformer and circuit designs to achieve the same presence and sweetness found in the Portico Series of modules. The result of these efforts is that outside of the slightly lowered headroom, our 500-Series modules are nearly indistinguishable from standard Portico Series modules, and are perfectly suited for studios of the highest-caliber.”\n<br/><br/>\nWith single-sided circuitry and transformer-balanced inputs and outputs, the 551 is capable of enhancing the sonic quality of many signal sources, especially those of digital origin. The sonic “signature” is one of extreme purity, and the image is consistent with that of Rupert Neve’s original designs of 35-40 years ago. This is an EQ with a truly vintage soul.<br/><br/>\nPower and audio connectivity is supplied through any 500-Series compatible rack.<br/><br/>'),(9488,75,1,1582,'<h1>Rupert Neve Designs 551 - 500 Series Inductor EQ</h1>\n<span style=\"font-size:16px; font-style:italic;\">Get the only 500 Series EQ actually designed by the legendary Rupert Neve</span><br/><br/>The Rupert Neve 551 EQ features 3 bands of EQ inspired by Mr. Neve’s most prized vintage designs, along with custom-wound inductors, transformers and class-A gain blocks, the 551 brings the thick, powerful lows and sweet highs of Rupert’s classics to the 500-Series format for the very first time. <br/><br/>\n<h3>The “Best-Of” EQ</h3>\nThe 3-band, custom-tapped inductor EQ on the 551 was inspired by RND’s favorite portions of Rupert’s vintage EQ designs. The low frequency band is designed to produce a creamy, resonant bass response – however, unlike the vintage modules that inspired it, the LF band on the 551 can be used as either a shelf or a peak filter, adding punch, dimension, and control to your low end. The 551’s inductor midrange band is ideal for sweetening vocals and instruments while bringing them forward in a mix, and its proportional “Q” response makes it well-suited for minimizing problematic frequencies. The high frequency band is a hybrid vintage / modern design, blending inductor circuitry with capacitor-based topologies to achieve vintage tones with enhanced control. The High Pass filter is a 12dB/octave design with a fixed 80Hz frequency, and can be used in tandem with the low frequency EQ to add low-end presence without clouding the source material.\n<br/><br/>\nAs Rupert originally intended with his most prized classic designs, each EQ section uses low-feedback, class-A discrete electronics to prevent low-level artifacts and harshness from detracting from the tonal shaping. However, this new circuit is a decidedly modern design with updated techniques and components that were simply not available 35 years ago, and should not be considered a “clone”.<br/><br/>\nBoth the high and low band can be switched from shelf to peak curves and offer 15 dB of boost or cut. The high band can be switched from 8 kHz to 16 kHz, and the low band can be selected at 35 Hz, 60 Hz, 100 Hz or 220 Hz. The inductor based Mid Band offers 6 center frequencies; 200 Hz, 350 Hz, 700 Hz, 1.5 kHz, 3 kHz and 6 kHz. The Mid Band also has a “Mid Hi Q” switch to narrow the bandwidth (increase the Q) of the filter. <br/><br/>\n<strong>Inductor EQ</strong><br/>\nThe first 500-Series EQ designed by Rupert Neve. 551 EQ\'s are built around custom-wound Inductors and are based on our favorite bands from Mr. Neve\'s classic EQ modules<br/><br/>\n<strong>Low EQ</strong><br/>\n+/- 15dB Shelf or Peak, selectable at 35 Hz, 60 Hz, 100 Hz or 220 Hz<br/><br/>\n<strong>Mid EQ</strong><br/>\n+/- 15dB with 6 center frequencies; 200 Hz, 350 Hz, 700 Hz, 1.5 kHz, 3 kHz and 6 kHz, with High Peak switch to narrow the bandwidth (increase the Q) of the filter<br/><br/>\n<strong>High Shelf</strong><br/>\n+/- 15dB Shelf or Peak selectable at 8 kHz or 16 kHz<br/><br/>\n<strong>HPF</strong><br/>\n12 dB/octave high pass filter with a fixed 80 Hz frequency<br/><br/>\n<strong>Transformer I/O</strong><br/>\nBuilt around Rupert\'s custom transformers, designed especially for the 500-Series format<br/><br/>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\"/>\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\"/></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>\n<br/><br/>\n<h3>Why Inductors?</h3>\nSo, what are inductors? They’re wires wound around a coil that provide a form of frequency-dependant resistance. When they saturate, they bring out beautifully musical harmonics that give your tracks the smooth, polished sound that has made Rupert’s consoles and equipment so desirable for over fifty years. While it is possible to create a functioning EQ using off-the-shelf inductors, the attention to detail in controlling variables such as the winding and core materials in relation to the surrounding circuitry allows the 551 EQ to capture the vitality of Rupert’s older designs. While capacitor-based designs – like the 5033 – are often preferable for surgically sculpting tracks, the inductor EQ found in the 551 is capable of adding punch, vibrance, and personality to the source material that goes far beyond general frequency modification.\n<br/><br/>\n<h3>Designing for the 500 Series</h3>\nRupert Neve: “While creating functional 500-Series modules is relatively simple, designing those modules to equal their non-500 series counterparts with the current, voltage and space restraints is quite challenging. In creating our own 500-Series modules, we experimented with a number of different transformer and circuit designs to achieve the same presence and sweetness found in the Portico Series of modules. The result of these efforts is that outside of the slightly lowered headroom, our 500-Series modules are nearly indistinguishable from standard Portico Series modules, and are perfectly suited for studios of the highest-caliber.”\n<br/><br/>\nWith single-sided circuitry and transformer-balanced inputs and outputs, the 551 is capable of enhancing the sonic quality of many signal sources, especially those of digital origin. The sonic “signature” is one of extreme purity, and the image is consistent with that of Rupert Neve’s original designs of 35-40 years ago. This is an EQ with a truly vintage soul.<br/><br/>\nPower and audio connectivity is supplied through any 500-Series compatible rack.<br/><br/>'),(9489,85,0,1582,'Rupert Neve 551 - 500 Series Inductor EQ'),(9490,85,1,1582,'Rupert Neve 551 - 500 Series Inductor EQ'),(9491,76,0,1582,''),(9492,76,1,1582,''),(9493,75,0,1583,'<h1>Rupert Neve Designs Portico 5024 Quad Mic Pre</h1>\nThe Rupert Neve Designs Portico 5024 Quad Mic Pre incorporates four channels of renowned preamplification, independent silk controls, two channels of DI inputs, and an M-S Decoder into a 1U enclosure. The 5024 is a workhorse equipped to enhance the front end performance of any digital or analogue recording system. Each channel of the Portico 5024 is based around the custom transformers and class-A circuitry found in the 5012.<br /><br />\nIn addition to 72 dB of gain, the 5024’s mic pres include individually selectable phase, mute, phantom power, a selectable frequency high pass filter, and the Silk circuit which yields the rich warmth and presence of the renowned classic designs. Channels 1 & 2 of the 5024 feature a high-Z input designed for instrument level sources. Channels 3 & 4 feature an M-S switch, which enables Mid-Side decoding without the use of multiple console channels.\n<br /><br />\n<h3>Microphone Input</h3>\nThe microphone input is balanced but not floating, using a Transformer-Like-Amplifier (T.L.A.) configuration with a toroidal Common Mode Rejection Low Pass Filter that excludes frequencies above 150 kHz. The T.L.A. is followed by an actual input transformer designed by Mr. Neve that permits a full +25 dBu input signal to be handled at unity gain without an input pad over the whole audio spectrum. This innovative solution combines the advantages of both an electronically-balanced and true transformer input.\n<br /><br />\nWhen the Phantom voltage is switched off, this input serves as a very high quality line input with an impedance of 10K Ohms.<br /><br />\n<h3>Low Noise, Low Distortion Operation</h3>\nMuch care was given in designing the 5024 to produce as little noise and non-harmonic distortion as possible. Carefully implemented signal paths and Class A operation are a large part of the 5024′s sweet, whisper-quiet performance.\n<br /><br />\nAll Portico modules use input and output transformers and almost entirely discrete component amplifiers. In fact, the Line amplifiers on their own, inserted into the signal chain, are capable of enhancing the sonic quality of many signal sources, especially those of digital origin. These are some of the factors that enable the Portico 5024 to work so unobtrusively within the context of a very high quality audio chain.<br /><br />\n<h3>Why Transformers?</h3>\nThe fine subtleties of circuit design relating to sonic performance are gradually becoming more clearly understood. For example, research has shown conclusively that frequencies above 20kHz affect the way in which humans perceive sound quality. But long before scientific evidence emerged, a substantial body of musicians and engineers knew that equipment with apparently the same technical measurements could sound very different.\n<br /><br />\nIncredibly small amounts of musically dissonant odd harmonics can have a disastrous effect on the sound quality. Extraneous noise or interference that finds its way into a signal path seriously impairs performance of the whole chain. Since many control rooms make use of outboard gear that is not well protected from external signals, poor grounding of such equipment can be a serious problem. “Electronically balanced” circuits, much-used in modern equipment, can give very good measurements on the test bench but they do not provide adequate rejection of the stray fields found in every working environment.\n<br /><br />\nTo correct these issues, input and output circuits must be freed from ground dependence so that only the wanted signal enters and leaves the processing path. Transformers are the ideal solution. The sweet and silky sound of Mr. Neve’s classic designs was achieved with big transistors and large high quality transformers. Rupert Neve Designs’ Portico modules achieve similar quality today without the bulk or the cost.<br /><br />\nIn order for modules to work together as would be expected (i.e. in a proprietary console configuration) without producing hum, R.F. interference, or other interactions, the connecting interfaces, grounding, levels and impedances must receive careful attention. Each Portico module is a complete integral signal processor that delivers its specified performance independently. This is why we use transformers.<br /><br />'),(9494,75,1,1583,'<h1>Rupert Neve Designs Portico 5024 Quad Mic Pre</h1>\nThe Rupert Neve Designs Portico 5024 Quad Mic Pre incorporates four channels of renowned preamplification, independent silk controls, two channels of DI inputs, and an M-S Decoder into a 1U enclosure. The 5024 is a workhorse equipped to enhance the front end performance of any digital or analogue recording system. Each channel of the Portico 5024 is based around the custom transformers and class-A circuitry found in the 5012.<br /><br />\nIn addition to 72 dB of gain, the 5024’s mic pres include individually selectable phase, mute, phantom power, a selectable frequency high pass filter, and the Silk circuit which yields the rich warmth and presence of the renowned classic designs. Channels 1 & 2 of the 5024 feature a high-Z input designed for instrument level sources. Channels 3 & 4 feature an M-S switch, which enables Mid-Side decoding without the use of multiple console channels.\n<br /><br />\n<h3>Microphone Input</h3>\nThe microphone input is balanced but not floating, using a Transformer-Like-Amplifier (T.L.A.) configuration with a toroidal Common Mode Rejection Low Pass Filter that excludes frequencies above 150 kHz. The T.L.A. is followed by an actual input transformer designed by Mr. Neve that permits a full +25 dBu input signal to be handled at unity gain without an input pad over the whole audio spectrum. This innovative solution combines the advantages of both an electronically-balanced and true transformer input.\n<br /><br />\nWhen the Phantom voltage is switched off, this input serves as a very high quality line input with an impedance of 10K Ohms.<br /><br />\n<h3>Low Noise, Low Distortion Operation</h3>\nMuch care was given in designing the 5024 to produce as little noise and non-harmonic distortion as possible. Carefully implemented signal paths and Class A operation are a large part of the 5024′s sweet, whisper-quiet performance.\n<br /><br />\nAll Portico modules use input and output transformers and almost entirely discrete component amplifiers. In fact, the Line amplifiers on their own, inserted into the signal chain, are capable of enhancing the sonic quality of many signal sources, especially those of digital origin. These are some of the factors that enable the Portico 5024 to work so unobtrusively within the context of a very high quality audio chain.<br /><br />\n<h3>Why Transformers?</h3>\nThe fine subtleties of circuit design relating to sonic performance are gradually becoming more clearly understood. For example, research has shown conclusively that frequencies above 20kHz affect the way in which humans perceive sound quality. But long before scientific evidence emerged, a substantial body of musicians and engineers knew that equipment with apparently the same technical measurements could sound very different.\n<br /><br />\nIncredibly small amounts of musically dissonant odd harmonics can have a disastrous effect on the sound quality. Extraneous noise or interference that finds its way into a signal path seriously impairs performance of the whole chain. Since many control rooms make use of outboard gear that is not well protected from external signals, poor grounding of such equipment can be a serious problem. “Electronically balanced” circuits, much-used in modern equipment, can give very good measurements on the test bench but they do not provide adequate rejection of the stray fields found in every working environment.\n<br /><br />\nTo correct these issues, input and output circuits must be freed from ground dependence so that only the wanted signal enters and leaves the processing path. Transformers are the ideal solution. The sweet and silky sound of Mr. Neve’s classic designs was achieved with big transistors and large high quality transformers. Rupert Neve Designs’ Portico modules achieve similar quality today without the bulk or the cost.<br /><br />\nIn order for modules to work together as would be expected (i.e. in a proprietary console configuration) without producing hum, R.F. interference, or other interactions, the connecting interfaces, grounding, levels and impedances must receive careful attention. Each Portico module is a complete integral signal processor that delivers its specified performance independently. This is why we use transformers.<br /><br />'),(9495,85,0,1583,'Rupert Neve Portico 5024 Quad Mic Pre'),(9496,85,1,1583,'Rupert Neve Portico 5024 Quad Mic Pre'),(9497,76,0,1583,''),(9498,76,1,1583,''),(9499,75,0,1584,'<h1>Rupert Neve Designs Portico 5045 Primary Source Enhancer</h1>\nThe Rupert Neve Designs Portico 5045 Primary Source Enhancer is a two channel device that is exceptionally useful for reduce the tendency of feedback ringing and effectively increase the level a microphone can be raised before feedback occurs in a live sound environment. The controls are easy to use and understand and generally require minimum adjustment once set properly.<br /><br />\nThe 5045 shares some traits with conventional “noise gates” but operates with a different principal involved. One common aspect is that both reduce the gain during the absence of signal, or more specifically, it begins to attenuate when the level of a signal falls below a certain threshold that the operator can set. The 5045 senses when someone is speaking or singing into the mic and allows the signal to pass through, and senses when the person has stopped talking or singing and reduces the gain appropriately, which tends to help reduce the tendency of a system to feedback. Most importantly, the 5045 does not introduce filtering and digital processing to achieve significant benefits.<br /><br />\n\nOperation is simple. The 5045 accepts line level signal such as the output of a microphone preamplifier or the “Insert” send of a console. The 5045 outputs are also line level that typically feed a console line input or “Insert” return. Because the 5045 uses transformer coupled inputs and outputs it easily connects to virtually any combination of balanced or unbalanced inputs and outputs provided you have commonly available appropriate adapters.<br /><br />\n\nOnce the 5045 is connected and power turned on the next steps are relatively simple. A good safe initial starting point is; “PROCESS ENGAGE” not pressed, “TIME CONSTANT” set to C or D, “RMS/PEAK” button not pressed (RMS mode), “THRESHOLD” all the way down or -18, and the “DEPTH” also all the way down at 0.<br /><br />\n\nNow, have someone talk or sing into the microphone and press the “PROCESS ENGAGE” button and if the 5045 is connected properly there should be no change in level. As the person is talking or singing, adjust the “THRESHOLD” so that the green “PROCESS ACTIVE” LED glows solidly when they talk and dims when they stop talking (for example between sentences). Gently increase the “DEPTH” knob to about -10 dB as a starting point.<br /><br />\n\nIf the sound system was previously on the edge of feeding back, the above procedure should have helped. If the system volume was set low to “play it safe” and well under the feedback zone, as you learn the new box, you can try increasing the volume of the channel slowly and adjusting the “DEPTH” to achieve more volume before feedback sets in. The 5045 will not eliminate the chance of feedback given enough volume, but is generally effective at allowing both increased levels along with less chance of annoying feedback.<br /><br />\n\n<h3>The Time Constant Control</h3>\nThe “TIME CONSTANT” control is designed to help prevent choppiness in some situations and stop feedback in other situations. It mostly sets how quickly the attenuation occurs in the quiet sections between words or sentences. “A” is the fastest and “F” is the slowest. “A” will quickly soften the level which can be advantageous when the singer is consistent and feedback howl is challenging. “F” is the safest in terms of slowly fading down, but might be a bit slow fading up again, and might be a bit slow for controlling some pesky feedback situations. “C” and “D” are moderate settings that should fit many situations and generally fade down slow enough so that the ends of words are not affected, yet fast enough to control feedback. Choose the most appropriate time constant that doesn’t soften the beginnings and endings of phrases, yet still diminishes the feedback and “boominess” of the signal.\n<br /><br />\n<h3>The RMS/PEAK Switch</h3>\nSimilarly, the “RMS/PEAK” button allows some finessing of the timing of the 5045. With the “PEAK” button pushed in, the 5045 will return to normal level from attenuation very rapidly. This may help prevent the beginnings of some words from being cut off. (It also opens the door for some creative dynamics-shaping if one uses the 5045 on musical instruments.) With the button set to “RMS”, the 5045 will behave moderately slower, but with a greater deal of perceived “musicality”. In this mode, it is relying on the “average” signal level rather than merely the loudest and briefest peaks.\n<br /><br />'),(9500,75,1,1584,'<h1>Rupert Neve Designs Portico 5045 Primary Source Enhancer</h1>\nThe Rupert Neve Designs Portico 5045 Primary Source Enhancer is a two channel device that is exceptionally useful for reduce the tendency of feedback ringing and effectively increase the level a microphone can be raised before feedback occurs in a live sound environment. The controls are easy to use and understand and generally require minimum adjustment once set properly.<br /><br />\nThe 5045 shares some traits with conventional “noise gates” but operates with a different principal involved. One common aspect is that both reduce the gain during the absence of signal, or more specifically, it begins to attenuate when the level of a signal falls below a certain threshold that the operator can set. The 5045 senses when someone is speaking or singing into the mic and allows the signal to pass through, and senses when the person has stopped talking or singing and reduces the gain appropriately, which tends to help reduce the tendency of a system to feedback. Most importantly, the 5045 does not introduce filtering and digital processing to achieve significant benefits.<br /><br />\n\nOperation is simple. The 5045 accepts line level signal such as the output of a microphone preamplifier or the “Insert” send of a console. The 5045 outputs are also line level that typically feed a console line input or “Insert” return. Because the 5045 uses transformer coupled inputs and outputs it easily connects to virtually any combination of balanced or unbalanced inputs and outputs provided you have commonly available appropriate adapters.<br /><br />\n\nOnce the 5045 is connected and power turned on the next steps are relatively simple. A good safe initial starting point is; “PROCESS ENGAGE” not pressed, “TIME CONSTANT” set to C or D, “RMS/PEAK” button not pressed (RMS mode), “THRESHOLD” all the way down or -18, and the “DEPTH” also all the way down at 0.<br /><br />\n\nNow, have someone talk or sing into the microphone and press the “PROCESS ENGAGE” button and if the 5045 is connected properly there should be no change in level. As the person is talking or singing, adjust the “THRESHOLD” so that the green “PROCESS ACTIVE” LED glows solidly when they talk and dims when they stop talking (for example between sentences). Gently increase the “DEPTH” knob to about -10 dB as a starting point.<br /><br />\n\nIf the sound system was previously on the edge of feeding back, the above procedure should have helped. If the system volume was set low to “play it safe” and well under the feedback zone, as you learn the new box, you can try increasing the volume of the channel slowly and adjusting the “DEPTH” to achieve more volume before feedback sets in. The 5045 will not eliminate the chance of feedback given enough volume, but is generally effective at allowing both increased levels along with less chance of annoying feedback.<br /><br />\n\n<h3>The Time Constant Control</h3>\nThe “TIME CONSTANT” control is designed to help prevent choppiness in some situations and stop feedback in other situations. It mostly sets how quickly the attenuation occurs in the quiet sections between words or sentences. “A” is the fastest and “F” is the slowest. “A” will quickly soften the level which can be advantageous when the singer is consistent and feedback howl is challenging. “F” is the safest in terms of slowly fading down, but might be a bit slow fading up again, and might be a bit slow for controlling some pesky feedback situations. “C” and “D” are moderate settings that should fit many situations and generally fade down slow enough so that the ends of words are not affected, yet fast enough to control feedback. Choose the most appropriate time constant that doesn’t soften the beginnings and endings of phrases, yet still diminishes the feedback and “boominess” of the signal.\n<br /><br />\n<h3>The RMS/PEAK Switch</h3>\nSimilarly, the “RMS/PEAK” button allows some finessing of the timing of the 5045. With the “PEAK” button pushed in, the 5045 will return to normal level from attenuation very rapidly. This may help prevent the beginnings of some words from being cut off. (It also opens the door for some creative dynamics-shaping if one uses the 5045 on musical instruments.) With the button set to “RMS”, the 5045 will behave moderately slower, but with a greater deal of perceived “musicality”. In this mode, it is relying on the “average” signal level rather than merely the loudest and briefest peaks.\n<br /><br />'),(9501,85,0,1584,'Rupert Neve Designs Portico 5045 Primary Source Enhancer'),(9502,85,1,1584,'Rupert Neve Designs Portico 5045 Primary Source Enhancer'),(9503,76,0,1584,''),(9504,76,1,1584,''),(9505,75,0,1585,'<h1>Rupert Neve Designs 5254 Dual Diode Bridge Compressor</h1>\r\n<i>Two channels of iconic diode bridge compression, thoughtfully improved and refined for modern tracking, mixing, and mastering.</i>\r\n<br /><br />\r\nRupert Neve Designs created the 5254 Dual Diode Bridge Compressor to capture the soul Rupert Neve’s early diode bridge compressors, revered for the punch & glue they bring to drums, instruments, and the mix buss. The 5254 adds modern updates including advanced timing control, significantly lower noise, fully stepped controls throughout, higher voltage power rails, and internal parallel processing capabilities.\r\n<br /><br />\r\nUnlike RND\'s VCA compressors, which are built for exacting clarity, the harmonically rich tonality of the Dual Diode Bridge Compressor is built to produce a wide range of colors – and built to help you make a statement with your music. Based on the dynamics circuit originally developed for the acclaimed Shelford Channel, the 5254 is outfitted for dual mono or stereo use with Rupert Neve Designs’ custom transformers and class-A electronics, tailor made for a compact 1U 19” enclosure.\r\n<br /><br />\r\nFifty years after Mr. Rupert Neve created his first compressor designs, the Dual Diode Bridge Compressor reimagines the larger-than-life personality of these classic circuits with new levels of precision and control, enhanced creative power, and increased punch to your tracks, mixes, and masters.\r\n<br /><br />\r\n<h3>RND 5254 features</h3>\r\n<ul>\r\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\"><b>Classic Diode Bridge Tone</b> - Capture the punchy, larger-than-life tone used on countless hit records for the last 50 years.</span></li>\r\n	<li><b>Advanced timing controls</b> - Custom-shape your compression envelope with the unified timing control, which enables a much wider range of responses than vintage units or clones.</li>\r\n	<li><b>Custom Transformers and Class-A Line Amplifiers</b> - Vintage warmth meets the improved headroom and precision of Rupert Neve’s updated transformer-coupled line stages.</li>\r\n	<li><b>31-Position Detented Controls</b> - Accurately recall and match your settings with precision and speed.</li>\r\n	<li>Built-In Parallel Compression - Internal blend control enables you to subtly dial in more dramatic compression settings for color as desired.</li>\r\n	<li><b>Full-Wave Sidechain Detection</b> - Enhanced from the vintage units’ half-wave design, the updated sidechain detector provides substantially more accuracy.</li>\r\n	<li><b>Stereo Linking </b>- Run your compressors in either dual mono or stereo configurations.</li>\r\n	<li><b>Internal Universal Power Supply</b> - IEC connection for world-wide AC power from 90-240V embedded in the 1U rack-mountable chassis.</li>\r\n</ul>\r\n<br />\r\n<h3>The Diode Bridge</h3>\r\nWhere the VCA compressor found in the Portico II Channel and Master Buss Processor provides unmatched clarity, the weighty, harmonically rich tonality of diode bridge compression can be essential in pushing key sources like vocals, electric guitars, bass and drums to the forefront of a mix. By understanding the limitations of the vintage units’ topologies, painstaking effort was taken to reproduce the unique tone of these classics while improving the noise floor & accuracy, expanding inflexible time constants, adding full wave sidechain detection for improved dynamic response, and widening the range of threshold and ratio controls. Delivering the powerful sound of these iconic designs with enhanced flexibility for the modern age, the Dual Diode Bridge Compressor is a dynamic tool equipped to make a bold statement on virtually any mix or track.\r\n<br /><br />\r\n<h3>Timing is Everything</h3>\r\nThe unified TIMING control consists of six selectable settings, carefully chosen for different applications – a major departure from the slow, fixed attack of the vintage units. FAST and MF settings are designed to help clamp down on more transient signals like drums, plucked string instruments and fast vocals. MED and MS have slightly slower attacks and releases which allow more transients through, while having a slightly longer recovery. Lastly, SLOW and AUTO are both significantly slower and feature complex nonlinear release times, with smoother, less audible level control. \r\n<br /><br />\r\nFAST mode increases the speed of both the attack and release for each setting, also effectively doubling the number of time constants from 6 to 12. The FAST mode also allows for a dramatic increase in speed as compared to the Dual Diode Bridge Compressor’s renowned ancestors, providing significantly more tonal & operational versatility.<br /><br />\r\nFaster TIMING settings will generally lead to higher peak-to-peak control voltage ripple, and therefore induce more harmonic content, translating into more color in the main audio path. Slower TIMING settings will smooth the control voltage significantly, and thereby reduce the harmonic content added to the audio path, resulting in more transparent compression. It is also worth noting that due to the nature of this topology, these time constants inherently adapt themselves slightly depending on several factors: compression ratio, threshold, and source material. This dynamically generated timing shift and harmonic content is what gives the Dual Diode Bridge Compressor its unique personality.<br /><br />\r\n<h3>The Right Blend</h3>\r\nGiven the naturally colored sonic signature of the 5254’s diode bridge, this built-in parallel compression ability is especially useful. The BLEND control allows the user to inject smaller amounts of extreme compression into an otherwise unaffected signal, creating an enhanced yet natural sound that maintains dynamic range with blendable color and punch.\r\n<br /><br />\r\n<h3>Take Control</h3>\r\nIn addition to the TIMING control, the diode bridge compressor can be further manipulated by the RATIO, THRESHOLD, GAIN, S/C HPF, S/C INSERT and LINK controls. The RATIO control has six selectable positions on the rotary switch and allows the user to set the slope of the compressor curve with ratios of 1.5:1 through 8:1. The THRESHOLD control allows the user to adjust the point at which compression begins, ranging from -25dBu to +20dBu. The GAIN control adds make-up gain ranging from -6dB to +20dB.\r\n<br /><br />\r\nThe S/C HPF is 12dB/octave with continuously variable frequency control from 20Hz to 250Hz. This feature can be immensely useful for making the compressor respond less to the powerful – and often more sustaining – low frequencies in a mix or instrument, which might otherwise give the compressor a more “mushy” response. The SC INSERT is comprised of an always-active send and return for the compressor side chain, which can be used to insert a more fine-tunable EQ to further sculpt the compressor response, or as a way to insert a key signal into the return, controlling the compression via a separate source to “duck” the signal when the key source is above the threshold. LINK connects the control voltage between the two channels – so when one channel is triggered, it will trigger the other channel  equally. This can often help maintain a solid center image in a stereo source. Note: for stereo sources, it is always worth auditioning the “unlinked” sound as well, as linking can sometimes clamp down on the effective stereo width when the compressors are triggered by one side.<br /><br />'),(9506,75,1,1585,'<h1>Rupert Neve Designs 5254 Dual Diode Bridge Compressor</h1>\n<i>Two channels of iconic diode bridge compression, thoughtfully improved and refined for modern tracking, mixing, and mastering.</i>\n<br /><br />\nRupert Neve Designs created the 5254 Dual Diode Bridge Compressor to capture the soul Rupert Neve’s early diode bridge compressors, revered for the punch & glue they bring to drums, instruments, and the mix buss. The 5254 adds modern updates including advanced timing control, significantly lower noise, fully stepped controls throughout, higher voltage power rails, and internal parallel processing capabilities.\n<br /><br />\nUnlike RND\'s VCA compressors, which are built for exacting clarity, the harmonically rich tonality of the Dual Diode Bridge Compressor is built to produce a wide range of colors – and built to help you make a statement with your music. Based on the dynamics circuit originally developed for the acclaimed Shelford Channel, the 5254 is outfitted for dual mono or stereo use with Rupert Neve Designs’ custom transformers and class-A electronics, tailor made for a compact 1U 19” enclosure.\n<br /><br />\nFifty years after Mr. Rupert Neve created his first compressor designs, the Dual Diode Bridge Compressor reimagines the larger-than-life personality of these classic circuits with new levels of precision and control, enhanced creative power, and increased punch to your tracks, mixes, and masters.\n<br /><br />\n<h3>RND 5254 features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\"><b>Classic Diode Bridge Tone</b> - Capture the punchy, larger-than-life tone used on countless hit records for the last 50 years.</span></li>\n	<li><b>Advanced timing controls</b> - Custom-shape your compression envelope with the unified timing control, which enables a much wider range of responses than vintage units or clones.</li>\n	<li><b>Custom Transformers and Class-A Line Amplifiers</b> - Vintage warmth meets the improved headroom and precision of Rupert Neve’s updated transformer-coupled line stages.</li>\n	<li><b>31-Position Detented Controls</b> - Accurately recall and match your settings with precision and speed.</li>\n	<li>Built-In Parallel Compression - Internal blend control enables you to subtly dial in more dramatic compression settings for color as desired.</li>\n	<li><b>Full-Wave Sidechain Detection</b> - Enhanced from the vintage units’ half-wave design, the updated sidechain detector provides substantially more accuracy.</li>\n	<li><b>Stereo Linking </b>- Run your compressors in either dual mono or stereo configurations.</li>\n	<li><b>Internal Universal Power Supply</b> - IEC connection for world-wide AC power from 90-240V embedded in the 1U rack-mountable chassis.</li>\n</ul>\n<br />\n<h3>The Diode Bridge</h3>\nWhere the VCA compressor found in the Portico II Channel and Master Buss Processor provides unmatched clarity, the weighty, harmonically rich tonality of diode bridge compression can be essential in pushing key sources like vocals, electric guitars, bass and drums to the forefront of a mix. By understanding the limitations of the vintage units’ topologies, painstaking effort was taken to reproduce the unique tone of these classics while improving the noise floor & accuracy, expanding inflexible time constants, adding full wave sidechain detection for improved dynamic response, and widening the range of threshold and ratio controls. Delivering the powerful sound of these iconic designs with enhanced flexibility for the modern age, the Dual Diode Bridge Compressor is a dynamic tool equipped to make a bold statement on virtually any mix or track.\n<br /><br />\n<h3>Timing is Everything</h3>\nThe unified TIMING control consists of six selectable settings, carefully chosen for different applications – a major departure from the slow, fixed attack of the vintage units. FAST and MF settings are designed to help clamp down on more transient signals like drums, plucked string instruments and fast vocals. MED and MS have slightly slower attacks and releases which allow more transients through, while having a slightly longer recovery. Lastly, SLOW and AUTO are both significantly slower and feature complex nonlinear release times, with smoother, less audible level control. \n<br /><br />\nFAST mode increases the speed of both the attack and release for each setting, also effectively doubling the number of time constants from 6 to 12. The FAST mode also allows for a dramatic increase in speed as compared to the Dual Diode Bridge Compressor’s renowned ancestors, providing significantly more tonal & operational versatility.<br /><br />\nFaster TIMING settings will generally lead to higher peak-to-peak control voltage ripple, and therefore induce more harmonic content, translating into more color in the main audio path. Slower TIMING settings will smooth the control voltage significantly, and thereby reduce the harmonic content added to the audio path, resulting in more transparent compression. It is also worth noting that due to the nature of this topology, these time constants inherently adapt themselves slightly depending on several factors: compression ratio, threshold, and source material. This dynamically generated timing shift and harmonic content is what gives the Dual Diode Bridge Compressor its unique personality.<br /><br />\n<h3>The Right Blend</h3>\nGiven the naturally colored sonic signature of the 5254’s diode bridge, this built-in parallel compression ability is especially useful. The BLEND control allows the user to inject smaller amounts of extreme compression into an otherwise unaffected signal, creating an enhanced yet natural sound that maintains dynamic range with blendable color and punch.\n<br /><br />\n<h3>Take Control</h3>\nIn addition to the TIMING control, the diode bridge compressor can be further manipulated by the RATIO, THRESHOLD, GAIN, S/C HPF, S/C INSERT and LINK controls. The RATIO control has six selectable positions on the rotary switch and allows the user to set the slope of the compressor curve with ratios of 1.5:1 through 8:1. The THRESHOLD control allows the user to adjust the point at which compression begins, ranging from -25dBu to +20dBu. The GAIN control adds make-up gain ranging from -6dB to +20dB.\n<br /><br />\nThe S/C HPF is 12dB/octave with continuously variable frequency control from 20Hz to 250Hz. This feature can be immensely useful for making the compressor respond less to the powerful – and often more sustaining – low frequencies in a mix or instrument, which might otherwise give the compressor a more “mushy” response. The SC INSERT is comprised of an always-active send and return for the compressor side chain, which can be used to insert a more fine-tunable EQ to further sculpt the compressor response, or as a way to insert a key signal into the return, controlling the compression via a separate source to “duck” the signal when the key source is above the threshold. LINK connects the control voltage between the two channels – so when one channel is triggered, it will trigger the other channel  equally. This can often help maintain a solid center image in a stereo source. Note: for stereo sources, it is always worth auditioning the “unlinked” sound as well, as linking can sometimes clamp down on the effective stereo width when the compressors are triggered by one side.<br /><br />'),(9507,85,0,1585,'Rupert Neve Designs 5254 Dual Diode Bridge Compressor'),(9508,85,1,1585,'Rupert Neve Designs 5254 Dual Diode Bridge Compressor'),(9509,76,0,1585,''),(9510,76,1,1585,'');
INSERT INTO `catalog_product_entity_text` VALUES (9511,75,0,1586,'<h1>Rupert Neve Designs MBC - Master Buss Converter</h1>\n<i>Dual Path A-D Converter & Limiter - The ultimate tool for creating digital signals with the tone, transparency, and power expected from Rupert Neve Designs.</i><br /><br />\nThe Rupert Neve Designs MBC, Master Buss Converter is a revelation in quality and functionality of A-D conversion technology, whether you’re tracking, printing mixes, or mastering.The analog drive circuitry allows the MBC’s converter to\nbe fed by either a class-A transformerless path for maximum transparency, or by custom inter-stage audio transformers with variable Silk for a wide variety of tonal enhancements. Coupled with an astonishingly musical limiter, the MBC is always the best choice to capture your analog signals with breathtakingly three-dimensional accuracy.\n<br /><br />\n<h3>RND MBC features</h3>\n<ul>\n	<li><b>Selectable Analog Drive Paths</b> - The very best of class-A transformerless and custom transformer-coupled designs at the touch of a button.</li>\n	<li><b>Transformer Path with Silk / Texture</b> - Add weight and punch with a dedicated custom inter-stage transformer before the converter. Silk /Texture allows you to dial in the harmonic content and drive saturation of this signal path.</li>\n	<li><b>Class-A Transformerless Path</b> - Maximizes clarity and transparency of the input signal.</li>\n	<li><b>Active Compound Release Analog Limiting</b> - Push your levels further with fewer artifacts than plug-ins, and introduce clip safety for tracking or broadcast.</li>\n	<li><b>24-bit/192kHz Reference Conversion</b> - Unparalleled analog capture with precision clocking using top-of-the-line chips.</li>\n	<li><b>Multi-Standard Connectivity</b> - Connect to any of your digital devices with AES, S/PDIF and TOSLINK all simultaneously available.</li>\n	<li><b>Precision Clocking</b> - Maximum accuracy with minimal jitter and phase noise, able to operate as a master clock or sync from another master.</li>\n</ul>\n<br />\n<h3>Dual Path Analog Design</h3>\nAs the last link in the analog chain before digitization, converter drive circuitry is critical in determining the imprinted digital sound quality. From the ground up, the MBC was designed for reference performance regardless of genre or desired sonic character, and the key to this lies in the quality and adaptability of the analog drive circuitry.<br /><br />\n\nFor a bolder, more powerful imprint, a custom-designed inter-stage transformer with Rupert’s acclaimed Silk circuitry can be inserted to recreate the classic tonality of his vintage designs. Uniquely, unlike their audio transformers intended for line-level output, this new transformer is designed to achieve output transformer harmonic content characteristics at a level appropriate for input to the converter itself. With the addition of variable Silk, the engineer is able to precisely dial in the desired amount of harmonic content – with the Red mode highlighting harmonics in the mid and high frequencies, and the Blue mode accentuating harmonics in the low-end. From a subtle transformer tonality without Silk, to significantly more color than vintage modules with the Silk / Texture circuit fully pushed, the selectable transformer path fills your tracks with enhanced dimensionality and power.<br /><br />\n\nWhen maximum transparency and fidelity is desired, the transformerless path provides extraordinary detail and clarity. While many transformerless circuits suffer from thin tonal balance and a lack of punch, the MBC’s Class-A circuitry was painstakingly designed to deliver a beautiful sense of clarity, with vibrant detail at both high and low frequencies. As an additional tonal palette to capture your tracks, the transformerless path is an essential complement to the weighty, classic sound of the transformer path. No matter what sonic character you’re seeking, the MBC can provide it at the push of a button.<br /><br />\n\n<h3>Compound Active Release Analog Limiter</h3>\nThe challenge here was to design a limiter that could act as both a musical sculpting tool exceeding the quality of available plug-in limiters, while also being able to act as a transparent safety limiter for tracking or live performance & broadcast.<br /><br />\n\nTo achieve this, Rupert Neve Designs refined their compound active release topology to enhance both the accuracy and musicality of the limiter response. The resulting limiter achieves both transparency and the capability of pushing the level of tracks or mixes without damage to the integrity of the source.<br /><br />\n\nTo further adapt the sound of the limiter, RND added a number of controls to fine-tune its response. The built-in Side Chain High-Pass Filter, sweepable from 20-250Hz, minimizes the limiter’s reaction to low frequencies, which tend to be more sustained in nature than high frequencies. The threshold control sets the maximum levels for your digital signal, and the variable release time constant alters the response characteristic to better fit different source material. To further push levels into the limiter, the class-A line amp stage is capable of adding 20dB of ultra-clean gain. The limiter may be used as a dual mono or stereo linked design via the Link switch, depending on the desired use.<br /><br />\n\n<h3>Mastering-Grade Conversion</h3>\nThe MBC’s 24-bit/192kHz converters were developed after years of careful listening, and represent a further advancement of the design within the RMP-D8. The precision controlled internal clock’s minimal jitter and phase noise allow the converters to capture the complete performance of your music with a great degree of accuracy – simply put, the MBC creates an uncanny digital representation of your analog signals.<br /><br />\n\n<h3>Make Connections</h3>\nTo connect into your interface or digital console, the MBC is equipped with AES, S/PDIF and TOSLINK outputs capable of simultaneous output to multiple destinations. The word clock output allows the MBC to act as high-end master clock for your entire setup, and the word clock input allows external sync to a separate master clock if desired. Finally, to seamlessly integrate the MBC into a multichannel conversion environment, four standard levels from -14dBFS to -20dBFS can be selected to accurately match your other converters. These Reference Level calibration standards are implemented with a superb degree of accuracy via high-precision resistors and relay-controlled stepped attenuation.<br /><br />\n\n<h3>Ultra-Precise Metering</h3>\nA pair of 22-segment meters provide extremely precise level metering of the input to the converter stage, utilizing a new design that represents the highest resolution LED metering in a Rupert Neve Designs product to date. For monitoring of the limiter’s gain reduction, there are 8-segment gain reduction meters designed to display transient reductions with a superb degree of accuracy. The level meters can be further customized with a 1-second or 3-second peak hold option.<br /><br />'),(9512,75,1,1586,'<h1>Rupert Neve Designs MBC - Master Buss Converter</h1>\n<i>Dual Path A-D Converter & Limiter - The ultimate tool for creating digital signals with the tone, transparency, and power expected from Rupert Neve Designs.</i><br /><br />\nThe Rupert Neve Designs MBC, Master Buss Converter is a revelation in quality and functionality of A-D conversion technology, whether you’re tracking, printing mixes, or mastering.The analog drive circuitry allows the MBC’s converter to\nbe fed by either a class-A transformerless path for maximum transparency, or by custom inter-stage audio transformers with variable Silk for a wide variety of tonal enhancements. Coupled with an astonishingly musical limiter, the MBC is always the best choice to capture your analog signals with breathtakingly three-dimensional accuracy.\n<br /><br />\n<h3>RND MBC features</h3>\n<ul>\n	<li><b>Selectable Analog Drive Paths</b> - The very best of class-A transformerless and custom transformer-coupled designs at the touch of a button.</li>\n	<li><b>Transformer Path with Silk / Texture</b> - Add weight and punch with a dedicated custom inter-stage transformer before the converter. Silk /Texture allows you to dial in the harmonic content and drive saturation of this signal path.</li>\n	<li><b>Class-A Transformerless Path</b> - Maximizes clarity and transparency of the input signal.</li>\n	<li><b>Active Compound Release Analog Limiting</b> - Push your levels further with fewer artifacts than plug-ins, and introduce clip safety for tracking or broadcast.</li>\n	<li><b>24-bit/192kHz Reference Conversion</b> - Unparalleled analog capture with precision clocking using top-of-the-line chips.</li>\n	<li><b>Multi-Standard Connectivity</b> - Connect to any of your digital devices with AES, S/PDIF and TOSLINK all simultaneously available.</li>\n	<li><b>Precision Clocking</b> - Maximum accuracy with minimal jitter and phase noise, able to operate as a master clock or sync from another master.</li>\n</ul>\n<br />\n<h3>Dual Path Analog Design</h3>\nAs the last link in the analog chain before digitization, converter drive circuitry is critical in determining the imprinted digital sound quality. From the ground up, the MBC was designed for reference performance regardless of genre or desired sonic character, and the key to this lies in the quality and adaptability of the analog drive circuitry.<br /><br />\n\nFor a bolder, more powerful imprint, a custom-designed inter-stage transformer with Rupert’s acclaimed Silk circuitry can be inserted to recreate the classic tonality of his vintage designs. Uniquely, unlike their audio transformers intended for line-level output, this new transformer is designed to achieve output transformer harmonic content characteristics at a level appropriate for input to the converter itself. With the addition of variable Silk, the engineer is able to precisely dial in the desired amount of harmonic content – with the Red mode highlighting harmonics in the mid and high frequencies, and the Blue mode accentuating harmonics in the low-end. From a subtle transformer tonality without Silk, to significantly more color than vintage modules with the Silk / Texture circuit fully pushed, the selectable transformer path fills your tracks with enhanced dimensionality and power.<br /><br />\n\nWhen maximum transparency and fidelity is desired, the transformerless path provides extraordinary detail and clarity. While many transformerless circuits suffer from thin tonal balance and a lack of punch, the MBC’s Class-A circuitry was painstakingly designed to deliver a beautiful sense of clarity, with vibrant detail at both high and low frequencies. As an additional tonal palette to capture your tracks, the transformerless path is an essential complement to the weighty, classic sound of the transformer path. No matter what sonic character you’re seeking, the MBC can provide it at the push of a button.<br /><br />\n\n<h3>Compound Active Release Analog Limiter</h3>\nThe challenge here was to design a limiter that could act as both a musical sculpting tool exceeding the quality of available plug-in limiters, while also being able to act as a transparent safety limiter for tracking or live performance & broadcast.<br /><br />\n\nTo achieve this, Rupert Neve Designs refined their compound active release topology to enhance both the accuracy and musicality of the limiter response. The resulting limiter achieves both transparency and the capability of pushing the level of tracks or mixes without damage to the integrity of the source.<br /><br />\n\nTo further adapt the sound of the limiter, RND added a number of controls to fine-tune its response. The built-in Side Chain High-Pass Filter, sweepable from 20-250Hz, minimizes the limiter’s reaction to low frequencies, which tend to be more sustained in nature than high frequencies. The threshold control sets the maximum levels for your digital signal, and the variable release time constant alters the response characteristic to better fit different source material. To further push levels into the limiter, the class-A line amp stage is capable of adding 20dB of ultra-clean gain. The limiter may be used as a dual mono or stereo linked design via the Link switch, depending on the desired use.<br /><br />\n\n<h3>Mastering-Grade Conversion</h3>\nThe MBC’s 24-bit/192kHz converters were developed after years of careful listening, and represent a further advancement of the design within the RMP-D8. The precision controlled internal clock’s minimal jitter and phase noise allow the converters to capture the complete performance of your music with a great degree of accuracy – simply put, the MBC creates an uncanny digital representation of your analog signals.<br /><br />\n\n<h3>Make Connections</h3>\nTo connect into your interface or digital console, the MBC is equipped with AES, S/PDIF and TOSLINK outputs capable of simultaneous output to multiple destinations. The word clock output allows the MBC to act as high-end master clock for your entire setup, and the word clock input allows external sync to a separate master clock if desired. Finally, to seamlessly integrate the MBC into a multichannel conversion environment, four standard levels from -14dBFS to -20dBFS can be selected to accurately match your other converters. These Reference Level calibration standards are implemented with a superb degree of accuracy via high-precision resistors and relay-controlled stepped attenuation.<br /><br />\n\n<h3>Ultra-Precise Metering</h3>\nA pair of 22-segment meters provide extremely precise level metering of the input to the converter stage, utilizing a new design that represents the highest resolution LED metering in a Rupert Neve Designs product to date. For monitoring of the limiter’s gain reduction, there are 8-segment gain reduction meters designed to display transient reductions with a superb degree of accuracy. The level meters can be further customized with a 1-second or 3-second peak hold option.<br /><br />'),(9513,85,0,1586,'Rupert Neve Designs MBC - Master Buss Converter'),(9514,85,1,1586,'Rupert Neve Designs MBC - Master Buss Converter'),(9515,76,0,1586,''),(9516,76,1,1586,''),(9517,75,0,1587,'<h1>Rupert Neve Designs Portico II Master Buss Processor</h1>\n<i>Rupert Neves\' Compressor / Limiter / Stereo Field Editor , now with new black faceplate to celebrate 15 years of Rupert Neve Designs.</i><br /><br />\nThe Rupert Neve Designs Portico II Master Buss Processor: Now with new black cosmetics by popular request, and celebrating the 15th Anniversary of Rupert Neve Designs. Based around the high voltage, discrete and class-A signal paths made famous in the 5088 Mixer, the Master Buss Processor is a creative tool that redefines the boundaries and limitations of traditional 2-channel compression and limiting. Though originally developed for mastering applications, the MBP has quickly become a favorite of mix engineers, tracking engineers, and even FOH engineers. From mixing bass-heavy EDM to a delicate master of a chamber ensemble, it has something to offer everyone – no matter the use or genre.\n<br /><br />\n<h3>RND MBP features</h3>\n<ul>\n	<li>Powerful 2-channel compressor/limiter/stereo field manipulator                                                                                                       </li>\n	<li>Full compression sections for both channels, including attack, release, ratio, and threshold controls                                                                </li>\n	<li>Side chain inputs with high-pass filters for both compressors                                                                                                        </li>\n	<li>Feed-back/Feed-forward controls let you select from modern and vintage compression sounds                                                                            </li>\n	<li>Texture control with 2 Silk modes let you add classic Rupert Neve tone                                                                                               </li>\n	<li>Blend controls allow you to mix dry signal back into your compression, preserving transients while adding punch                                                      </li>\n	<li>Simple and highly musical 1-knob limiter with Adaptive Release Technology allows for brickwall limiting that doesn\'t distort or affect levels under the threshold    </li>\n	<li>Stereo Field Editor section includes independent controls for width and depth as well as the width and depth EQs, allowing you to dial in the perfect stereo field   </li>\n</ul>\n<br />\n<h3>The Compressor</h3>\nThe MBP’s two compressor sections allow virtually limitless possibilities in dynamics for either dual mono or stereo sources, with controls for ratio, threshold, attack, release, blend, side chain HPF, limit and make up gain. When engaged, the compressor section can be used in both feed-forward and feed-back modes to provide a transparent modern response (feed-forward), or a smoother, more musical vintage response (feed-back). Peak mode alters the compressor’s attack to react to peak transients with a roughly .1ms response time. When the Peak switch is disengaged, the compressor responds to the RMS signal in conjunction with the attack and release settings. SC HPF inserts a high pass filter at 125Hz into the side chain to deal with intense low frequencies that may skew the response of the VCA with certain songs and instruments. “Blend” creates a parallel mix between the compressed and dry signals. By mixing the compressed and dry signals, it is possible to increase the volume of quieter elements in the source material (for instance, delicate snare brushing on a track with much louder hits), while maintaining a natural dynamic feel for the louder elements.\n<br /><br />\nTo further control the side chain, there is also an insert “send” and “return” that may be paired with an external EQ or other filters for additional manipulation. The “return” may also be used as a “Key” input for ducking one signal to another (for instance, a voice-over keying the compressor to duck a background music track).<br /><br />\nWith the stereo link control engaged, Channel A settings act as the master control for convenient operation.<br /><br />\n<h3>The Limiter</h3>\nThe Portico II Master Buss Processor also features an extremely versatile, transparent and musical limiter. At first glance, one might scoff at the single knob operation – however, this limiter is extremely intelligent, knowing how to appropriately respond to the various signals presented to it. Rupert Neve Design\'s new Adaptive Release Technology is behind this revolutionary performance. Using a blend of release time constants, this limiter will simultaneously respond quickly to transient material (such as the “snap” of a snare drum) and slowly to more sluggish signals (such as a bass guitar). This configuration allows the limiter to grab a transient and let go just an instant later, while also dealing with more constant signals in a slower, more musical way. In this manner, the MBP’s limiter can provide a much more aggressive amount of limiting than typically possible, while maintaining the essential character of the music and remaining free of the modulation distortion usually found in a fast-acting limiter.\n<br /><br />\nTypically there is a tradeoff between how fast a limiter can react and the amount of modulation distortion in the lower frequencies. This is due to the lower frequencies finding their way into the side chain signal, triggering the compressor on and off very quickly, which ends up modulating the overall signal. This is interesting to look at with sine waves, but sounds quite undesirable with music. The MBP does not have this tradeoff, and one is able to have the best of both worlds: a quick, snappy response while maintaining the integrity and smoothness of the low end. In addition to the adaptive time constant circuitry, the release time is also varied with the position of the knob. As the knob is turned counterclockwise, the release time is increased accordingly, as typically one would want a longer release time with a larger amount of reduction.<br /><br />\nThe new limiter found in the MBP is designed to respond as fast as .03 mS in order to reduce the first half of a 20kHz waveform over the threshold. It has a “medium knee” initial ratio and within 3 dB of the threshold attains a better than 10:1 ratio. A soft-clip circuit catches transients that may have been in the “knee” when the threshold knob is set quite high. Both the limiter and soft clipper are switched out of circuit with the knob is fully clockwise. The release times are fully automatic and adjust depending both on the average depth of limiting and the duration of the transients above the threshold. The limiters share the same discrete, class-A gain module and VCA with the compressors, so using the Limiter does not introduce more stages that the music would have to pass through. This combination of features provides exceptionally transparent limiting, and often allows twice as much gain reduction compared to other limiters before objectionable artifacts become apparent.<br /><br />\n<h3>The Stereo Field Editor</h3>\nThe stereo field editor on the MBP takes traditional M-S techniques to new heights with width, depth and corresponding bandpass filters.\n<br /><br />\nThe width control enables the user to increase or decrease the width of a stereo image (wide/mono) and adjust the amount of ambience inherent in the recording. As the width control is rotated toward wide, the amount of difference material is boosted, often resulting in more ambient material, and accentuated stereo reverbs. Conversely, the stereo field is contracted when rotated to mono, and, if the left and right channels are highly coherent (i.e. both channels include closely similar material that is in phase), this mono content is enhanced. If the phase of one of the input channels is then reversed the mono content may be virtually eliminated. Because the amount of effect the width control has is entirely dependent on the amount of stereo information in the original source material and the interplay between the stereo field editor′s other controls, listening and experimentation are essential for the best results.<br /><br />\nThe depth control adjusts the spatial positioning of elements in the sound stage. Center-panned elements like solo instrument or vocal can be brought forward in a mix, in relation to supporting instruments. In many cases, these same elements may be virtually eliminated without adversely affecting the music bed. Used in conjunction, the depth and width controls effectively alter the perceived room ambience and dimension.<br /><br />\nTo fine tune the SFE, there are individual filters that allow a fine tuning of what information is reintroduced from the width and depth circuits, thus tailoring each effect to a specific bandwidth. For example, if one wanted to increase the amount of low frequencies in the center image, engaging the SFE Depth and Depth EQ, set to LF, would filter out everything in the Mid signal except what is below the filter point (in this case, 250Hz), and once reintroduced to the original would result in a perceived increase in the low frequencies in the center image. It is also possible to do the same thing with the Width EQ, except instead of boosting the width, cutting it, which removes low frequencies from the Sides, tightening up the low frequency perception in the center. Using the Width EQ again, this time set to HM (or LM as the case may be), increasing the amount of band-passed Side information can provide a wonderful spreading of instruments, reverberation and background vocals, giving the illusion that the sounds are spread further out, enveloping the listener.<br /><br />\nAnother technique available on the SFE is routing the Mid and Side signals to the Channel A and Channel B compressors, respectively. Now whatever amount of Depth or Width is introduced is first routed to the compressors, allowing the user to utilize the compressor features on the Mid and Side information. Now it is possible to not only increase the side information, but to utilize the compressor to bring up some of the low level side information, or allow the user to tame an overly expressive lead singer. With the addition of using the EQ section on the Depth and Width, a wide range of tools is available to the engineer.<br /><br />'),(9518,75,1,1587,'<h1>Rupert Neve Designs Portico II Master Buss Processor</h1>\n<i>Rupert Neves\' Compressor / Limiter / Stereo Field Editor , now with new black faceplate to celebrate 15 years of Rupert Neve Designs.</i><br /><br />\nThe Rupert Neve Designs Portico II Master Buss Processor: Now with new black cosmetics by popular request, and celebrating the 15th Anniversary of Rupert Neve Designs. Based around the high voltage, discrete and class-A signal paths made famous in the 5088 Mixer, the Master Buss Processor is a creative tool that redefines the boundaries and limitations of traditional 2-channel compression and limiting. Though originally developed for mastering applications, the MBP has quickly become a favorite of mix engineers, tracking engineers, and even FOH engineers. From mixing bass-heavy EDM to a delicate master of a chamber ensemble, it has something to offer everyone – no matter the use or genre.\n<br /><br />\n<h3>RND MBP features</h3>\n<ul>\n	<li>Powerful 2-channel compressor/limiter/stereo field manipulator                                                                                                       </li>\n	<li>Full compression sections for both channels, including attack, release, ratio, and threshold controls                                                                </li>\n	<li>Side chain inputs with high-pass filters for both compressors                                                                                                        </li>\n	<li>Feed-back/Feed-forward controls let you select from modern and vintage compression sounds                                                                            </li>\n	<li>Texture control with 2 Silk modes let you add classic Rupert Neve tone                                                                                               </li>\n	<li>Blend controls allow you to mix dry signal back into your compression, preserving transients while adding punch                                                      </li>\n	<li>Simple and highly musical 1-knob limiter with Adaptive Release Technology allows for brickwall limiting that doesn\'t distort or affect levels under the threshold    </li>\n	<li>Stereo Field Editor section includes independent controls for width and depth as well as the width and depth EQs, allowing you to dial in the perfect stereo field   </li>\n</ul>\n<br />\n<h3>The Compressor</h3>\nThe MBP’s two compressor sections allow virtually limitless possibilities in dynamics for either dual mono or stereo sources, with controls for ratio, threshold, attack, release, blend, side chain HPF, limit and make up gain. When engaged, the compressor section can be used in both feed-forward and feed-back modes to provide a transparent modern response (feed-forward), or a smoother, more musical vintage response (feed-back). Peak mode alters the compressor’s attack to react to peak transients with a roughly .1ms response time. When the Peak switch is disengaged, the compressor responds to the RMS signal in conjunction with the attack and release settings. SC HPF inserts a high pass filter at 125Hz into the side chain to deal with intense low frequencies that may skew the response of the VCA with certain songs and instruments. “Blend” creates a parallel mix between the compressed and dry signals. By mixing the compressed and dry signals, it is possible to increase the volume of quieter elements in the source material (for instance, delicate snare brushing on a track with much louder hits), while maintaining a natural dynamic feel for the louder elements.\n<br /><br />\nTo further control the side chain, there is also an insert “send” and “return” that may be paired with an external EQ or other filters for additional manipulation. The “return” may also be used as a “Key” input for ducking one signal to another (for instance, a voice-over keying the compressor to duck a background music track).<br /><br />\nWith the stereo link control engaged, Channel A settings act as the master control for convenient operation.<br /><br />\n<h3>The Limiter</h3>\nThe Portico II Master Buss Processor also features an extremely versatile, transparent and musical limiter. At first glance, one might scoff at the single knob operation – however, this limiter is extremely intelligent, knowing how to appropriately respond to the various signals presented to it. Rupert Neve Design\'s new Adaptive Release Technology is behind this revolutionary performance. Using a blend of release time constants, this limiter will simultaneously respond quickly to transient material (such as the “snap” of a snare drum) and slowly to more sluggish signals (such as a bass guitar). This configuration allows the limiter to grab a transient and let go just an instant later, while also dealing with more constant signals in a slower, more musical way. In this manner, the MBP’s limiter can provide a much more aggressive amount of limiting than typically possible, while maintaining the essential character of the music and remaining free of the modulation distortion usually found in a fast-acting limiter.\n<br /><br />\nTypically there is a tradeoff between how fast a limiter can react and the amount of modulation distortion in the lower frequencies. This is due to the lower frequencies finding their way into the side chain signal, triggering the compressor on and off very quickly, which ends up modulating the overall signal. This is interesting to look at with sine waves, but sounds quite undesirable with music. The MBP does not have this tradeoff, and one is able to have the best of both worlds: a quick, snappy response while maintaining the integrity and smoothness of the low end. In addition to the adaptive time constant circuitry, the release time is also varied with the position of the knob. As the knob is turned counterclockwise, the release time is increased accordingly, as typically one would want a longer release time with a larger amount of reduction.<br /><br />\nThe new limiter found in the MBP is designed to respond as fast as .03 mS in order to reduce the first half of a 20kHz waveform over the threshold. It has a “medium knee” initial ratio and within 3 dB of the threshold attains a better than 10:1 ratio. A soft-clip circuit catches transients that may have been in the “knee” when the threshold knob is set quite high. Both the limiter and soft clipper are switched out of circuit with the knob is fully clockwise. The release times are fully automatic and adjust depending both on the average depth of limiting and the duration of the transients above the threshold. The limiters share the same discrete, class-A gain module and VCA with the compressors, so using the Limiter does not introduce more stages that the music would have to pass through. This combination of features provides exceptionally transparent limiting, and often allows twice as much gain reduction compared to other limiters before objectionable artifacts become apparent.<br /><br />\n<h3>The Stereo Field Editor</h3>\nThe stereo field editor on the MBP takes traditional M-S techniques to new heights with width, depth and corresponding bandpass filters.\n<br /><br />\nThe width control enables the user to increase or decrease the width of a stereo image (wide/mono) and adjust the amount of ambience inherent in the recording. As the width control is rotated toward wide, the amount of difference material is boosted, often resulting in more ambient material, and accentuated stereo reverbs. Conversely, the stereo field is contracted when rotated to mono, and, if the left and right channels are highly coherent (i.e. both channels include closely similar material that is in phase), this mono content is enhanced. If the phase of one of the input channels is then reversed the mono content may be virtually eliminated. Because the amount of effect the width control has is entirely dependent on the amount of stereo information in the original source material and the interplay between the stereo field editor′s other controls, listening and experimentation are essential for the best results.<br /><br />\nThe depth control adjusts the spatial positioning of elements in the sound stage. Center-panned elements like solo instrument or vocal can be brought forward in a mix, in relation to supporting instruments. In many cases, these same elements may be virtually eliminated without adversely affecting the music bed. Used in conjunction, the depth and width controls effectively alter the perceived room ambience and dimension.<br /><br />\nTo fine tune the SFE, there are individual filters that allow a fine tuning of what information is reintroduced from the width and depth circuits, thus tailoring each effect to a specific bandwidth. For example, if one wanted to increase the amount of low frequencies in the center image, engaging the SFE Depth and Depth EQ, set to LF, would filter out everything in the Mid signal except what is below the filter point (in this case, 250Hz), and once reintroduced to the original would result in a perceived increase in the low frequencies in the center image. It is also possible to do the same thing with the Width EQ, except instead of boosting the width, cutting it, which removes low frequencies from the Sides, tightening up the low frequency perception in the center. Using the Width EQ again, this time set to HM (or LM as the case may be), increasing the amount of band-passed Side information can provide a wonderful spreading of instruments, reverberation and background vocals, giving the illusion that the sounds are spread further out, enveloping the listener.<br /><br />\nAnother technique available on the SFE is routing the Mid and Side signals to the Channel A and Channel B compressors, respectively. Now whatever amount of Depth or Width is introduced is first routed to the compressors, allowing the user to utilize the compressor features on the Mid and Side information. Now it is possible to not only increase the side information, but to utilize the compressor to bring up some of the low level side information, or allow the user to tame an overly expressive lead singer. With the addition of using the EQ section on the Depth and Width, a wide range of tools is available to the engineer.<br /><br />'),(9519,85,0,1587,'Rupert Neve Designs Portico II Master Buss Processor'),(9520,85,1,1587,'Rupert Neve Designs Portico II Master Buss Processor'),(9521,76,0,1587,''),(9522,76,1,1587,''),(9523,75,0,1588,'<h1>Rupert Neve Designs RNDI Active Transformer DI</h1>\nThe Rupert Neve RNDI is a new direct interface that conveys the undiminished tone and vitality of the source instrument while balancing and isolating the original signal. The RNDI delivers a powerful and vibrant direct sound capable of reproducing the full harmonic depth of basses, guitars, acoustic instruments, and professional line level sources. With portable, powerful, larger-than-life tone for your instrument signals and amplifier signals, the RNDI is truly the first standalone DI worthy of the Rupert Neve name.\n<br /><br />\n<h3>Rupert Neve RNDI Features:</h3>\n<strong>Groundbreaking Direct Tone</strong><br />\nWhen class-A, discrete amplifiers meet Rupert\'s custom transformers, good things happen to your tone. The RNDI is imbued with the unique components and design knowledge that makes it worthy of the Rupert Neve name<br /><br />\n<strong>Huge Headroom</strong><br />\nThe high input headroom of +21.5dBU is capable of handling professional, line level sources without a pad - and in speaker mode, the RNDI can handle the full output of a 1000-watt power amplifier (92 Vrms or 266Vp-p).<br /><br />\n<strong>Rugged Solid-Steel Frame</strong><br />\nThe rugged steel chassis features an industrial-grade powder coating, and is built to withstand the severe stresses of life on the road<br /><br />\n<strong>Takes All Kinds</strong><br />\nThe RNDI has immensely consistent performance across a wide variety of sources due to its 2M Ohm discrete FET input and high headroom. You can confidently use the RNDI with basses, guitars, acoustic instruments, keyboards, and even professional line level devices. In instrument mode, you can even connect a professional line level interface output to \"Re-Preamp\" a previously recorded source<br /><br />\n<strong>Drive Longer Lines</strong><br />\nThe low impedance transformer coupled output - below 50 ohms - is capable of driving long lines with unrivaled high frequency performance<br /><br />\n<strong>1/4\" THRU Output</strong><br />\nIn instrument mode the THRU output can feed the amplifier input for reinforcement. In speaker mode, the THRU is used to feed the amplified signal to the speaker<br /><br />\n<strong>Best in Class Phase Coherence</strong><br />\nPhase coherence is excellent at all frequencies, which keeps the sound well-balanced and natural, and is especially vital when blending the direct signal with a microphone capture of the same source<br /><br />\n<strong>Ground Lift</strong><br />\nA ground lift switch is provided on the back to help fix any problematic grounding.<br /><br />\n<strong>Phantom Powered</strong><br />\nThe RNDI is powered by standard 48V phantom power. Power is indicated by a blue LED on the front panel<br /><br />\n<h3>The Development</h3>\nAfter coming into existence during an experimentation with new transformer designs, the RNDI was fine-tuned over a series of listening tests against the the most popular high-end DIs available. It was in these tests where the RNDI always seemed to add another dimension to the sound and bring the instruments to life. The lows felt richer, deeper and fuller, and the highs had outstanding clarity without any added harshness.<br /><br />\n<h3>The Elements of Direct Tone</h3>\nThe RNDI’s signature sound is the product both of new custom Rupert Neve-designed transformers and class-A biased, discrete FET amplifiers. The carefully orchestrated union of these two elements is key to the RNDI’s unique response.\n<br /><br />\nThe transformers provide superior passive isolation while adding musical harmonics and dimension to the sound. The low impedance, transformer balanced output excels at driving long cable runs, and performance is immensely consistent regardless of the connected equipment. This is very important for both live and studio environments where the unamplified signal may travel almost 100ft before hitting an amplifier. In other designs, these high capacitance lines cause major reductions in high frequencies, however the output stage of the RNDI unrivaled at handling long runs with minimal losses.<br /><br />\nThe class-A and discrete FET amplifier in the RNDI is powered by industry-standard 48V phantom power on the XLR connection, and creates a very high impedance input of 2M Ohms that ensures consistent performance with a wide variety of instruments. The significance of the RNDI’s class-A design is that there is no crossover distortion added to the signal, which can add upper order odd harmonics to the sound that are musically dissonant in nature. With the RNDI, the overwhelming majority of harmonic content is 2nd order (ocatve) with some 3rd order present (fifth above octave). These musically relevant harmonics – present in subtle amounts – actually add to the richness of the original signal. The discrete aspect of the RNDI design means there are no ICs or digital components that can have negative effects on the tone.<br /><br />\nThese efforts to harmonize the performance of the transformer and the FET amplifier have resulted in the RNDI’s extremely well balanced response. The low end tonality is thick and powerful, with frequency response several octaves below audibility. The high end is clear, present, and smooth, with a frequency response extending beyond 100kHz. The phase coherence is unrivaled at all frequencies, which keeps the sound as natural as possible – especially vital when blending the direct signal with a microphone capture of the same source. Simply put, there is no DI ever made that performs like the RNDI.<br /><br />\n<h3>Game-Changing Headroom</h3>\nIn instrument mode, the RNDI’s high input headroom of +21.5dBU is capable of handling not only instruments, but professional, line level sources like interfaces, CD players and drum machines without a pad. This allows the RNDI to serve as a way to “Re-Preamp” any previously recorded track using your interface and a desired pre-amp. To do this, simply connect a channel output of the interface to the input of the RNDI and connect the RNDI’s output to the preamp and engage 48V. By “Re-Preamping” you can apply the tone of another preamp to the source and more accurately automate or control the drive level on the preamp.\n<br /><br />\nIn speaker mode, the RNDI can handle the screaming output of a 1000-watt power amplifier (92 Vrms or 266Vp-p) to capture the full tone of the instrument, preamplifier, EQ, inserts, and the amplifier’s output stages before it hits the speakers. This technique allows the engineer to avoid any bleed in a live environment and any unwanted tone added by the speaker cabinet or microphone. When used with modern speaker emulation plug-ins, this technique allows the engineer to take advantage of the flexibility of digital modeling, and the superior non-linear response of an actual analogue amplifier.<br /><br />\n<h3>Speaker and Instrument Mode User Notes</h3>\nIn a speaker feed configuration, the DI is used post-power amplifier to capture the tone of the preamp and power amp. Be sure to switch the RNDI input level to speaker and connect the amplifier and speaker BEFORE turning the amplifier on.\n<br /><br />\nNote: with tube power amps, THE SPEAKER MUST BE CONNECTED to the THRU connection to provide a load for the amplifier. Please read your amplifier’s manual to discern its range of acceptable loads. Solid state amps can generally be run without a speaker connected, although you should always consult your amplifier’s manual to be sure. The RNDI can handle the full amplified output of a 1000W amp, so you can confidently drive the output stages of any amp less than 1000W to get your desired tone.<br /><br />\nIn an instrument configuration, the DI converts the impedance of the instrument signal, balances the signal (if unbalanced), provides a buffered output stage to send to a separate mic preamp, and optionally sends the THRU connection to the amp input. To get the best performance out of your RNDI, we recommend you use the best available cables and mic preamps, and output the maximum level from your instrument. The instrument connects to the IN jack, and if you want to feed an amplifier, connect the THRU output to your amplifier’s input. The output of the RNDI in both instrument and speaker mode feeds a separate preamp for final gain.<br /><br />'),(9524,75,1,1588,'<h1>Rupert Neve Designs RNDI Active Transformer DI</h1>\nThe Rupert Neve RNDI is a new direct interface that conveys the undiminished tone and vitality of the source instrument while balancing and isolating the original signal. The RNDI delivers a powerful and vibrant direct sound capable of reproducing the full harmonic depth of basses, guitars, acoustic instruments, and professional line level sources. With portable, powerful, larger-than-life tone for your instrument signals and amplifier signals, the RNDI is truly the first standalone DI worthy of the Rupert Neve name.\n<br /><br />\n<h3>Rupert Neve RNDI Features:</h3>\n<strong>Groundbreaking Direct Tone</strong><br />\nWhen class-A, discrete amplifiers meet Rupert\'s custom transformers, good things happen to your tone. The RNDI is imbued with the unique components and design knowledge that makes it worthy of the Rupert Neve name<br /><br />\n<strong>Huge Headroom</strong><br />\nThe high input headroom of +21.5dBU is capable of handling professional, line level sources without a pad - and in speaker mode, the RNDI can handle the full output of a 1000-watt power amplifier (92 Vrms or 266Vp-p).<br /><br />\n<strong>Rugged Solid-Steel Frame</strong><br />\nThe rugged steel chassis features an industrial-grade powder coating, and is built to withstand the severe stresses of life on the road<br /><br />\n<strong>Takes All Kinds</strong><br />\nThe RNDI has immensely consistent performance across a wide variety of sources due to its 2M Ohm discrete FET input and high headroom. You can confidently use the RNDI with basses, guitars, acoustic instruments, keyboards, and even professional line level devices. In instrument mode, you can even connect a professional line level interface output to \"Re-Preamp\" a previously recorded source<br /><br />\n<strong>Drive Longer Lines</strong><br />\nThe low impedance transformer coupled output - below 50 ohms - is capable of driving long lines with unrivaled high frequency performance<br /><br />\n<strong>1/4\" THRU Output</strong><br />\nIn instrument mode the THRU output can feed the amplifier input for reinforcement. In speaker mode, the THRU is used to feed the amplified signal to the speaker<br /><br />\n<strong>Best in Class Phase Coherence</strong><br />\nPhase coherence is excellent at all frequencies, which keeps the sound well-balanced and natural, and is especially vital when blending the direct signal with a microphone capture of the same source<br /><br />\n<strong>Ground Lift</strong><br />\nA ground lift switch is provided on the back to help fix any problematic grounding.<br /><br />\n<strong>Phantom Powered</strong><br />\nThe RNDI is powered by standard 48V phantom power. Power is indicated by a blue LED on the front panel<br /><br />\n<h3>The Development</h3>\nAfter coming into existence during an experimentation with new transformer designs, the RNDI was fine-tuned over a series of listening tests against the the most popular high-end DIs available. It was in these tests where the RNDI always seemed to add another dimension to the sound and bring the instruments to life. The lows felt richer, deeper and fuller, and the highs had outstanding clarity without any added harshness.<br /><br />\n<h3>The Elements of Direct Tone</h3>\nThe RNDI’s signature sound is the product both of new custom Rupert Neve-designed transformers and class-A biased, discrete FET amplifiers. The carefully orchestrated union of these two elements is key to the RNDI’s unique response.\n<br /><br />\nThe transformers provide superior passive isolation while adding musical harmonics and dimension to the sound. The low impedance, transformer balanced output excels at driving long cable runs, and performance is immensely consistent regardless of the connected equipment. This is very important for both live and studio environments where the unamplified signal may travel almost 100ft before hitting an amplifier. In other designs, these high capacitance lines cause major reductions in high frequencies, however the output stage of the RNDI unrivaled at handling long runs with minimal losses.<br /><br />\nThe class-A and discrete FET amplifier in the RNDI is powered by industry-standard 48V phantom power on the XLR connection, and creates a very high impedance input of 2M Ohms that ensures consistent performance with a wide variety of instruments. The significance of the RNDI’s class-A design is that there is no crossover distortion added to the signal, which can add upper order odd harmonics to the sound that are musically dissonant in nature. With the RNDI, the overwhelming majority of harmonic content is 2nd order (ocatve) with some 3rd order present (fifth above octave). These musically relevant harmonics – present in subtle amounts – actually add to the richness of the original signal. The discrete aspect of the RNDI design means there are no ICs or digital components that can have negative effects on the tone.<br /><br />\nThese efforts to harmonize the performance of the transformer and the FET amplifier have resulted in the RNDI’s extremely well balanced response. The low end tonality is thick and powerful, with frequency response several octaves below audibility. The high end is clear, present, and smooth, with a frequency response extending beyond 100kHz. The phase coherence is unrivaled at all frequencies, which keeps the sound as natural as possible – especially vital when blending the direct signal with a microphone capture of the same source. Simply put, there is no DI ever made that performs like the RNDI.<br /><br />\n<h3>Game-Changing Headroom</h3>\nIn instrument mode, the RNDI’s high input headroom of +21.5dBU is capable of handling not only instruments, but professional, line level sources like interfaces, CD players and drum machines without a pad. This allows the RNDI to serve as a way to “Re-Preamp” any previously recorded track using your interface and a desired pre-amp. To do this, simply connect a channel output of the interface to the input of the RNDI and connect the RNDI’s output to the preamp and engage 48V. By “Re-Preamping” you can apply the tone of another preamp to the source and more accurately automate or control the drive level on the preamp.\n<br /><br />\nIn speaker mode, the RNDI can handle the screaming output of a 1000-watt power amplifier (92 Vrms or 266Vp-p) to capture the full tone of the instrument, preamplifier, EQ, inserts, and the amplifier’s output stages before it hits the speakers. This technique allows the engineer to avoid any bleed in a live environment and any unwanted tone added by the speaker cabinet or microphone. When used with modern speaker emulation plug-ins, this technique allows the engineer to take advantage of the flexibility of digital modeling, and the superior non-linear response of an actual analogue amplifier.<br /><br />\n<h3>Speaker and Instrument Mode User Notes</h3>\nIn a speaker feed configuration, the DI is used post-power amplifier to capture the tone of the preamp and power amp. Be sure to switch the RNDI input level to speaker and connect the amplifier and speaker BEFORE turning the amplifier on.\n<br /><br />\nNote: with tube power amps, THE SPEAKER MUST BE CONNECTED to the THRU connection to provide a load for the amplifier. Please read your amplifier’s manual to discern its range of acceptable loads. Solid state amps can generally be run without a speaker connected, although you should always consult your amplifier’s manual to be sure. The RNDI can handle the full amplified output of a 1000W amp, so you can confidently drive the output stages of any amp less than 1000W to get your desired tone.<br /><br />\nIn an instrument configuration, the DI converts the impedance of the instrument signal, balances the signal (if unbalanced), provides a buffered output stage to send to a separate mic preamp, and optionally sends the THRU connection to the amp input. To get the best performance out of your RNDI, we recommend you use the best available cables and mic preamps, and output the maximum level from your instrument. The instrument connects to the IN jack, and if you want to feed an amplifier, connect the THRU output to your amplifier’s input. The output of the RNDI in both instrument and speaker mode feeds a separate preamp for final gain.<br /><br />'),(9525,85,0,1588,'Rupert Neve Designs RNDI Active Transformer Direct Interface'),(9526,85,1,1588,'Rupert Neve Designs RNDI Active Transformer Direct Interface'),(9527,76,0,1588,''),(9528,76,1,1588,''),(9529,75,0,1589,'<h1>Rupert Neve Designs RNDI-S Stereo Active Transformer DI</h1><i>\nAn expanded two-channel version of Rupert Neve Designs\' best-selling RNDI, providing massive tone & headroom for all of your instruments & stereo sources.</i><br /><br />The Rupert Neve RNDI-S is a stereo direct interface with a signature sound that is the product of custom Rupert Neve Designs transformers and class-A biased, discrete FET amplifiers. The carefully orchestrated union of these two elements is key to the unique response of the RNDI-S, delivering a powerful and vibrant direct sound capable of reproducing the full harmonic depth of basses, guitars, keyboards, acoustic instruments, professional line-level sources and consumer devices with a 3.5mm jack. With portable, powerful, larger-than-life tone, the RNDI-S is ready to make your stereo or mono direct sources shine.<br /><br /><br />\n<h3>Rupert Neve RNDI-S Features:</h3><ul><li>Custom Rupert Neve Designs transformers for rich, powerful tone</li><li>Exceptional performance with any instrument</li><li>Unrivaled clarity from discrete FET amplifiers</li><li>Drives long lines with minimal loss</li><li>Rugged steel frame built for life on the road</li><li>Powered by dual 48V phantom power</li><li>Excellent phase coherence at all frequencies</li></ul><br />\n<strong>Groundbreaking Direct Tone</strong><br />\nWhen class-A, discrete amplifiers meet Rupert\'s custom transformers, good things happen to your tone. The RNDI is imbued with the unique components and design knowledge that makes it worthy of the Rupert Neve name<br /><br />\n<strong>Huge Headroom</strong><br />\nThe high input headroom of +21.5dBU is capable of handling professional, line level sources without a pad - and in speaker mode, the RNDI can handle the full output of a 1000-watt power amplifier (92 Vrms or 266Vp-p).<br /><br />\n<strong>Rugged Solid-Steel Frame</strong><br />\nThe rugged steel chassis features an industrial-grade powder coating, and is built to withstand the severe stresses of life on the road<br /><br />\n<strong>Takes All Kinds</strong><br />\nThe RNDI has immensely consistent performance across a wide variety of sources due to its 2M Ohm discrete FET input and high headroom. You can confidently use the RNDI with basses, guitars, acoustic instruments, keyboards, and even professional line level devices. In instrument mode, you can even connect a professional line level interface output to \"Re-Preamp\" a previously recorded source<br /><br />\n<strong>Drive Longer Lines</strong><br />\nThe low impedance transformer coupled output - below 50 ohms - is capable of driving long lines with unrivaled high frequency performance<br /><br />\n<strong>1/4\" THRU Output</strong><br />\nIn instrument mode the THRU output can feed the amplifier input for reinforcement. In speaker mode, the THRU is used to feed the amplified signal to the speaker<br /><br />\n<strong>Best in Class Phase Coherence</strong><br />\nPhase coherence is excellent at all frequencies, which keeps the sound well-balanced and natural, and is especially vital when blending the direct signal with a microphone capture of the same source<br /><br />\n<strong>Ground Lift</strong><br />\nA ground lift switch is provided on the back to help fix any problematic grounding.<br /><br />\n<strong>Phantom Powered</strong><br />\nThe RNDI-S is powered by dual 48V phantom power. Power is indicated by a blue LED on the front panel<br />'),(9530,75,1,1589,'<h1>Rupert Neve Designs RNDI-S Stereo Active Transformer DI</h1><i>\nAn expanded two-channel version of Rupert Neve Designs\' best-selling RNDI, providing massive tone & headroom for all of your instruments & stereo sources.</i><br /><br />The Rupert Neve RNDI-S is a stereo direct interface with a signature sound that is the product of custom Rupert Neve Designs transformers and class-A biased, discrete FET amplifiers. The carefully orchestrated union of these two elements is key to the unique response of the RNDI-S, delivering a powerful and vibrant direct sound capable of reproducing the full harmonic depth of basses, guitars, keyboards, acoustic instruments, professional line-level sources and consumer devices with a 3.5mm jack. With portable, powerful, larger-than-life tone, the RNDI-S is ready to make your stereo or mono direct sources shine.<br /><br /><br />\n<h3>Rupert Neve RNDI-S Features:</h3><ul><li>Custom Rupert Neve Designs transformers for rich, powerful tone</li><li>Exceptional performance with any instrument</li><li>Unrivaled clarity from discrete FET amplifiers</li><li>Drives long lines with minimal loss</li><li>Rugged steel frame built for life on the road</li><li>Powered by dual 48V phantom power</li><li>Excellent phase coherence at all frequencies</li></ul><br />\n<strong>Groundbreaking Direct Tone</strong><br />\nWhen class-A, discrete amplifiers meet Rupert\'s custom transformers, good things happen to your tone. The RNDI is imbued with the unique components and design knowledge that makes it worthy of the Rupert Neve name<br /><br />\n<strong>Huge Headroom</strong><br />\nThe high input headroom of +21.5dBU is capable of handling professional, line level sources without a pad - and in speaker mode, the RNDI can handle the full output of a 1000-watt power amplifier (92 Vrms or 266Vp-p).<br /><br />\n<strong>Rugged Solid-Steel Frame</strong><br />\nThe rugged steel chassis features an industrial-grade powder coating, and is built to withstand the severe stresses of life on the road<br /><br />\n<strong>Takes All Kinds</strong><br />\nThe RNDI has immensely consistent performance across a wide variety of sources due to its 2M Ohm discrete FET input and high headroom. You can confidently use the RNDI with basses, guitars, acoustic instruments, keyboards, and even professional line level devices. In instrument mode, you can even connect a professional line level interface output to \"Re-Preamp\" a previously recorded source<br /><br />\n<strong>Drive Longer Lines</strong><br />\nThe low impedance transformer coupled output - below 50 ohms - is capable of driving long lines with unrivaled high frequency performance<br /><br />\n<strong>1/4\" THRU Output</strong><br />\nIn instrument mode the THRU output can feed the amplifier input for reinforcement. In speaker mode, the THRU is used to feed the amplified signal to the speaker<br /><br />\n<strong>Best in Class Phase Coherence</strong><br />\nPhase coherence is excellent at all frequencies, which keeps the sound well-balanced and natural, and is especially vital when blending the direct signal with a microphone capture of the same source<br /><br />\n<strong>Ground Lift</strong><br />\nA ground lift switch is provided on the back to help fix any problematic grounding.<br /><br />\n<strong>Phantom Powered</strong><br />\nThe RNDI-S is powered by dual 48V phantom power. Power is indicated by a blue LED on the front panel<br />'),(9531,85,0,1589,'Rupert Neve Designs RNDI-S Stereo Active Transformer DI'),(9532,85,1,1589,'Rupert Neve Designs RNDI-S Stereo Active Transformer DI'),(9533,76,0,1589,''),(9534,76,1,1589,''),(9535,75,0,1590,'<h1>Rupert Neve RMP-D8 8-Channel Remote Control Dante Mic Pre</h1>\n<i>8-channel remote mic preamp with mastering-grade 24-bit 192 kHz converters and full Dante integration</i><br /><br />Rupert Neve\'s RMP-D8 is an eight channel, remote controllable mic-pre with mastering-grade 24-bit 192 Khz converters and full Dante integration. The RMP-D8 offers the live sound world something that studios have always coveted: the sound of Rupert Neve Designs. For the last decade, the world’s leading live sound engineers have \nchosen Rupert Neve Designs as some of the only analog equipment to \naccompany their digital touring rigs.\n<br /><br />\n<h3>Neve RMP-D8 Features:</h3>\n<ul style=\"\">\n	<li>8 mic / line inputs with 48V phantom power, polarity reverse, input pad & high-pass filter controls</li>\n	<li>1dB-stepped class-A mic preamplifiers with 60dB gain and remote control capability</li>\n	<li>Custom Rupert Neve Designs transformers for the larger-than-life tone of Rupert’s classic modules</li>\n	<li>24-bit / 192kHz Mastering-Grade Converters with precision-controlled internal clocking and enhanced jitter reduction</li>\n	<li>Ultra-reliable, redundant power supplies capable of operating anywhere in the world</li>\n	<li>Dante integration with redundant network ports for reliability</li>\n	<li>Gain-compensated secondary output</li>\n	<li>4 dual-channel AES outputs on XLR connectors</li>\n	<li>Large OLED display with full local control,· accurate and easy-to-read meters</li>\n	<li>Compatible with Dante Virtual Soundcard and Dante Via for direct computer integration</li>\n	<li>Reinforced steel chassis for enhanced RF shielding and rugged touring use in challenging environments</li>\n</ul>\n<br /><br />\n<h3>Classic Rupert Neve Tone</h3>\nThe heart of the RMP-D8 lies in the modular mic preamp cards featuring Mr. Rupert Neve’s custom transformer designs. Unlike other integrated Dante mic preamp designs that rely primarily on a single IC for gain & tone, each channel on the RMP-D8 has a fully-realized class-A microphone preamplifier feeding a custom transformer, maintaining the high standards of Rupert Neve Designs’ standalone preamplifiers.\n<br /><br />\n<h3>Mastering-Grade Conversion</h3>\nWhere converters are often an afterthought on combination devices, the 24-bit/192kHz converters in the RMP-D8 are a product of years of careful listening. The precision­ controlled internal clocking and enhanced jitter reduction enable capture of the full breadth of performance from the exceptional mic preamplifiers; with the RMP-D8, there is no weak link in the audio path.\n<br /><br />\n<h3>The New Dante Standard</h3>\nDante audio networking uses standard IP networks to transmit high-quality, uncompressed audio with near-zero latency. It’s the most flexible, reliable, and easy-to-manage audio networking solution available, and provides the lowest cost of ownership by dramatically reducing cabling and labor costs. Dante is the audio networking choice of nearly all professional audio manufacturers, making it the industry standard for digital audio networking.\n<br /><br />\nThe RMP-D8’s audio signal will work with any Dante device across settings ranging from concert halls to arenas, clubs, studios, houses of worship, and educational facilities.All in all, the RMP-D8 brings the classic sound of Rupert Neve Designs into the Dante-connected world.<br /><br />'),(9536,75,1,1590,'<h1>Rupert Neve RMP-D8 8-Channel Remote Control Dante Mic Pre</h1>\n<i>8-channel remote mic preamp with mastering-grade 24-bit 192 kHz converters and full Dante integration</i><br /><br />Rupert Neve\'s RMP-D8 is an eight channel, remote controllable mic-pre with mastering-grade 24-bit 192 Khz converters and full Dante integration. The RMP-D8 offers the live sound world something that studios have always coveted: the sound of Rupert Neve Designs. For the last decade, the world’s leading live sound engineers have \nchosen Rupert Neve Designs as some of the only analog equipment to \naccompany their digital touring rigs.\n<br /><br />\n<h3>Neve RMP-D8 Features:</h3>\n<ul style=\"\">\n	<li>8 mic / line inputs with 48V phantom power, polarity reverse, input pad & high-pass filter controls</li>\n	<li>1dB-stepped class-A mic preamplifiers with 60dB gain and remote control capability</li>\n	<li>Custom Rupert Neve Designs transformers for the larger-than-life tone of Rupert’s classic modules</li>\n	<li>24-bit / 192kHz Mastering-Grade Converters with precision-controlled internal clocking and enhanced jitter reduction</li>\n	<li>Ultra-reliable, redundant power supplies capable of operating anywhere in the world</li>\n	<li>Dante integration with redundant network ports for reliability</li>\n	<li>Gain-compensated secondary output</li>\n	<li>4 dual-channel AES outputs on XLR connectors</li>\n	<li>Large OLED display with full local control,· accurate and easy-to-read meters</li>\n	<li>Compatible with Dante Virtual Soundcard and Dante Via for direct computer integration</li>\n	<li>Reinforced steel chassis for enhanced RF shielding and rugged touring use in challenging environments</li>\n</ul>\n<br /><br />\n<h3>Classic Rupert Neve Tone</h3>\nThe heart of the RMP-D8 lies in the modular mic preamp cards featuring Mr. Rupert Neve’s custom transformer designs. Unlike other integrated Dante mic preamp designs that rely primarily on a single IC for gain & tone, each channel on the RMP-D8 has a fully-realized class-A microphone preamplifier feeding a custom transformer, maintaining the high standards of Rupert Neve Designs’ standalone preamplifiers.\n<br /><br />\n<h3>Mastering-Grade Conversion</h3>\nWhere converters are often an afterthought on combination devices, the 24-bit/192kHz converters in the RMP-D8 are a product of years of careful listening. The precision­ controlled internal clocking and enhanced jitter reduction enable capture of the full breadth of performance from the exceptional mic preamplifiers; with the RMP-D8, there is no weak link in the audio path.\n<br /><br />\n<h3>The New Dante Standard</h3>\nDante audio networking uses standard IP networks to transmit high-quality, uncompressed audio with near-zero latency. It’s the most flexible, reliable, and easy-to-manage audio networking solution available, and provides the lowest cost of ownership by dramatically reducing cabling and labor costs. Dante is the audio networking choice of nearly all professional audio manufacturers, making it the industry standard for digital audio networking.\n<br /><br />\nThe RMP-D8’s audio signal will work with any Dante device across settings ranging from concert halls to arenas, clubs, studios, houses of worship, and educational facilities.All in all, the RMP-D8 brings the classic sound of Rupert Neve Designs into the Dante-connected world.<br /><br />'),(9537,85,0,1590,''),(9538,85,1,1590,''),(9539,76,0,1590,''),(9540,76,1,1590,''),(9541,75,0,1591,'<h1>Royer Labs RSM-SS1 Sling-Shock Microphone Shock Mount</h1>\nThe Royer RSM-SS1 Sling-Shock™ is a revolutionary departure from traditional shock mount designs. The Sling-Shock is hand-built in Burbank, CA facility using only the finest materials. Royer done away with the rubberized parts and elastic cords, producing a durable shock mount that gives superior isolation from vibrations.\n<br/><br/>\nThe proprietary system of non-resonant nylon cable and damped steel springs acts to isolate the microphone from vibrations induced from the microphone stand. These vibrations can appear as rumble and/or low-grade noises which create disturbances across the bandwidth, from low end thumps to harmonic disturbances at different frequencies. The Sling-Shock\'s superior vibration-reduction capabilities and lack of self-resonance allow engineers to capture performances free of vibration-related interference across the bandwidth.<br/><br/>\nThe Sling-Shock RSM-SS1 is sized to fit Royer\'s 1-inch diameter R-121, R-122, R-122V, SF-1 and SF-12 ribbon microphones. Any cylindrical microphone measuring approximately one inch in diameter (+/- 1/8 inch) will work with the model RSM-SS1. The RSM-SS24 accommodates Royer SF-2, SF-24 and SF-24V microphones.<br/><br/>\n<h3>RSM-SS1 Sling Shock Features:</h3>\n<ul>\n	<li>Superior isolation from vibration and shocks                  </li>\n	<li>Felt-lined, scratch-free microphone chamber holds mic securely</li>\n	<li>No rubberized parts to degrade or stretch                     </li>\n	<li>Flexible for easy microphone positioning                      </li>\n	<li>Lifetime warranty                                             </li>\n</ul>\n<br/>\n<h3>Microphone Cable Clip</h3>\nLow-level vibrations can be transferred through the mic cable and into the microphone. Incorporated into the sling-shock\'s design is a microphone cable clip. This feature is highly effective at further reducing vibrations from being coupled to the microphone through the microphone\'s cable.'),(9542,75,1,1591,'<h1>Royer Labs RSM-SS1 Sling-Shock Microphone Shock Mount</h1>\nThe Royer RSM-SS1 Sling-Shock™ is a revolutionary departure from traditional shock mount designs. The Sling-Shock is hand-built in Burbank, CA facility using only the finest materials. Royer done away with the rubberized parts and elastic cords, producing a durable shock mount that gives superior isolation from vibrations.\n<br/><br/>\nThe proprietary system of non-resonant nylon cable and damped steel springs acts to isolate the microphone from vibrations induced from the microphone stand. These vibrations can appear as rumble and/or low-grade noises which create disturbances across the bandwidth, from low end thumps to harmonic disturbances at different frequencies. The Sling-Shock\'s superior vibration-reduction capabilities and lack of self-resonance allow engineers to capture performances free of vibration-related interference across the bandwidth.<br/><br/>\nThe Sling-Shock RSM-SS1 is sized to fit Royer\'s 1-inch diameter R-121, R-122, R-122V, SF-1 and SF-12 ribbon microphones. Any cylindrical microphone measuring approximately one inch in diameter (+/- 1/8 inch) will work with the model RSM-SS1. The RSM-SS24 accommodates Royer SF-2, SF-24 and SF-24V microphones.<br/><br/>\n<h3>RSM-SS1 Sling Shock Features:</h3>\n<ul>\n	<li>Superior isolation from vibration and shocks                  </li>\n	<li>Felt-lined, scratch-free microphone chamber holds mic securely</li>\n	<li>No rubberized parts to degrade or stretch                     </li>\n	<li>Flexible for easy microphone positioning                      </li>\n	<li>Lifetime warranty                                             </li>\n</ul>\n<br/>\n<h3>Microphone Cable Clip</h3>\nLow-level vibrations can be transferred through the mic cable and into the microphone. Incorporated into the sling-shock\'s design is a microphone cable clip. This feature is highly effective at further reducing vibrations from being coupled to the microphone through the microphone\'s cable.'),(9543,85,0,1591,'Royer, RSM-SS1, microphone, shock-mount, shock mount, ribbon mic'),(9544,85,1,1591,'Royer, RSM-SS1, microphone, shock-mount, shock mount, ribbon mic'),(9545,76,0,1591,''),(9546,76,1,1591,''),(9547,75,0,1592,'<h2>Sound Anchors ADJ1 Adjustable Monitor Stands (Pair)</h2>\n\nSound Anchor ADJ1 Stands make proper speaker placement possible. When monitors are positioned properly on rigid stable platforms they work better period. The entire sound field will have more clarity, tones will be more accurate, dynamic contrasts will be greater and subtle anomalies in the mix will become more apparent. The common solutions to placement (shelves and wall mounts) are not good solutions. They do not isolate your monitors from your electronics, your monitors from each other or your monitors from the structure. Along with these three drawbacks they seldom position your monitors exactly where they need to be for best sound. <br /><br />\n\nThe Sound Anchors ADJ1 stands are designed to allow the engineer to correctly place a pair of monitors behind his console for best sound. These stands allow height and tilt adjustment of the monitors. The 14\" x 17\" bases and the uprights are filled and damped from the factory. ADJ1 stands offer a very solid and stable support for your speakers. The speaker platform is made of 1/4\" thick aluminum which reduces the amount of energy that gets transferred into the stand. Sound Anchor ADJ1 stands isolate the speakers from the console, each other and the floor which gives you a cleaner, more detailed and more accurate sound.<br /><br />\n\nSound Anchor ADJ1 stands are ideal for:\n<ul>\n<li>Music control rooms.                      </li>\n<li>Surround sound monitoring.                </li>\n<li>CD mastering.                             </li>\n<li>Radio and television broadcasting studios.</li>\n<li>Film post production.                     </li>\n<li>Video game production.                    </li>\n<li>Online audio production.                  </li>\n</ul><br />\n\nHeights: The ADJ1 is available with 44\" or 56\" uprights as standards. Special heights are available as options.<br /><br />\n\n\nSpeaker Platform Sizes: 10\" X 14\" (default size) 10\" X 12\" optional or custom sized which are available as a cost + option.<br /><br />\n\n<h3>About Sound Anchors</h3>\nSound Anchor Speaker Stands are hand crafted in the USA. They are made of large section square steel tubing and aluminum plate. Sound Anchor stands have a welded construction which makes them strong, rigid and stable. They are spiked at the floor to anchor your monitors in space. Special sorbothane pads are provided for use between the speaker and stand. Sound Anchors Adjustable Monitor Stands are pre-filled using Sound Anchor\'s proprietary methods and materials to eliminate resonance and add mass. These features give Sound Anchors the highest level of professional performance and Sound Anchor Adjustable Stands are found in many of the the world\'s leading studios. Sound Anchor ADJ1 Monitor Stands are cost effective tools for your high performance recording studio.'),(9548,75,1,1592,'<h2>Sound Anchors ADJ1 Adjustable Monitor Stands (Pair)</h2>\n\nSound Anchor ADJ1 Stands make proper speaker placement possible. When monitors are positioned properly on rigid stable platforms they work better period. The entire sound field will have more clarity, tones will be more accurate, dynamic contrasts will be greater and subtle anomalies in the mix will become more apparent. The common solutions to placement (shelves and wall mounts) are not good solutions. They do not isolate your monitors from your electronics, your monitors from each other or your monitors from the structure. Along with these three drawbacks they seldom position your monitors exactly where they need to be for best sound. <br /><br />\n\nThe Sound Anchors ADJ1 stands are designed to allow the engineer to correctly place a pair of monitors behind his console for best sound. These stands allow height and tilt adjustment of the monitors. The 14\" x 17\" bases and the uprights are filled and damped from the factory. ADJ1 stands offer a very solid and stable support for your speakers. The speaker platform is made of 1/4\" thick aluminum which reduces the amount of energy that gets transferred into the stand. Sound Anchor ADJ1 stands isolate the speakers from the console, each other and the floor which gives you a cleaner, more detailed and more accurate sound.<br /><br />\n\nSound Anchor ADJ1 stands are ideal for:\n<ul>\n<li>Music control rooms.                      </li>\n<li>Surround sound monitoring.                </li>\n<li>CD mastering.                             </li>\n<li>Radio and television broadcasting studios.</li>\n<li>Film post production.                     </li>\n<li>Video game production.                    </li>\n<li>Online audio production.                  </li>\n</ul><br />\n\nHeights: The ADJ1 is available with 44\" or 56\" uprights as standards. Special heights are available as options.<br /><br />\n\n\nSpeaker Platform Sizes: 10\" X 14\" (default size) 10\" X 12\" optional or custom sized which are available as a cost + option.<br /><br />\n\n<h3>About Sound Anchors</h3>\nSound Anchor Speaker Stands are hand crafted in the USA. They are made of large section square steel tubing and aluminum plate. Sound Anchor stands have a welded construction which makes them strong, rigid and stable. They are spiked at the floor to anchor your monitors in space. Special sorbothane pads are provided for use between the speaker and stand. Sound Anchors Adjustable Monitor Stands are pre-filled using Sound Anchor\'s proprietary methods and materials to eliminate resonance and add mass. These features give Sound Anchors the highest level of professional performance and Sound Anchor Adjustable Stands are found in many of the the world\'s leading studios. Sound Anchor ADJ1 Monitor Stands are cost effective tools for your high performance recording studio.'),(9549,85,0,1592,'Sound Anchors ADJ1 Adjustable Monitor Stands'),(9550,85,1,1592,'Sound Anchors ADJ1 Adjustable Monitor Stands'),(9551,76,0,1592,''),(9552,76,1,1592,''),(9553,75,0,1593,'<h2>Sound Anchors ADJ2 Adjustable Monitor Stands (Pair)</h2>\nSound Anchor ADJ2 Stands are designed to make proper speaker placement possible. When monitors are positioned properly on rigid stable platforms they work better and the sound is enhanced. The entire sound field has more clarity, tones are more accurate, dynamic contrasts are greater and subtle anomalies in the mix are more apparent. The ADJ1 is great for most speakers but for any application where the speaker is too large for the ADJ1 stand but is not quite large enough to require the Sound Anchor ADMID stand, the ADJ2 is the best stand. The ADJ2 is ideally suited to the new breed of midsized super monitors that have recently become popular in studios. <br /><br />\n\nThe ADJ2 stand features the same exact look as the ADJ1. The main difference between them is the dimensions of the base. The base of the ADJ2 stand is 17\" X 23\". This stand works best for speakers that have a width no wider than 24 inches and a depth no greater than 18 inches. Smaller speakers will also work on the ADJ2s. The common solutions for speaker support (shelves, flimsy wall mounts and meter bridges) are not good solutions. They do not isolate your monitors from your electronics, your monitors from each other or your monitors from the structure. Along with these three drawbacks they seldom position your monitors exactly where they need to be for best sound. Sound Anchor stands address and eliminate these three drawbacks.<br /><br />\n\nThe Sound Anchors ADJ2 stands allow the engineer to correctly place a pair of monitors behind his console. These stands allow height and tilt adjustment of the monitors. The 14\" x 17\" base and the upright are filled and damped from the factory. ADJ2 stands offer a very solid, stable and non-resonant support for your speakers. The speaker platform is made of 1/4\" aluminum which reduces the amount of energy that gets transferred into the stand. The Sound Anchor ADJ2 stands isolate the speakers from the console, each other and the floor which gives you a cleaner, more detailed and more accurate sound.<br /><br />\nSound Anchor ADJ2 stands are ideal for:\n<ul>\n	<li>Music control rooms.                      </li>\n	<li>Surround sound monitoring.                </li>\n	<li>CD mastering.                             </li>\n	<li>Radio and television broadcasting studios.</li>\n	<li>Film post production.                     </li>\n	<li>Video game production.                    </li>\n	<li>Online audio production.                  </li>\n</ul>\n<br /><div>Heights: The ADJ2 is available with 44\" or 56\" uprights as standards. Special heights are available as options.</div><div>Speaker Platform Sizes: 12\" X 16\" (default size) or any ADJ1 size. Custom sized platforms are available as a cost + option.</div><br />\n<h3>About Sound Anchors</h3>\nSound Anchor Speaker Stands are hand crafted in the USA. They are made of large section square steel tubing and aluminum plate. Sound Anchor stands have a welded construction which makes them strong, rigid and stable. They are spiked at the floor to anchor your monitors in space. Special sorbothane pads are provided for use between the speaker and stand. Sound Anchors Adjustable Monitor Stands are pre-filled using Sound Anchor\'s proprietary methods and materials to eliminate resonance and add mass. These features give Sound Anchors the highest level of professional performance and Sound Anchor Adjustable Stands are found in many of the the world\'s leading studios. Sound Anchor ADJ1 Monitor Stands are cost effective tools for your high performance recording studio.'),(9554,75,1,1593,'<h2>Sound Anchors ADJ2 Adjustable Monitor Stands (Pair)</h2>\nSound Anchor ADJ2 Stands are designed to make proper speaker placement possible. When monitors are positioned properly on rigid stable platforms they work better and the sound is enhanced. The entire sound field has more clarity, tones are more accurate, dynamic contrasts are greater and subtle anomalies in the mix are more apparent. The ADJ1 is great for most speakers but for any application where the speaker is too large for the ADJ1 stand but is not quite large enough to require the Sound Anchor ADMID stand, the ADJ2 is the best stand. The ADJ2 is ideally suited to the new breed of midsized super monitors that have recently become popular in studios. <br /><br />\n\nThe ADJ2 stand features the same exact look as the ADJ1. The main difference between them is the dimensions of the base. The base of the ADJ2 stand is 17\" X 23\". This stand works best for speakers that have a width no wider than 24 inches and a depth no greater than 18 inches. Smaller speakers will also work on the ADJ2s. The common solutions for speaker support (shelves, flimsy wall mounts and meter bridges) are not good solutions. They do not isolate your monitors from your electronics, your monitors from each other or your monitors from the structure. Along with these three drawbacks they seldom position your monitors exactly where they need to be for best sound. Sound Anchor stands address and eliminate these three drawbacks.<br /><br />\n\nThe Sound Anchors ADJ2 stands allow the engineer to correctly place a pair of monitors behind his console. These stands allow height and tilt adjustment of the monitors. The 14\" x 17\" base and the upright are filled and damped from the factory. ADJ2 stands offer a very solid, stable and non-resonant support for your speakers. The speaker platform is made of 1/4\" aluminum which reduces the amount of energy that gets transferred into the stand. The Sound Anchor ADJ2 stands isolate the speakers from the console, each other and the floor which gives you a cleaner, more detailed and more accurate sound.<br /><br />\nSound Anchor ADJ2 stands are ideal for:\n<ul>\n	<li>Music control rooms.                      </li>\n	<li>Surround sound monitoring.                </li>\n	<li>CD mastering.                             </li>\n	<li>Radio and television broadcasting studios.</li>\n	<li>Film post production.                     </li>\n	<li>Video game production.                    </li>\n	<li>Online audio production.                  </li>\n</ul>\n<br /><div>Heights: The ADJ2 is available with 44\" or 56\" uprights as standards. Special heights are available as options.</div><div>Speaker Platform Sizes: 12\" X 16\" (default size) or any ADJ1 size. Custom sized platforms are available as a cost + option.</div><br />\n<h3>About Sound Anchors</h3>\nSound Anchor Speaker Stands are hand crafted in the USA. They are made of large section square steel tubing and aluminum plate. Sound Anchor stands have a welded construction which makes them strong, rigid and stable. They are spiked at the floor to anchor your monitors in space. Special sorbothane pads are provided for use between the speaker and stand. Sound Anchors Adjustable Monitor Stands are pre-filled using Sound Anchor\'s proprietary methods and materials to eliminate resonance and add mass. These features give Sound Anchors the highest level of professional performance and Sound Anchor Adjustable Stands are found in many of the the world\'s leading studios. Sound Anchor ADJ1 Monitor Stands are cost effective tools for your high performance recording studio.'),(9555,85,0,1593,'Sound Anchors ADJ2 Adjustable Monitor Stands'),(9556,85,1,1593,'Sound Anchors ADJ2 Adjustable Monitor Stands'),(9557,76,0,1593,''),(9558,76,1,1593,''),(9559,75,0,1594,'<h2>Sound Anchors ADJ3 Adjustable Monitor Stands (Pair)</h2>\nSound Anchor ADJ3 stands are designed to allow the engineer to correctly place two pairs of monitors behind his console. These stands allow independent height and tilt adjustment of both monitors. The ADJ3 stand is based on our proven ADJ1 stands and offers all of the performance benefits of them. The symmetrical 23\" x 17\" bases and the uprights are filled and damped from the factory. This makes the ADJ3 a very solid and stable support for your speakers. The speaker platforms are made of 1/4\" aluminum which reduces the amount of energy that gets transferred into the stand. The Sound Anchor ADJ3 stands isolate the speakers from the console, each other and the floor which gives you a cleaner, more detailed and more accurate sound.<br /><br />\n\nAll small monitors do not possess the same sound characteristics. For this reason there are many applications where a studio would like to put more than one pair of small monitors behind the console. Ideally each speaker would have its own stand. But real estate behind the console is usually scarce. Too many things behind the console make service difficult and generally clutter things up. For these reasons we developed a single stand that will provide proper support for two small to medium sized studio monitors.\n<br /><br />\nSound Anchor ADJ3 stands are ideal for:\n<ul>\n	<li>Music control rooms.                      </li>\n	<li>Surround sound monitoring.                </li>\n	<li>CD mastering.                             </li>\n	<li>Radio and television broadcasting studios.</li>\n	<li>Film post production.                     </li>\n	<li>Video game production.                    </li>\n	<li>Online audio production.                  </li>\n</ul>\n<br />\n<div>\n	<div>\n		Heights: The ADJ3 is available with 56\" uprights as standard. Special heights are available as options.\n	</div>\n	<div>\n		Speaker Platform Sizes: 10\" X 14\" (default size) 10\" X 12\" optional or custom sized which are available as a cost + option.\n	</div>\n</div>\n<div>\n	<br />\n</div>\n<h3>About Sound Anchors</h3>\nSound Anchor Speaker Stands are hand crafted in the USA. They are made of large section square steel tubing and aluminum plate. Sound Anchor stands have a welded construction which makes them strong, rigid and stable. They are spiked at the floor to anchor your monitors in space. Special sorbothane pads are provided for use between the speaker and stand. Sound Anchors Adjustable Monitor Stands are pre-filled using Sound Anchor\'s proprietary methods and materials to eliminate resonance and add mass. These features give Sound Anchors the highest level of professional performance and Sound Anchor Adjustable Stands are found in many of the the world\'s leading studios. Sound Anchor ADJ1 Monitor Stands are cost effective tools for your high performance recording studio.'),(9560,75,1,1594,'<h2>Sound Anchors ADJ3 Adjustable Monitor Stands (Pair)</h2>\nSound Anchor ADJ3 stands are designed to allow the engineer to correctly place two pairs of monitors behind his console. These stands allow independent height and tilt adjustment of both monitors. The ADJ3 stand is based on our proven ADJ1 stands and offers all of the performance benefits of them. The symmetrical 23\" x 17\" bases and the uprights are filled and damped from the factory. This makes the ADJ3 a very solid and stable support for your speakers. The speaker platforms are made of 1/4\" aluminum which reduces the amount of energy that gets transferred into the stand. The Sound Anchor ADJ3 stands isolate the speakers from the console, each other and the floor which gives you a cleaner, more detailed and more accurate sound.<br /><br />\n\nAll small monitors do not possess the same sound characteristics. For this reason there are many applications where a studio would like to put more than one pair of small monitors behind the console. Ideally each speaker would have its own stand. But real estate behind the console is usually scarce. Too many things behind the console make service difficult and generally clutter things up. For these reasons we developed a single stand that will provide proper support for two small to medium sized studio monitors.\n<br /><br />\nSound Anchor ADJ3 stands are ideal for:\n<ul>\n	<li>Music control rooms.                      </li>\n	<li>Surround sound monitoring.                </li>\n	<li>CD mastering.                             </li>\n	<li>Radio and television broadcasting studios.</li>\n	<li>Film post production.                     </li>\n	<li>Video game production.                    </li>\n	<li>Online audio production.                  </li>\n</ul>\n<br />\n<div>\n	<div>\n		Heights: The ADJ3 is available with 56\" uprights as standard. Special heights are available as options.\n	</div>\n	<div>\n		Speaker Platform Sizes: 10\" X 14\" (default size) 10\" X 12\" optional or custom sized which are available as a cost + option.\n	</div>\n</div>\n<div>\n	<br />\n</div>\n<h3>About Sound Anchors</h3>\nSound Anchor Speaker Stands are hand crafted in the USA. They are made of large section square steel tubing and aluminum plate. Sound Anchor stands have a welded construction which makes them strong, rigid and stable. They are spiked at the floor to anchor your monitors in space. Special sorbothane pads are provided for use between the speaker and stand. Sound Anchors Adjustable Monitor Stands are pre-filled using Sound Anchor\'s proprietary methods and materials to eliminate resonance and add mass. These features give Sound Anchors the highest level of professional performance and Sound Anchor Adjustable Stands are found in many of the the world\'s leading studios. Sound Anchor ADJ1 Monitor Stands are cost effective tools for your high performance recording studio.'),(9561,85,0,1594,'Sound Anchors ADJ3 Adjustable Monitor Stands'),(9562,85,1,1594,'Sound Anchors ADJ3 Adjustable Monitor Stands'),(9563,76,0,1594,''),(9564,76,1,1594,''),(9565,75,0,1595,'<h2>Sound Anchors ADJ4 Adjustable Monitor Stands (Pair)</h2>\nSound Anchor ADJ4 Stands help make proper speaker placement possible so that you can get your sound right. When monitors are positioned properly on rigid stable platforms they work better. The entire sound field has more clarity, tones are more accurate, dynamic contrasts are greater and subtle anomalies in the mix are more apparent. The common solutions (shelves and wall mounts) are partial solutions but they do not isolate your monitors from your electronics, your monitors from each other or your monitors from the structure. Along with these three drawbacks they seldom position your monitors exactly where they need to be for best sound. <br /><br />\n\nThe Sound Anchor ADJ4 monitor stands are designed specifically for installations where there is between 2 3/4\" and 5\" clearance between the wall and the back of the console. The upright of this stand can be adjusted from side to side which facilitates \"best\" lateral speaker positioning. <br /><br />\n\nThe Sound Anchors ADJ4 stands are designed to allow the engineer to correctly place a pair of monitors behind his console. These stands allow height adjustment of the monitors. The base and the upright are filled and damped at the factory. ADJ4 stands offer a very solid and stable support for your speakers. The speaker platform is made of 1/4\" aluminum which reduces the amount of energy that gets transferred into the stand. The Sound Anchor ADJ4 stands isolate the speakers from the console, each other and the floor which gives you a cleaner, more detailed and more accurate sound.\n<br /><br />\nSound Anchor ADJ4 stands are ideal for:\n<ul>\n	<li>Music control rooms.                      </li>\n	<li>Surround sound monitoring.                </li>\n	<li>CD mastering.                             </li>\n	<li>Radio and television broadcasting studios.</li>\n	<li>Film post production.                     </li>\n	<li>Video game production.                    </li>\n	<li>Online audio production.                  </li>\n</ul>\n<br />\n<div>\n	<div><div>Heights: The ADJ4 is available with 44\" or 56\" uprights as standards. Special heights are available as options.</div><div><span style=\"background-color: initial;\">Speaker Platform Sizes: 10\" X 14\" (default size) and 10\" X 12\" (optional) or custom sized which are available as a cost + option.</span></div><div>Special Options: Custom base sizes are available. Special speaker mount arms are available.</div></div>\n</div>\n<div>\n	<br />\n</div>\n<h3>About Sound Anchors</h3>\nSound Anchor Speaker Stands are hand crafted in the USA. They are made of large section square steel tubing and aluminum plate. Sound Anchor stands have a welded construction which makes them strong, rigid and stable. They are spiked at the floor to anchor your monitors in space. Special sorbothane pads are provided for use between the speaker and stand. Sound Anchors Adjustable Monitor Stands are pre-filled using Sound Anchor\'s proprietary methods and materials to eliminate resonance and add mass. These features give Sound Anchors the highest level of professional performance and Sound Anchor Adjustable Stands are found in many of the the world\'s leading studios. Sound Anchor ADJ1 Monitor Stands are cost effective tools for your high performance recording studio.'),(9566,75,1,1595,'<h2>Sound Anchors ADJ4 Adjustable Monitor Stands (Pair)</h2>\nSound Anchor ADJ4 Stands help make proper speaker placement possible so that you can get your sound right. When monitors are positioned properly on rigid stable platforms they work better. The entire sound field has more clarity, tones are more accurate, dynamic contrasts are greater and subtle anomalies in the mix are more apparent. The common solutions (shelves and wall mounts) are partial solutions but they do not isolate your monitors from your electronics, your monitors from each other or your monitors from the structure. Along with these three drawbacks they seldom position your monitors exactly where they need to be for best sound. <br /><br />\n\nThe Sound Anchor ADJ4 monitor stands are designed specifically for installations where there is between 2 3/4\" and 5\" clearance between the wall and the back of the console. The upright of this stand can be adjusted from side to side which facilitates \"best\" lateral speaker positioning. <br /><br />\n\nThe Sound Anchors ADJ4 stands are designed to allow the engineer to correctly place a pair of monitors behind his console. These stands allow height adjustment of the monitors. The base and the upright are filled and damped at the factory. ADJ4 stands offer a very solid and stable support for your speakers. The speaker platform is made of 1/4\" aluminum which reduces the amount of energy that gets transferred into the stand. The Sound Anchor ADJ4 stands isolate the speakers from the console, each other and the floor which gives you a cleaner, more detailed and more accurate sound.\n<br /><br />\nSound Anchor ADJ4 stands are ideal for:\n<ul>\n	<li>Music control rooms.                      </li>\n	<li>Surround sound monitoring.                </li>\n	<li>CD mastering.                             </li>\n	<li>Radio and television broadcasting studios.</li>\n	<li>Film post production.                     </li>\n	<li>Video game production.                    </li>\n	<li>Online audio production.                  </li>\n</ul>\n<br />\n<div>\n	<div><div>Heights: The ADJ4 is available with 44\" or 56\" uprights as standards. Special heights are available as options.</div><div><span style=\"background-color: initial;\">Speaker Platform Sizes: 10\" X 14\" (default size) and 10\" X 12\" (optional) or custom sized which are available as a cost + option.</span></div><div>Special Options: Custom base sizes are available. Special speaker mount arms are available.</div></div>\n</div>\n<div>\n	<br />\n</div>\n<h3>About Sound Anchors</h3>\nSound Anchor Speaker Stands are hand crafted in the USA. They are made of large section square steel tubing and aluminum plate. Sound Anchor stands have a welded construction which makes them strong, rigid and stable. They are spiked at the floor to anchor your monitors in space. Special sorbothane pads are provided for use between the speaker and stand. Sound Anchors Adjustable Monitor Stands are pre-filled using Sound Anchor\'s proprietary methods and materials to eliminate resonance and add mass. These features give Sound Anchors the highest level of professional performance and Sound Anchor Adjustable Stands are found in many of the the world\'s leading studios. Sound Anchor ADJ1 Monitor Stands are cost effective tools for your high performance recording studio.'),(9567,85,0,1595,'Sound Anchors ADJ4 Adjustable Monitor Stands'),(9568,85,1,1595,'Sound Anchors ADJ4 Adjustable Monitor Stands'),(9569,76,0,1595,''),(9570,76,1,1595,''),(9571,75,0,1596,'<h1>Sanken Chromatic CMS-2 M-S Stereo Condenser Microphone</h1>\n	<i>The CMS-2 M-S is the world’s smallest and lightest M-S stereo microphone for studio and live music recording<br /><br /></i>\n\n			The CMS-2 M-S stereo condenser microphone was designed primarily to record orchestras, choruses and choirs in theatres, concert halls and churches.\n<br /><br />\n			Because of the “one point” physical presence of the microphone itself, the operator can obtain a very naturally mixed stereo sound with the use of the MB-2A matrix box. The light titanium matched diaphragms permit a wide frequency response and the ability to withstand high SPLs up to 145dB.\n<br /><br />\n			The CMS-2 features a very flat frequency response 20Hz to 18kHZ and inaudible self-noise 16dB or less, which makes it well suited for high resolution recording. It also features an original Sanken Push-Pull type capsule design which gives it a 6dB higher sensitivity than similar sized conventional microphones.\n<br /><br />\n			The CMS-2 stereo microphone has a high dynamic range of 129dB [maximum SPL = 145dB at 1% THD]. It has a one-micron thick titanium diaphragm that is pre-set for use with a 127° perspective controllable matrix box. In addition, the CMS-2 can work with any standard matrix box.\n<br /><br />\n<h3>Sanken CMS-2 Mic Features:</h3>\n<ul>\n	<li><span style=\"letter-spacing: 0px;\">Very natural stereo sound</span></li>\n	<li>Very high dynamic range</li>\n	<li>Ideal for broadcasting, as well as studio recording</li>\n	<li>Original Sanken Push-Pull capsule design</li>\n	<li>Titanium diaphragm resistant to moisture and temperature change</li>\n</ul>\n<br />\n<h3>Sanken CMS-2 Includes:</h3>\n<ul>\n	<li>CMS-2 Microphone</li>\n	<li>HD-21D Microphone Clip</li>\n	<li><span style=\"letter-spacing: 0px;\">Vinyl Case</span></li>\n</ul><br />'),(9572,75,1,1596,'<h1>Sanken Chromatic CMS-2 M-S Stereo Condenser Microphone</h1>\n	<i>The CMS-2 M-S is the world’s smallest and lightest M-S stereo microphone for studio and live music recording<br /><br /></i>\n\n			The CMS-2 M-S stereo condenser microphone was designed primarily to record orchestras, choruses and choirs in theatres, concert halls and churches.\n<br /><br />\n			Because of the “one point” physical presence of the microphone itself, the operator can obtain a very naturally mixed stereo sound with the use of the MB-2A matrix box. The light titanium matched diaphragms permit a wide frequency response and the ability to withstand high SPLs up to 145dB.\n<br /><br />\n			The CMS-2 features a very flat frequency response 20Hz to 18kHZ and inaudible self-noise 16dB or less, which makes it well suited for high resolution recording. It also features an original Sanken Push-Pull type capsule design which gives it a 6dB higher sensitivity than similar sized conventional microphones.\n<br /><br />\n			The CMS-2 stereo microphone has a high dynamic range of 129dB [maximum SPL = 145dB at 1% THD]. It has a one-micron thick titanium diaphragm that is pre-set for use with a 127° perspective controllable matrix box. In addition, the CMS-2 can work with any standard matrix box.\n<br /><br />\n<h3>Sanken CMS-2 Mic Features:</h3>\n<ul>\n	<li><span style=\"letter-spacing: 0px;\">Very natural stereo sound</span></li>\n	<li>Very high dynamic range</li>\n	<li>Ideal for broadcasting, as well as studio recording</li>\n	<li>Original Sanken Push-Pull capsule design</li>\n	<li>Titanium diaphragm resistant to moisture and temperature change</li>\n</ul>\n<br />\n<h3>Sanken CMS-2 Includes:</h3>\n<ul>\n	<li>CMS-2 Microphone</li>\n	<li>HD-21D Microphone Clip</li>\n	<li><span style=\"letter-spacing: 0px;\">Vinyl Case</span></li>\n</ul><br />'),(9573,85,0,1596,'Sanken Chromatic CMS-2 M-S Stereo Condenser Microphone'),(9574,85,1,1596,'Sanken Chromatic CMS-2 M-S Stereo Condenser Microphone'),(9575,76,0,1596,''),(9576,76,1,1596,''),(9577,75,0,1597,'<h1>Sanken Chromatic CO-100K Supersonic Wide-Range Omni-Directional Condenser Microphone</h1>\n<i>\nOmnidirectional Super Wide Range Condenser Microphone with unprecedented 20Hz to 100kHz frequency response, perfect for truly capturing beautiful sounding instruments in acoustic spaces, but equally suited as a mic for sound effect and Foley recording.</i><br /><br />\nThe Sanken The CO-100K omni-directional condenser microphone is the world’s first super wide-band microphone, designed specifically for professional high-resolution, high sample rate recording. With a 20Hz ~ 100kHz range, the CO-100K microphone has a high frequency boost that starts at around 16khz with a 20dB bump above 50kHz to capture the high frequency details usually lost between the source and the mic – you don’t need to close mic to get a superb high end response, perfect for high SPL sources and distant overheads.\n<br /><br />\nUtilizing this new technology to create a generation of microphones to meet the needs of today’s top recording professionals, the actual physics employed in the operation of the CO-100K builds on the Sanken legacy of incorporating new and innovative design perimeters. Even the contour of the mic near the capsule and the unique capsule material design are perfectly optimized for a stunning high frequency response.\n<br /><br />\nBecause of the way in which analog to digital converters operate, the CO-100K takes advantage of the heightened frequency response of the new hi-resolution digital audio formats. As X-Y, ORTF, or Decca tree overheads the CO-100Ks excel, where fidelity is without compromise, to capture the spatial reality of a great sounding room.\n<br /><br />\nInitially finding favor with engineers for orchestral and Broadway main microphone arrays, it is now being used extensively in a wide range of applications including Foley and location sound effect recording, as well as for all types of acoustic instruments.<br /><br />\n<h3>Sanken CO-100K Mic Features:</h3>\n<ul>\n	<li><span style=\"letter-spacing: 0px;\">World’s first 100k microphone designed specifically for professional recording</span></li>\n	<li>20Hz to 100kHz Frequency Response</li>\n	<li>HF boost above 16khz with a 20dB bump above 50kHz to capture HF information normally</li>\n	<li>lost between the sound source and the mic</li>\n	<li>A superb high end response without the need for close miking techniques</li>\n	<li>Perfect for high resolution recording formats, taking advantage of the lack of artifacts as a result anti-aliasing filters</li>\n	<li>Contour of the mic and unique capsule material design are perfectly optimized for a stunning high frequency response</li>\n	<li>Excels as X-Y, ORTF, or Decca tree overheads</li>\n	<li>Compact size and unobtrusive appearance</li>\n	<li>Designed by Sanken in conjunction with NHK Science and Technical Research Laboratories</li>\n</ul>\n<br />\n<h3>Sanken CO-100K Includes:</h3>\n<ul>\n	<li>CO-100K Microphone</li>\n	<li>KS-­100 Band Suspension Holder</li>\n	<li>Vinyl Case</li>\n</ul>\n<br /><br />'),(9578,75,1,1597,'<h1>Sanken Chromatic CO-100K Supersonic Wide-Range Omni-Directional Condenser Microphone</h1>\n<i>\nOmnidirectional Super Wide Range Condenser Microphone with unprecedented 20Hz to 100kHz frequency response, perfect for truly capturing beautiful sounding instruments in acoustic spaces, but equally suited as a mic for sound effect and Foley recording.</i><br /><br />\nThe Sanken The CO-100K omni-directional condenser microphone is the world’s first super wide-band microphone, designed specifically for professional high-resolution, high sample rate recording. With a 20Hz ~ 100kHz range, the CO-100K microphone has a high frequency boost that starts at around 16khz with a 20dB bump above 50kHz to capture the high frequency details usually lost between the source and the mic – you don’t need to close mic to get a superb high end response, perfect for high SPL sources and distant overheads.\n<br /><br />\nUtilizing this new technology to create a generation of microphones to meet the needs of today’s top recording professionals, the actual physics employed in the operation of the CO-100K builds on the Sanken legacy of incorporating new and innovative design perimeters. Even the contour of the mic near the capsule and the unique capsule material design are perfectly optimized for a stunning high frequency response.\n<br /><br />\nBecause of the way in which analog to digital converters operate, the CO-100K takes advantage of the heightened frequency response of the new hi-resolution digital audio formats. As X-Y, ORTF, or Decca tree overheads the CO-100Ks excel, where fidelity is without compromise, to capture the spatial reality of a great sounding room.\n<br /><br />\nInitially finding favor with engineers for orchestral and Broadway main microphone arrays, it is now being used extensively in a wide range of applications including Foley and location sound effect recording, as well as for all types of acoustic instruments.<br /><br />\n<h3>Sanken CO-100K Mic Features:</h3>\n<ul>\n	<li><span style=\"letter-spacing: 0px;\">World’s first 100k microphone designed specifically for professional recording</span></li>\n	<li>20Hz to 100kHz Frequency Response</li>\n	<li>HF boost above 16khz with a 20dB bump above 50kHz to capture HF information normally</li>\n	<li>lost between the sound source and the mic</li>\n	<li>A superb high end response without the need for close miking techniques</li>\n	<li>Perfect for high resolution recording formats, taking advantage of the lack of artifacts as a result anti-aliasing filters</li>\n	<li>Contour of the mic and unique capsule material design are perfectly optimized for a stunning high frequency response</li>\n	<li>Excels as X-Y, ORTF, or Decca tree overheads</li>\n	<li>Compact size and unobtrusive appearance</li>\n	<li>Designed by Sanken in conjunction with NHK Science and Technical Research Laboratories</li>\n</ul>\n<br />\n<h3>Sanken CO-100K Includes:</h3>\n<ul>\n	<li>CO-100K Microphone</li>\n	<li>KS-­100 Band Suspension Holder</li>\n	<li>Vinyl Case</li>\n</ul>\n<br /><br />'),(9579,85,0,1597,'Sanken Chromatic CO-100K Supersonic Wide-Range Omni-Directional Condenser Microphone'),(9580,85,1,1597,'Sanken Chromatic CO-100K Supersonic Wide-Range Omni-Directional Condenser Microphone'),(9581,76,0,1597,''),(9582,76,1,1597,''),(9583,75,0,1598,'<h1>Sanken Chromatic CU-41 Dual-Capsule Cardioid Microphone</h1>\n<i>The Original 80’s Dual Capsule Cardioid Featuring Titanium Diaphragm Material.<br /><br /></i>\nThe CU-41 captures it all, with a transparent, very detailed and truly high-fidelity sound. On a grand piano, this mic gives clarity and low-end quality like no other. A rich, male baritone resonates through the speakers with unbelievable warmth.\n<br /><br />\n		Unlike conventional microphones, the CU-41 houses two condenser titanium capsules vertically mounted and transformer coupled. Sanken’s original circuitry combines the outputs from the two diaphragms to provide a totally pure sound without phase distortion. The microphone has a solid cardioid pattern with low proximity effect.\n<br /><br />\n		The titanium capsules are impervious to humidity and temperature, providing a very stable and consistent sound. It’s not easy to produce capsules using titanium, again Sanken provides a unique solution.\n<br /><br />\n		Suitable for a wide variety of applications in recording, broadcasting, television and motion picture studios, the CU-41 delivers flat response from 20Hz to 20KHz. It can faithfully pick up everything from the pulsating lows of the deepest bass instruments to the piercing highs of a coloratura soprano; from the gentlest whisper to the most deafening percussive sound – without clipping. Response is uniform over the full audible frequency range.\n<br /><br />\n		In the 80s this mic was very popular for vocals, then it also gained popularity as a spotlight mic for orchestral and then jazz.\n<br /><br />\n<h3>Sanken CU-41 Mic Features:</h3>\n<ul>\n	<li><span style=\"letter-spacing: 0px;\">Classic 80’s mic with crystal clear sound</span></li>\n	<li>Dual titanium diaphragms immune to humidity and temperature fluctuation</li>\n	<li>Smooth cardioid polar pattern</li>\n	<li>Transparent and distortion-free</li>\n	<li>Totally flat frequency response</li>\n</ul>\n<br />\n<h3>Sanken CU-41 Includes:</h3>\n<ul>\n	<li>CU-41 Microphone</li>\n	<li>S-41 Shock Mount Suspension</li>\n	<li><span style=\"letter-spacing: 0px;\">Vinyl Case</span></li>\n</ul>'),(9584,75,1,1598,'<h1>Sanken Chromatic CU-41 Dual-Capsule Cardioid Microphone</h1>\n<i>The Original 80’s Dual Capsule Cardioid Featuring Titanium Diaphragm Material.<br /><br /></i>\nThe CU-41 captures it all, with a transparent, very detailed and truly high-fidelity sound. On a grand piano, this mic gives clarity and low-end quality like no other. A rich, male baritone resonates through the speakers with unbelievable warmth.\n<br /><br />\n		Unlike conventional microphones, the CU-41 houses two condenser titanium capsules vertically mounted and transformer coupled. Sanken’s original circuitry combines the outputs from the two diaphragms to provide a totally pure sound without phase distortion. The microphone has a solid cardioid pattern with low proximity effect.\n<br /><br />\n		The titanium capsules are impervious to humidity and temperature, providing a very stable and consistent sound. It’s not easy to produce capsules using titanium, again Sanken provides a unique solution.\n<br /><br />\n		Suitable for a wide variety of applications in recording, broadcasting, television and motion picture studios, the CU-41 delivers flat response from 20Hz to 20KHz. It can faithfully pick up everything from the pulsating lows of the deepest bass instruments to the piercing highs of a coloratura soprano; from the gentlest whisper to the most deafening percussive sound – without clipping. Response is uniform over the full audible frequency range.\n<br /><br />\n		In the 80s this mic was very popular for vocals, then it also gained popularity as a spotlight mic for orchestral and then jazz.\n<br /><br />\n<h3>Sanken CU-41 Mic Features:</h3>\n<ul>\n	<li><span style=\"letter-spacing: 0px;\">Classic 80’s mic with crystal clear sound</span></li>\n	<li>Dual titanium diaphragms immune to humidity and temperature fluctuation</li>\n	<li>Smooth cardioid polar pattern</li>\n	<li>Transparent and distortion-free</li>\n	<li>Totally flat frequency response</li>\n</ul>\n<br />\n<h3>Sanken CU-41 Includes:</h3>\n<ul>\n	<li>CU-41 Microphone</li>\n	<li>S-41 Shock Mount Suspension</li>\n	<li><span style=\"letter-spacing: 0px;\">Vinyl Case</span></li>\n</ul>'),(9585,85,0,1598,'Sanken Chromatic CU-41 Dual-Capsule Cardioid Microphone'),(9586,85,1,1598,'Sanken Chromatic CU-41 Dual-Capsule Cardioid Microphone'),(9587,76,0,1598,''),(9588,76,1,1598,''),(9589,75,0,1599,'<h1>Sanken Chromatic CU-44X MK II Dual-Capsule Cardioid Microphone</h1>\n<i>The CU-44X MK I\'s revolutionary design is favored by top musicians, engineers and producers.<br /><br /></i>\nThe CU-44x MK II has a revolutionary design featuring two titanium matched capsules for low and high, with 100 volt internal power for super wide dynamic range and headroom. The transformerless design, with a slight bump above 14kHz gives a very pleasing air in the high end with remarkable transient response. Perfect for vocals, overheads, and acoustic instruments delivering a very pleasing natural sound. Match this with a modern preamp for ultra-low noise and a sonic clarity that is immediately obvious to the ear.\n<br /><br />\n			The CU-44X MK II compares very favorably with the older vintage mics in the bottom end but has a much more pleasing high end. This mic has a proven record of great recordings on vocals or instruments.\n<br /><br />\n			The unique dual-capsule Sanken CU-44X Mk II sports a versatile cardioid pattern ideal for a wide range of recordings. The ability to withstand high SPLs insures clean, distortion-free recording on explosive percussion and other instruments with harsh dynamics. When used in pairs, the result is impeccably clear stereo imaging.\n<br /><br />\n			The CU-44X MkII features a specially designed double titanium capsule with a unique mounting scheme that guarantees phase coherency – a larger one for the bass and a smaller one for the high frequencies. They are immune to the effects of humidity and temperature change, resulting in totally consistent response, regardless of the recording environment.\n<br /><br />\n			The CU-44X Mk II’s frequency response is totally flat – on axis, at 90 degrees – essential in maintaining sonic transparency.\n<br /><br />\n<h3>Sanken CU-44X MK II Mic Features:</h3>\n<ul>\n	<li><span style=\"letter-spacing: 0px;\">Transformerless design for high transient, natural and uncolored sound with vivid sonic imagery</span></li>\n	<li>Internal high voltage power supply for wide dynamic range and headroom</li>\n	<li>Low noise</li>\n	<li>Dual coherent titanium membranes immune to the effects of humidity and temperature change</li>\n	<li>Superior off-axis response</li>\n	<li>Smooth cardioid polar pattern</li>\n	<li>Withstands high SPL</li>\n	<li>Flat frequency response (20Hz to 20kHz)</li>\n</ul>\n<br />\n<h3>Sanken CU-44X MK II Includes:</h3>\n<ul>\n	<li>CU-44X MK II Microphone</li>\n	<li>S-44X Shock Mount Suspension</li>\n	<li><span style=\"letter-spacing: 0px;\">Vinyl Case</span></li>\n</ul>'),(9590,75,1,1599,'<h1>Sanken Chromatic CU-44X MK II Dual-Capsule Cardioid Microphone</h1>\n<i>The CU-44X MK I\'s revolutionary design is favored by top musicians, engineers and producers.<br /><br /></i>\nThe CU-44x MK II has a revolutionary design featuring two titanium matched capsules for low and high, with 100 volt internal power for super wide dynamic range and headroom. The transformerless design, with a slight bump above 14kHz gives a very pleasing air in the high end with remarkable transient response. Perfect for vocals, overheads, and acoustic instruments delivering a very pleasing natural sound. Match this with a modern preamp for ultra-low noise and a sonic clarity that is immediately obvious to the ear.\n<br /><br />\n			The CU-44X MK II compares very favorably with the older vintage mics in the bottom end but has a much more pleasing high end. This mic has a proven record of great recordings on vocals or instruments.\n<br /><br />\n			The unique dual-capsule Sanken CU-44X Mk II sports a versatile cardioid pattern ideal for a wide range of recordings. The ability to withstand high SPLs insures clean, distortion-free recording on explosive percussion and other instruments with harsh dynamics. When used in pairs, the result is impeccably clear stereo imaging.\n<br /><br />\n			The CU-44X MkII features a specially designed double titanium capsule with a unique mounting scheme that guarantees phase coherency – a larger one for the bass and a smaller one for the high frequencies. They are immune to the effects of humidity and temperature change, resulting in totally consistent response, regardless of the recording environment.\n<br /><br />\n			The CU-44X Mk II’s frequency response is totally flat – on axis, at 90 degrees – essential in maintaining sonic transparency.\n<br /><br />\n<h3>Sanken CU-44X MK II Mic Features:</h3>\n<ul>\n	<li><span style=\"letter-spacing: 0px;\">Transformerless design for high transient, natural and uncolored sound with vivid sonic imagery</span></li>\n	<li>Internal high voltage power supply for wide dynamic range and headroom</li>\n	<li>Low noise</li>\n	<li>Dual coherent titanium membranes immune to the effects of humidity and temperature change</li>\n	<li>Superior off-axis response</li>\n	<li>Smooth cardioid polar pattern</li>\n	<li>Withstands high SPL</li>\n	<li>Flat frequency response (20Hz to 20kHz)</li>\n</ul>\n<br />\n<h3>Sanken CU-44X MK II Includes:</h3>\n<ul>\n	<li>CU-44X MK II Microphone</li>\n	<li>S-44X Shock Mount Suspension</li>\n	<li><span style=\"letter-spacing: 0px;\">Vinyl Case</span></li>\n</ul>'),(9591,85,0,1599,'Sanken Chromatic CU-44X MK II Dual-Capsule Cardioid Microphone'),(9592,85,1,1599,'Sanken Chromatic CU-44X MK II Dual-Capsule Cardioid Microphone'),(9593,76,0,1599,''),(9594,76,1,1599,''),(9595,75,0,1600,'<h1>Sanken Chromatic CU-51 Dual-Capsule Cardioid Microphone</h1>\n<i>The CU-51 consistently delivers a high transient, natural and uncolored sound with vivid sonic imagery.<br /><br /></i>\nThe CU-51 offers a new dual-capsule design pioneered by Sanken, providing an exacting cardioid pattern ideal for vocals and a wide range of musical applications. The CU-51 also has a very low proximity effect making vocals and instruments seem bigger than life.\n<br /><br />\nA very special characteristic of the CU-51 is its ability to maintain uniform response in both on-axis and off-axis positions. It is common knowledge that varying the direction of a microphone will change the frequency response and tone.\n<br /><br />\nThe tone and response of the CU-51 remains consistent through changes in the axis angle while maintaining the benefits of a large capsule design. The CU-51’s frequency response is truly flat at 90 degrees, essential in maintaining sonic transparency.\n<br /><br />The CU-51’s specially designed double capsule has one diaphragm that is optimized for low frequencies, while the other one captures the higher frequencies with guaranteed phase coherency between the two capsules in a meticulously engineered microphone that achieves totally transparent high-resolution results. The PPS (Polyphenylene) membranes are immune to the effects of humidity and temperature change, resulting in consistent response, regardless of the recording environment.\n<br /><br />\n<h3>Sanken CU-51 Mic Features:</h3>\n<ul>\n	<li><span style=\"letter-spacing: 0px;\">Perfect for vocals and acoustic instruments</span></li>\n	<li>Dual phase coherent capsules – low and high</li>\n	<li>Uniform response in both on-axis and off-axis positions</li>\n	<li>Truly flat frequency response even at 90 degrees</li>\n	<li>Low proximity effect</li>\n</ul>\n<br />\n<h3>Sanken CU-51 Includes:</h3>\n<ul>\n	<li>CU-51 Microphone</li>\n	<li><span style=\"letter-spacing: 0px;\">Vinyl Case</span></li>\n</ul><br />'),(9596,75,1,1600,'<h1>Sanken Chromatic CU-51 Dual-Capsule Cardioid Microphone</h1>\n<i>The CU-51 consistently delivers a high transient, natural and uncolored sound with vivid sonic imagery.<br /><br /></i>\nThe CU-51 offers a new dual-capsule design pioneered by Sanken, providing an exacting cardioid pattern ideal for vocals and a wide range of musical applications. The CU-51 also has a very low proximity effect making vocals and instruments seem bigger than life.\n<br /><br />\nA very special characteristic of the CU-51 is its ability to maintain uniform response in both on-axis and off-axis positions. It is common knowledge that varying the direction of a microphone will change the frequency response and tone.\n<br /><br />\nThe tone and response of the CU-51 remains consistent through changes in the axis angle while maintaining the benefits of a large capsule design. The CU-51’s frequency response is truly flat at 90 degrees, essential in maintaining sonic transparency.\n<br /><br />The CU-51’s specially designed double capsule has one diaphragm that is optimized for low frequencies, while the other one captures the higher frequencies with guaranteed phase coherency between the two capsules in a meticulously engineered microphone that achieves totally transparent high-resolution results. The PPS (Polyphenylene) membranes are immune to the effects of humidity and temperature change, resulting in consistent response, regardless of the recording environment.\n<br /><br />\n<h3>Sanken CU-51 Mic Features:</h3>\n<ul>\n	<li><span style=\"letter-spacing: 0px;\">Perfect for vocals and acoustic instruments</span></li>\n	<li>Dual phase coherent capsules – low and high</li>\n	<li>Uniform response in both on-axis and off-axis positions</li>\n	<li>Truly flat frequency response even at 90 degrees</li>\n	<li>Low proximity effect</li>\n</ul>\n<br />\n<h3>Sanken CU-51 Includes:</h3>\n<ul>\n	<li>CU-51 Microphone</li>\n	<li><span style=\"letter-spacing: 0px;\">Vinyl Case</span></li>\n</ul><br />'),(9597,85,0,1600,'Sanken Chromatic CU-51 Dual-Capsule Cardioid Microphone'),(9598,85,1,1600,'Sanken Chromatic CU-51 Dual-Capsule Cardioid Microphone'),(9599,76,0,1600,''),(9600,76,1,1600,''),(9601,75,0,1601,'<h1>Sanken Chromatic CU-55 Premium Quality Cardioid Microphone</h1>\n<i>The CU-55 provides optimum quality audio and reliability, and is a solid investment for the ambitious recording engineer/producer..<br /><br /></i>\nThe CU-55 uses the same diaphragm material as Sanken Chromatic’s remarkable CU-100 and CUW-180 mics. Ideal for acoustic instruments like guitars, cello, harp and piano, the CU-55 can also handle the explosive levels of big brass and pounding tympanis. Try it on a snare drum, it fits nicely into tight spaces.\n<br /><br />It features a built in resonant chamber that mates with the capsule to optimize pattern and minimize proximity effects. Stereo pairs are truly matched.\n<br /><br />The affordably priced CU-55 is a fitting addition to the Sanken line of fine studio microphones. The response is very warm and natural sounding, very musical, without any coloration or artificial boost. If you are wrestling with some high SPLs, have no fears – the little CU-55 can handle whatever you throw at it. It can also bring out the best in softer, subtler sounds, and as a compact side-address microphone it is very easy to maneuver into tight spaces.\n<br /><br />\n<h3>Sanken CU-55 Mic Features:</h3>\n<ul>\n	<li><span style=\"letter-spacing: 0px;\">Rich vintage sound from a modern mic</span></li>\n	<li>Perfect cardioid pattern</li>\n	<li>-10dB attenuation switch for two sensitivity settings</li>\n	<li>Flat frequency response (40Hz to 20kHz)</li>\n	<li>High maximum SPL of 137 dB at 1% THD and 15dB EN</li>\n	<li>Small form factor</li>\n	<li>Finely tuned resonant chamber that mates with the capsule</li>\n	<li>Very low proximity effect</li>\n</ul>\n<br />\n<h3>Sanken CU-55 Includes:</h3>\n<ul>\n	<li>CU-55 Microphone</li>\n	<li><span style=\"letter-spacing: 0px;\">Vinyl Case</span></li>\n</ul>'),(9602,75,1,1601,'<h1>Sanken Chromatic CU-55 Premium Quality Cardioid Microphone</h1>\n<i>The CU-55 provides optimum quality audio and reliability, and is a solid investment for the ambitious recording engineer/producer..<br /><br /></i>\nThe CU-55 uses the same diaphragm material as Sanken Chromatic’s remarkable CU-100 and CUW-180 mics. Ideal for acoustic instruments like guitars, cello, harp and piano, the CU-55 can also handle the explosive levels of big brass and pounding tympanis. Try it on a snare drum, it fits nicely into tight spaces.\n<br /><br />It features a built in resonant chamber that mates with the capsule to optimize pattern and minimize proximity effects. Stereo pairs are truly matched.\n<br /><br />The affordably priced CU-55 is a fitting addition to the Sanken line of fine studio microphones. The response is very warm and natural sounding, very musical, without any coloration or artificial boost. If you are wrestling with some high SPLs, have no fears – the little CU-55 can handle whatever you throw at it. It can also bring out the best in softer, subtler sounds, and as a compact side-address microphone it is very easy to maneuver into tight spaces.\n<br /><br />\n<h3>Sanken CU-55 Mic Features:</h3>\n<ul>\n	<li><span style=\"letter-spacing: 0px;\">Rich vintage sound from a modern mic</span></li>\n	<li>Perfect cardioid pattern</li>\n	<li>-10dB attenuation switch for two sensitivity settings</li>\n	<li>Flat frequency response (40Hz to 20kHz)</li>\n	<li>High maximum SPL of 137 dB at 1% THD and 15dB EN</li>\n	<li>Small form factor</li>\n	<li>Finely tuned resonant chamber that mates with the capsule</li>\n	<li>Very low proximity effect</li>\n</ul>\n<br />\n<h3>Sanken CU-55 Includes:</h3>\n<ul>\n	<li>CU-55 Microphone</li>\n	<li><span style=\"letter-spacing: 0px;\">Vinyl Case</span></li>\n</ul>'),(9603,85,0,1601,'Sanken Chromatic CU-55 Premium Quality Cardioid Microphone'),(9604,85,1,1601,'Sanken Chromatic CU-55 Premium Quality Cardioid Microphone'),(9605,76,0,1601,''),(9606,76,1,1601,''),(9607,75,0,1602,'<h1>Sanken Chromatic CUW-180 Adjustable Stereo 0˚ to 180˚ Dual Cardioid Condenser Microphone</h1>\n<i>The CUW-180 twin capsule condenser is two capsules attached to one body for convenient and pristine stereo recording.<br /><br /></i>\nThe breakthrough CUW-180 is two exceptionally engineered cardioid condenser microphones combined in one compact body. Each of the two 180° capsules is independently adjustable with 15˚ detents. For stereo recording, such as common X-Y configurations, the precise alignment of both capsules maintains optimum on-axis response and phase coherence. The CUW-180 can also be used in interview situations between face-to-face participants, in a bi-directional figure 8 design, but with full independent control of each signal.\n<br /><br />\nIt is important to note that two microphone capsules in one body creates an ideal stereo configuration because the actual physical design takes into account the effect of the microphone body itself, as opposed to two separate microphones which are not physically designed to work adjacent to one another. The advanced physics employed in the operation of the CUW-180 utilizes extensive research conducted with NHK and furthers the Sanken legacy of incorporating new and innovative design concepts.\n<br /><br />\nFor stereo recording, such as common X-Y configurations, the position of both capsules maintains optimum on-axis response and phase coherence. For surround applications, two CUW-180 mics can capture 4 channels of Left, Right, Surround Left and Surround Right program simultaneously, with four independently adjustable signals.\n<br /><br />\n<h3>Sanken CUW-180 Mic Features:</h3>\n<ul>\n	<li><span style=\"letter-spacing: 0px;\">Transformerless design for high transient, natural and uncolored sound with vivid sonic imagery</span></li>\n	<li>Internal high voltage power supply for wide dynamic range and headroom</li>\n	<li>Low noise</li>\n	<li>Dual coherent titanium membranes immune to the effects of humidity and temperature change</li>\n	<li>Superior off-axis response</li>\n	<li>Smooth cardioid polar pattern</li>\n	<li>Withstands high SPL</li>\n	<li>Flat frequency response (20Hz to 20kHz)</li>\n</ul>\n<br />\n<h3>Sanken CUW-180 Includes:</h3>\n<ul style=\"\">\n	<li>CUW-180 Microphone</li>\n	<li>H-21 Mic Clip</li>\n	<li>SC-532/0.3 5 pin XLR female to two XLR 3 pin male/0.3 meter cable</li>\n	<li><span style=\"letter-spacing: 0px;\">Vinyl Case</span></li>\n</ul>\n<br />'),(9608,75,1,1602,'<h1>Sanken Chromatic CUW-180 Adjustable Stereo 0˚ to 180˚ Dual Cardioid Condenser Microphone</h1>\n<i>The CUW-180 twin capsule condenser is two capsules attached to one body for convenient and pristine stereo recording.<br /><br /></i>\nThe breakthrough CUW-180 is two exceptionally engineered cardioid condenser microphones combined in one compact body. Each of the two 180° capsules is independently adjustable with 15˚ detents. For stereo recording, such as common X-Y configurations, the precise alignment of both capsules maintains optimum on-axis response and phase coherence. The CUW-180 can also be used in interview situations between face-to-face participants, in a bi-directional figure 8 design, but with full independent control of each signal.\n<br /><br />\nIt is important to note that two microphone capsules in one body creates an ideal stereo configuration because the actual physical design takes into account the effect of the microphone body itself, as opposed to two separate microphones which are not physically designed to work adjacent to one another. The advanced physics employed in the operation of the CUW-180 utilizes extensive research conducted with NHK and furthers the Sanken legacy of incorporating new and innovative design concepts.\n<br /><br />\nFor stereo recording, such as common X-Y configurations, the position of both capsules maintains optimum on-axis response and phase coherence. For surround applications, two CUW-180 mics can capture 4 channels of Left, Right, Surround Left and Surround Right program simultaneously, with four independently adjustable signals.\n<br /><br />\n<h3>Sanken CUW-180 Mic Features:</h3>\n<ul>\n	<li><span style=\"letter-spacing: 0px;\">Transformerless design for high transient, natural and uncolored sound with vivid sonic imagery</span></li>\n	<li>Internal high voltage power supply for wide dynamic range and headroom</li>\n	<li>Low noise</li>\n	<li>Dual coherent titanium membranes immune to the effects of humidity and temperature change</li>\n	<li>Superior off-axis response</li>\n	<li>Smooth cardioid polar pattern</li>\n	<li>Withstands high SPL</li>\n	<li>Flat frequency response (20Hz to 20kHz)</li>\n</ul>\n<br />\n<h3>Sanken CUW-180 Includes:</h3>\n<ul style=\"\">\n	<li>CUW-180 Microphone</li>\n	<li>H-21 Mic Clip</li>\n	<li>SC-532/0.3 5 pin XLR female to two XLR 3 pin male/0.3 meter cable</li>\n	<li><span style=\"letter-spacing: 0px;\">Vinyl Case</span></li>\n</ul>\n<br />'),(9609,85,0,1602,'Sanken Chromatic CUW-180 Adjustable Stereo 0˚ to 180˚ Dual Cardioid Condenser Microphone'),(9610,85,1,1602,'Sanken Chromatic CUW-180 Adjustable Stereo 0˚ to 180˚ Dual Cardioid Condenser Microphone'),(9611,76,0,1602,''),(9612,76,1,1602,''),(9613,75,0,1603,'<h1>Sanken Chromatic CUX-100K Switchable Pattern Condenser Microphone</h1>\n<i>Super wide range professional microphone, with a frequency response of 20Hz to 100kHz and the ability to change modes with three settings: Cardioid (Far), Cardioid (Near) and Omni modes. </i><br /><br />\nThe Sanken CUX-100K super wide range professional microphone is based on the very popular single omni-mode CO-100K design, with the added ability to change polar patterns with three settings: Cardioid (Far), Cardioid (Near) and Omni modes. The CUX-100K is a truly unique design, perfect for high-resolution, high sample rate recordings. Great for truly capturing beautiful sounding instruments in acoustic spaces, but equally suited as a mic for sound effect and Foley recording.<br /><br />\n<h3>Sanken CUX-100K Mic Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">100k microphone designed specifically for professional ultra hi-def recording</span></li>\n	<li>3 modes for flexibility in recording – Omni, Cardioid (Far), Cardioid (Near)</li>\n	<li>Omni mode for ambient and spacial recording</li>\n	<li>Cardioid (Far) for ambient with source focus</li>\n	<li>Cardioid (Near) for high resolution close performance mic</li>\n	<li>20Hz to 100kHz Frequency Response – Omni and Cardioid (Far) modes</li>\n	<li>A superb high end response without the need for close miking techniques in Omni mode</li>\n	<li>Perfect for high resolution recording formats, taking advantage of the lack of artifacts as a result anti-aliasing filters</li>\n	<li>Contour of the mic and unique capsule material design are perfectly optimized for a stunning high frequency response</li>\n	<li>Excels as X-Y, ORTF, or Decca tree overheads</li>\n	<li>Designed by Sanken in conjunction with NHK Science and Technical Research Laboratories</li>\n</ul>\n<br />\n<h3>Sanken CUX-100K Modes</h3>\n	Perfect for capturing the sound of room or performance space in omni mode with the option of directional cardioid near and far. Take control of your sound with the CUX-100K.\n<br /><br /><span style=\"background-color: initial;\">In <b>Omni mode</b>, which is the same as the CO-100K, the CUX-100K captures spacial and ambient sounds to perfection typically at least 5 yards from source. With a stunning response up to 100kHz the mic enables subtle nuances of the performance to enhance recordings with a clarity and depth not possible with standard microphones.</span>\n<br /><br /><span style=\"background-color: initial;\">In <b>Cardioid (Far) mode</b>, for closer recordings around 3 ~ 4 yards, the CUX-100K records a mix of moderate ambience and the main performance sources. In this mode, rear and the high frequency responses are effectively reduced, in order to reject too much ambience, to suit recordings in smaller spaces.</span>\n<br /><br /><span style=\"background-color: initial;\">In <b>Cardioid (Near) mode</b>, less than 3 feet, the CUX-100K can act as the main source mic. In order to reject some of the ambience, the frequency response is limited to 50kHz. The frequency response is flat up to 50kHz, ideal for high quality music.</span>\n<br /><br /><span style=\"background-color: initial;\">Because of the way in which analog to digital converters operate, the CUX-100K takes advantage of the heightened frequency response of the new hi-resolution digital audio formats. As X-Y, ORTF, or Decca tree overheads the CUX-100Ks excel, where fidelity is without compromise, to capture the spatial reality of a great sounding room.</span>\n<br /><br />\n<h3>Sanken CUX-100K Includes:</h3>\n<ul>\n	<li>CUX-100K Microphone</li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Vinyl Case</span></li>\n</ul>\n<br /><br />'),(9614,75,1,1603,'<h1>Sanken Chromatic CUX-100K Switchable Pattern Condenser Microphone</h1>\n<i>Super wide range professional microphone, with a frequency response of 20Hz to 100kHz and the ability to change modes with three settings: Cardioid (Far), Cardioid (Near) and Omni modes. </i><br /><br />\nThe Sanken CUX-100K super wide range professional microphone is based on the very popular single omni-mode CO-100K design, with the added ability to change polar patterns with three settings: Cardioid (Far), Cardioid (Near) and Omni modes. The CUX-100K is a truly unique design, perfect for high-resolution, high sample rate recordings. Great for truly capturing beautiful sounding instruments in acoustic spaces, but equally suited as a mic for sound effect and Foley recording.<br /><br />\n<h3>Sanken CUX-100K Mic Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">100k microphone designed specifically for professional ultra hi-def recording</span></li>\n	<li>3 modes for flexibility in recording – Omni, Cardioid (Far), Cardioid (Near)</li>\n	<li>Omni mode for ambient and spacial recording</li>\n	<li>Cardioid (Far) for ambient with source focus</li>\n	<li>Cardioid (Near) for high resolution close performance mic</li>\n	<li>20Hz to 100kHz Frequency Response – Omni and Cardioid (Far) modes</li>\n	<li>A superb high end response without the need for close miking techniques in Omni mode</li>\n	<li>Perfect for high resolution recording formats, taking advantage of the lack of artifacts as a result anti-aliasing filters</li>\n	<li>Contour of the mic and unique capsule material design are perfectly optimized for a stunning high frequency response</li>\n	<li>Excels as X-Y, ORTF, or Decca tree overheads</li>\n	<li>Designed by Sanken in conjunction with NHK Science and Technical Research Laboratories</li>\n</ul>\n<br />\n<h3>Sanken CUX-100K Modes</h3>\n	Perfect for capturing the sound of room or performance space in omni mode with the option of directional cardioid near and far. Take control of your sound with the CUX-100K.\n<br /><br /><span style=\"background-color: initial;\">In <b>Omni mode</b>, which is the same as the CO-100K, the CUX-100K captures spacial and ambient sounds to perfection typically at least 5 yards from source. With a stunning response up to 100kHz the mic enables subtle nuances of the performance to enhance recordings with a clarity and depth not possible with standard microphones.</span>\n<br /><br /><span style=\"background-color: initial;\">In <b>Cardioid (Far) mode</b>, for closer recordings around 3 ~ 4 yards, the CUX-100K records a mix of moderate ambience and the main performance sources. In this mode, rear and the high frequency responses are effectively reduced, in order to reject too much ambience, to suit recordings in smaller spaces.</span>\n<br /><br /><span style=\"background-color: initial;\">In <b>Cardioid (Near) mode</b>, less than 3 feet, the CUX-100K can act as the main source mic. In order to reject some of the ambience, the frequency response is limited to 50kHz. The frequency response is flat up to 50kHz, ideal for high quality music.</span>\n<br /><br /><span style=\"background-color: initial;\">Because of the way in which analog to digital converters operate, the CUX-100K takes advantage of the heightened frequency response of the new hi-resolution digital audio formats. As X-Y, ORTF, or Decca tree overheads the CUX-100Ks excel, where fidelity is without compromise, to capture the spatial reality of a great sounding room.</span>\n<br /><br />\n<h3>Sanken CUX-100K Includes:</h3>\n<ul>\n	<li>CUX-100K Microphone</li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Vinyl Case</span></li>\n</ul>\n<br /><br />'),(9615,85,0,1603,'Sanken Chromatic CUX-100K Switchable Pattern Condenser Microphone'),(9616,85,1,1603,'Sanken Chromatic CUX-100K Switchable Pattern Condenser Microphone'),(9617,76,0,1603,''),(9618,76,1,1603,''),(9619,75,0,1604,'The IsoBox virtually eliminates hard drive, fan and spindle noise while allowing you to keep your hands-on computer gear at arms reach. It\'s the machine room that stays with you in the room! The Studio series is available in 12, 16, 20 RU, two fan formats.\n\nTired of searching for solutions to rack mount your G5? Try our new G5 / Mac Pro slide tray, the only horizontal non invasive rack solution, that only eats up 7 RU! The G5 slide tray is available exclusively with our IsoBox Studio and Post models.\n\nShipping for this product cannot be calculated online. Please contact us for a shipping estimate.'),(9620,75,1,1604,'The IsoBox virtually eliminates hard drive, fan and spindle noise while allowing you to keep your hands-on computer gear at arms reach. It\'s the machine room that stays with you in the room! The Studio series is available in 12, 16, 20 RU, two fan formats.\n\nTired of searching for solutions to rack mount your G5? Try our new G5 / Mac Pro slide tray, the only horizontal non invasive rack solution, that only eats up 7 RU! The G5 slide tray is available exclusively with our IsoBox Studio and Post models.\n\nShipping for this product cannot be calculated online. Please contact us for a shipping estimate.'),(9621,85,0,1604,'Sound Construction IsoBox Studio 12-Space, iso-box, iso box,'),(9622,85,1,1604,'Sound Construction IsoBox Studio 12-Space, iso-box, iso box,'),(9623,76,0,1604,''),(9624,76,1,1604,''),(9625,75,0,1605,'The IsoBox virtually eliminates hard drive, fan and spindle noise while allowing you to keep your hands-on computer gear at arms reach. It\'s the machine room that stays with you in the room! The Studio series is available in 12, 16, 20 RU, two fan formats.\n\nTired of searching for solutions to rack mount your G5? Try our new G5 / Mac Pro slide tray, the only horizontal non invasive rack solution, that only eats up 7 RU! The G5 slide tray is available exclusively with our IsoBox Studio and Post models.\n\nShipping for this product cannot be calculated online. Please contact us for a shipping estimate.'),(9626,75,1,1605,'The IsoBox virtually eliminates hard drive, fan and spindle noise while allowing you to keep your hands-on computer gear at arms reach. It\'s the machine room that stays with you in the room! The Studio series is available in 12, 16, 20 RU, two fan formats.\n\nTired of searching for solutions to rack mount your G5? Try our new G5 / Mac Pro slide tray, the only horizontal non invasive rack solution, that only eats up 7 RU! The G5 slide tray is available exclusively with our IsoBox Studio and Post models.\n\nShipping for this product cannot be calculated online. Please contact us for a shipping estimate.'),(9627,85,0,1605,'Sound Construction IsoBox Studio 16-Space, iso-box, iso box,'),(9628,85,1,1605,'Sound Construction IsoBox Studio 16-Space, iso-box, iso box,'),(9629,76,0,1605,''),(9630,76,1,1605,''),(9631,75,0,1606,'The IsoBox virtually eliminates hard drive, fan and spindle noise while allowing you to keep your hands-on computer gear at arms reach. It\'s the machine room that stays with you in the room! The Studio series is available in 12, 16, 20 RU, two fan formats.\n\nTired of searching for solutions to rack mount your G5? Try our new G5 / Mac Pro slide tray, the only horizontal non invasive rack solution, that only eats up 7 RU! The G5 slide tray is available exclusively with our IsoBox Studio and Post models.\n\nShipping for this product cannot be calculated online. Please contact us for a shipping estimate.'),(9632,75,1,1606,'The IsoBox virtually eliminates hard drive, fan and spindle noise while allowing you to keep your hands-on computer gear at arms reach. It\'s the machine room that stays with you in the room! The Studio series is available in 12, 16, 20 RU, two fan formats.\n\nTired of searching for solutions to rack mount your G5? Try our new G5 / Mac Pro slide tray, the only horizontal non invasive rack solution, that only eats up 7 RU! The G5 slide tray is available exclusively with our IsoBox Studio and Post models.\n\nShipping for this product cannot be calculated online. Please contact us for a shipping estimate.'),(9633,85,0,1606,'Sound Construction IsoBox Studio 20-Space, iso-box, iso box,'),(9634,85,1,1606,'Sound Construction IsoBox Studio 20-Space, iso-box, iso box,'),(9635,76,0,1606,''),(9636,76,1,1606,''),(9637,75,0,1607,'The Sound Construction ISOPOST Rack is designed for additional heat capacity while maintaining a quiet enclosure for your rack mount equipment.\nThe term IsoPost was coined because of the heat dissipation requirements for larger server and storage systems used in Post Production but this capacity can also be used for managing servers, blade systems and power amplifiers.\nAvailable in Oak or Maple finish.\nPlease contact us for a shipping estimate.'),(9638,75,1,1607,'The Sound Construction ISOPOST Rack is designed for additional heat capacity while maintaining a quiet enclosure for your rack mount equipment.\nThe term IsoPost was coined because of the heat dissipation requirements for larger server and storage systems used in Post Production but this capacity can also be used for managing servers, blade systems and power amplifiers.\nAvailable in Oak or Maple finish.\nPlease contact us for a shipping estimate.'),(9639,85,0,1607,'Sound Construction IsoBox 14-Space IsoPost Isolation Rack'),(9640,85,1,1607,'Sound Construction IsoBox 14-Space IsoPost Isolation Rack'),(9641,76,0,1607,''),(9642,76,1,1607,''),(9643,75,0,1608,'The Sound Construction ISOPOST Rack is designed for additional heat capacity while maintaining a quiet enclosure for your rack mount equipment.\nThe term IsoPost was coined because of the heat dissipation requirements for larger server and storage systems used in Post Production but this capacity can also be used for managing servers, blade systems and power amplifiers.\nAvailable in Oak or Maple finish.\nPlease contact us for a shipping estimate.'),(9644,75,1,1608,'The Sound Construction ISOPOST Rack is designed for additional heat capacity while maintaining a quiet enclosure for your rack mount equipment.\nThe term IsoPost was coined because of the heat dissipation requirements for larger server and storage systems used in Post Production but this capacity can also be used for managing servers, blade systems and power amplifiers.\nAvailable in Oak or Maple finish.\nPlease contact us for a shipping estimate.'),(9645,85,0,1608,'Sound Construction IsoBox 18-Space IsoPost Isolation Rack, iso-box, iso box,'),(9646,85,1,1608,'Sound Construction IsoBox 18-Space IsoPost Isolation Rack, iso-box, iso box,'),(9647,76,0,1608,''),(9648,76,1,1608,''),(9649,75,0,1609,'The Sound Construction ISOPOST Rack is designed for additional heat capacity while maintaining a quiet enclosure for your rack mount equipment.\nThe term IsoPost was coined because of the heat dissipation requirements for larger server and storage systems used in Post Production but this capacity can also be used for managing servers, blade systems and power amplifiers.\nAvailable in Oak or Maple finish.\nPlease contact us for a shipping estimate.'),(9650,75,1,1609,'The Sound Construction ISOPOST Rack is designed for additional heat capacity while maintaining a quiet enclosure for your rack mount equipment.\nThe term IsoPost was coined because of the heat dissipation requirements for larger server and storage systems used in Post Production but this capacity can also be used for managing servers, blade systems and power amplifiers.\nAvailable in Oak or Maple finish.\nPlease contact us for a shipping estimate.'),(9651,85,0,1609,'Sound Construction IsoBox 24-Space IsoPost Isolation Rack, iso-box, iso box,'),(9652,85,1,1609,'Sound Construction IsoBox 24-Space IsoPost Isolation Rack, iso-box, iso box,'),(9653,76,0,1609,''),(9654,76,1,1609,''),(9655,75,0,1610,'<h1>SE Electronics sE4400a Condenser Microphone</h1>\n<i>Multi Pattern Large Diaphragm Vintage Microphone with Shockmount and Filter</i><br /><br />The SE Electronics sE4400a is a large diaphragm condenser mic featuring 4 polar patterns: Cardioid, Hypercardioid, Figure of 8 and Omni. Two bass cuts: 60Hz and 120Hz. Two pads at 10dB and 20dB. The chassis is small… very small, but still manages to house a twin diaphragm 1\" capsule and all the top grade electronics and switches. This flat, round edged chassis design allow the mic to be used flat onto a drumhead or guitar cab, or pushed through into the skin of a kick drum. It is also perfect for sung vocals and voice over work, because although it\'s the smallest mic of it\'s type, it still \'looks\' big when used full face on. It is extremely thin at less than 3/4\" and fits neatly in the palm of your hand.\n<br /><br />\nThe sE4400a has a unique, black, non-reflective, non-marking, rubberised finish which is ideal for live stage, theatre, TV and broadcast applications which require lighting.<br /><br />\n<h3>Hand Crafted Capsules</h3>\nAs with all sE mics, the 4400a\'s back-to-back brass-ringed capsules are hand-built and hand-tuned by SE\'s skilled technicians, just like any fine musical instrument.<br /><br />\n\n<h3>Custom Shockmount and Chassis</h3>\nThe flat, round-edged chassis design and custom suspension mount allow the mic to be centered within the shock, flipped around and used flat against a drum head or guitar cab, or angled outwards and pushed through inside of a kick drum. And at less than 3/4\" thick, it fits neatly in the palm of your hand, but is built to take a beating on the road.<br /><br />'),(9656,75,1,1610,'<h1>SE Electronics sE4400a Condenser Microphone</h1>\n<i>Multi Pattern Large Diaphragm Vintage Microphone with Shockmount and Filter</i><br /><br />The SE Electronics sE4400a is a large diaphragm condenser mic featuring 4 polar patterns: Cardioid, Hypercardioid, Figure of 8 and Omni. Two bass cuts: 60Hz and 120Hz. Two pads at 10dB and 20dB. The chassis is small… very small, but still manages to house a twin diaphragm 1\" capsule and all the top grade electronics and switches. This flat, round edged chassis design allow the mic to be used flat onto a drumhead or guitar cab, or pushed through into the skin of a kick drum. It is also perfect for sung vocals and voice over work, because although it\'s the smallest mic of it\'s type, it still \'looks\' big when used full face on. It is extremely thin at less than 3/4\" and fits neatly in the palm of your hand.\n<br /><br />\nThe sE4400a has a unique, black, non-reflective, non-marking, rubberised finish which is ideal for live stage, theatre, TV and broadcast applications which require lighting.<br /><br />\n<h3>Hand Crafted Capsules</h3>\nAs with all sE mics, the 4400a\'s back-to-back brass-ringed capsules are hand-built and hand-tuned by SE\'s skilled technicians, just like any fine musical instrument.<br /><br />\n\n<h3>Custom Shockmount and Chassis</h3>\nThe flat, round-edged chassis design and custom suspension mount allow the mic to be centered within the shock, flipped around and used flat against a drum head or guitar cab, or angled outwards and pushed through inside of a kick drum. And at less than 3/4\" thick, it fits neatly in the palm of your hand, but is built to take a beating on the road.<br /><br />'),(9657,85,0,1610,'SE Electronics sE4400a Condenser Microphone'),(9658,85,1,1610,'SE Electronics sE4400a Condenser Microphone'),(9659,76,0,1610,''),(9660,76,1,1610,''),(9661,75,0,1611,'<h1>SE Electronics sE4400a Condenser Microphone - Stereo Pair</h1>\n<i>Matched Stereo Pair of sE4400a Multi Pattern Large Diaphragm Vintage Microphones with Shockmount and Filter</i><br /><br />The SE Electronics sE4400a is a large diaphragm condenser mic featuring 4 polar patterns: Cardioid, Hypercardioid, Figure of 8 and Omni. Two bass cuts: 60Hz and 120Hz. Two pads at 10dB and 20dB. The chassis is small… very small, but still manages to house a twin diaphragm 1\" capsule and all the top grade electronics and switches. This flat, round edged chassis design allow the mic to be used flat onto a drumhead or guitar cab, or pushed through into the skin of a kick drum. It is also perfect for sung vocals and voice over work, because although it\'s the smallest mic of it\'s type, it still \'looks\' big when used full face on. It is extremely thin at less than 3/4\" and fits neatly in the palm of your hand.\n<br /><br />\nThe sE4400a has a unique, black, non-reflective, non-marking, rubberised finish which is ideal for live stage, theatre, TV and broadcast applications which require lighting.<br /><br />\n<h3>Hand Crafted Capsules</h3>\nAs with all sE mics, the 4400a\'s back-to-back brass-ringed capsules are hand-built and hand-tuned by SE\'s skilled technicians, just like any fine musical instrument.<br /><br />\n\n<h3>Custom Shockmount and Chassis</h3>\nThe flat, round-edged chassis design and custom suspension mount allow the mic to be centered within the shock, flipped around and used flat against a drum head or guitar cab, or angled outwards and pushed through inside of a kick drum. And at less than 3/4\" thick, it fits neatly in the palm of your hand, but is built to take a beating on the road.<br /><br />'),(9662,75,1,1611,'<h1>SE Electronics sE4400a Condenser Microphone - Stereo Pair</h1>\n<i>Matched Stereo Pair of sE4400a Multi Pattern Large Diaphragm Vintage Microphones with Shockmount and Filter</i><br /><br />The SE Electronics sE4400a is a large diaphragm condenser mic featuring 4 polar patterns: Cardioid, Hypercardioid, Figure of 8 and Omni. Two bass cuts: 60Hz and 120Hz. Two pads at 10dB and 20dB. The chassis is small… very small, but still manages to house a twin diaphragm 1\" capsule and all the top grade electronics and switches. This flat, round edged chassis design allow the mic to be used flat onto a drumhead or guitar cab, or pushed through into the skin of a kick drum. It is also perfect for sung vocals and voice over work, because although it\'s the smallest mic of it\'s type, it still \'looks\' big when used full face on. It is extremely thin at less than 3/4\" and fits neatly in the palm of your hand.\n<br /><br />\nThe sE4400a has a unique, black, non-reflective, non-marking, rubberised finish which is ideal for live stage, theatre, TV and broadcast applications which require lighting.<br /><br />\n<h3>Hand Crafted Capsules</h3>\nAs with all sE mics, the 4400a\'s back-to-back brass-ringed capsules are hand-built and hand-tuned by SE\'s skilled technicians, just like any fine musical instrument.<br /><br />\n\n<h3>Custom Shockmount and Chassis</h3>\nThe flat, round-edged chassis design and custom suspension mount allow the mic to be centered within the shock, flipped around and used flat against a drum head or guitar cab, or angled outwards and pushed through inside of a kick drum. And at less than 3/4\" thick, it fits neatly in the palm of your hand, but is built to take a beating on the road.<br /><br />'),(9663,85,0,1611,'SE Electronics sE4400a Stereo Pair'),(9664,85,1,1611,'SE Electronics sE4400a Stereo Pair'),(9665,76,0,1611,''),(9666,76,1,1611,''),(9667,75,0,1612,'<h1>SE Electronics Gemini II Tube Condenser Microphone</h1>\n<i>Dual Tube Cardioid Condenser Microphone with Shockmount and Case</i><br /><br />The SE Electronics Gemini II dual valve microphone is sE Electronics ultimate design. A no holds barred piece of microphone history. The dual valve design means pure valve warmth from the 12AX7 input valve coupled with a 12AU7 valve on the output stage in place of the traditional transformer. The result is an incredibly large detailed and intimate sound reminiscent of the classic valve microphones from decades ago, but with all of the top end you\'d normally associate with the best solid state mics on the market.<br /><br />\nThe Gemini II now has a 10dB pad and bass cut, a hand built, brushed Aluminium PSU and lower s/n ratio than its predecessor. If you are after something that extra bit special you really must hear this microphone. Prepare to be amazed.\n<br /><br />\n<h3>Dual-Tube Design</h3>\nMost microphones use a transformer to optimize the mic\'s output impedance and couple the mic to the mic preamplifier. With the Gemini II, this optimization is accomplished with a second vacuum tube, negating any high-frequency rolloff typically incurred with a transformer.\n<br /><br />\nThis provides the Gemini II with a sparkling, pristine high-end typically only found in the most expensive solid-state microphones, while maintaining the rich, thick tonality of a tube mic.<br /><br />\n<h3>Handcrafted Capsule</h3>\nThe Gemini II has a 1/4” capsule that is handcrafted and individually tuned in SE\'s very own factory. \n<br /><br />\nThanks to a larger-than-life capsule, true condenser technology and ultra-precision parts, the Gemini II delivers a massive sound right out of the box. In addition, the Gemini II’s hand-made metal housing and gold-sputtered diaphragms, ensure maximum reliability in any and all sonic settings.<br /><br />'),(9668,75,1,1612,'<h1>SE Electronics Gemini II Tube Condenser Microphone</h1>\n<i>Dual Tube Cardioid Condenser Microphone with Shockmount and Case</i><br /><br />The SE Electronics Gemini II dual valve microphone is sE Electronics ultimate design. A no holds barred piece of microphone history. The dual valve design means pure valve warmth from the 12AX7 input valve coupled with a 12AU7 valve on the output stage in place of the traditional transformer. The result is an incredibly large detailed and intimate sound reminiscent of the classic valve microphones from decades ago, but with all of the top end you\'d normally associate with the best solid state mics on the market.<br /><br />\nThe Gemini II now has a 10dB pad and bass cut, a hand built, brushed Aluminium PSU and lower s/n ratio than its predecessor. If you are after something that extra bit special you really must hear this microphone. Prepare to be amazed.\n<br /><br />\n<h3>Dual-Tube Design</h3>\nMost microphones use a transformer to optimize the mic\'s output impedance and couple the mic to the mic preamplifier. With the Gemini II, this optimization is accomplished with a second vacuum tube, negating any high-frequency rolloff typically incurred with a transformer.\n<br /><br />\nThis provides the Gemini II with a sparkling, pristine high-end typically only found in the most expensive solid-state microphones, while maintaining the rich, thick tonality of a tube mic.<br /><br />\n<h3>Handcrafted Capsule</h3>\nThe Gemini II has a 1/4” capsule that is handcrafted and individually tuned in SE\'s very own factory. \n<br /><br />\nThanks to a larger-than-life capsule, true condenser technology and ultra-precision parts, the Gemini II delivers a massive sound right out of the box. In addition, the Gemini II’s hand-made metal housing and gold-sputtered diaphragms, ensure maximum reliability in any and all sonic settings.<br /><br />'),(9669,85,0,1612,'SE Electronics Gemini II Condenser Microphone'),(9670,85,1,1612,'SE Electronics Gemini II Condenser Microphone'),(9671,76,0,1612,''),(9672,76,1,1612,''),(9673,75,0,1613,'<h1>SE Electronics RN17 Rupert Neve Small Diaphragm Instrument Microphone</h1>\n<i>Small Diaphragm Microphone with Changeable Capsules, Includes Cardioid Capsule, Shockmount and Custom Case.</i><br /><br />The sE Rupert Neve RN17 small diaphragm condenser mic was designed and built by sE Electronics and Mr. Rupert Neve himself. The sE RN17 is the world\'s first pencil microphone with a large scale, hand wound, ultra high performance transformer.\n<br /><br />\nThe definition and detail from the capsule is incredible, made more so by the headroom afforded by the Rupert Neve transformer. Combined with a newly developed 17mm capsule from sE, the world\'s smallest production gold sputtered Mylar capsule, the result is truly magnificent. The combined effect is one of exceptional clarity, with a wonderfully silky finish.<br /><br />\nThe sE RN17 ships with a cardioid capsule, in a beautiful wooden presentation case, and with 5 canisters to hold the cardioid capsule shipped with the mic, and further supercardioid, omni, hypercardioid and figure of 8 capsules which are available to purchase separately. The whole system is packaged in a signature series flight-case with a custom shock mount, and is also avalable as a stereo pair.<br /><br />\n<h3>Small Diaphragm</h3>\nWith a 15mm diaphragm (the world\'s smallest production gold-sputtered diaphragm), the transient response of the RN17 is unparalleled.\n<br /><br />\nSuch a small capsule reacts extremely quickly, and is therefore adept at picking up the most delicate of high-frequency content.<br /><br />\nHowever, a tiny diaphragm usually results in a lack of low-frequency response. How to counter this?<br /><br />\n<h3>Massive Transformer</h3>\nMade obvious by the unusual chassis shape, the RN17\'s transformer is substantially larger than the norm. This full-scale transformer was custom-designed by Rupert Neve specifically for this microphone - and nobody has been designing audio transformers longer (or better) than Rupert Neve.\n<br /><br />\nWith an audio transformer of this magnitude, the RN17 is able to put out astonishing clarity across ALL frequencies - not just the highs. The midrange is detailed and forward, the lows are full and accurate, and the whole microphone has a balance and headroom never before achieved with a small-capsule microphone.<br /><br />\n<h3>Matte Black Finish</h3>\nThe matte black finish minimizes the level of visual attention drawn to the microphone when used on stage or in the studio, allowing it to blend into the background.\n<br /><br />\n<h3>Additional Capsules</h3>\nThe RN17 ships standard with a cardioid capsule, but an omnidirectional capsule is also available for purchase separately.\n<br /><br />\n<h3>Custom Shock Mount</h3>\nEvery RN17 includes a custom-designed, sturdy, protective, and easy-to-use shock mount, which is essential to reducing the unwanted effects of vibration or knocks to the supporting microphone stand.\n<br /><br />'),(9674,75,1,1613,'<h1>SE Electronics RN17 Rupert Neve Small Diaphragm Instrument Microphone</h1>\n<i>Small Diaphragm Microphone with Changeable Capsules, Includes Cardioid Capsule, Shockmount and Custom Case.</i><br /><br />The sE Rupert Neve RN17 small diaphragm condenser mic was designed and built by sE Electronics and Mr. Rupert Neve himself. The sE RN17 is the world\'s first pencil microphone with a large scale, hand wound, ultra high performance transformer.\n<br /><br />\nThe definition and detail from the capsule is incredible, made more so by the headroom afforded by the Rupert Neve transformer. Combined with a newly developed 17mm capsule from sE, the world\'s smallest production gold sputtered Mylar capsule, the result is truly magnificent. The combined effect is one of exceptional clarity, with a wonderfully silky finish.<br /><br />\nThe sE RN17 ships with a cardioid capsule, in a beautiful wooden presentation case, and with 5 canisters to hold the cardioid capsule shipped with the mic, and further supercardioid, omni, hypercardioid and figure of 8 capsules which are available to purchase separately. The whole system is packaged in a signature series flight-case with a custom shock mount, and is also avalable as a stereo pair.<br /><br />\n<h3>Small Diaphragm</h3>\nWith a 15mm diaphragm (the world\'s smallest production gold-sputtered diaphragm), the transient response of the RN17 is unparalleled.\n<br /><br />\nSuch a small capsule reacts extremely quickly, and is therefore adept at picking up the most delicate of high-frequency content.<br /><br />\nHowever, a tiny diaphragm usually results in a lack of low-frequency response. How to counter this?<br /><br />\n<h3>Massive Transformer</h3>\nMade obvious by the unusual chassis shape, the RN17\'s transformer is substantially larger than the norm. This full-scale transformer was custom-designed by Rupert Neve specifically for this microphone - and nobody has been designing audio transformers longer (or better) than Rupert Neve.\n<br /><br />\nWith an audio transformer of this magnitude, the RN17 is able to put out astonishing clarity across ALL frequencies - not just the highs. The midrange is detailed and forward, the lows are full and accurate, and the whole microphone has a balance and headroom never before achieved with a small-capsule microphone.<br /><br />\n<h3>Matte Black Finish</h3>\nThe matte black finish minimizes the level of visual attention drawn to the microphone when used on stage or in the studio, allowing it to blend into the background.\n<br /><br />\n<h3>Additional Capsules</h3>\nThe RN17 ships standard with a cardioid capsule, but an omnidirectional capsule is also available for purchase separately.\n<br /><br />\n<h3>Custom Shock Mount</h3>\nEvery RN17 includes a custom-designed, sturdy, protective, and easy-to-use shock mount, which is essential to reducing the unwanted effects of vibration or knocks to the supporting microphone stand.\n<br /><br />'),(9675,85,0,1613,'SE Electronics RN17 Rupert Neve Small Diaphragm Instrument Microphone'),(9676,85,1,1613,'SE Electronics RN17 Rupert Neve Small Diaphragm Instrument Microphone'),(9677,76,0,1613,''),(9678,76,1,1613,''),(9679,75,0,1614,'<h1>SE Electronics RN17 Rupert Neve Small Diaphragm Instrument Microphone</h1>\n<i>Matched Stereo Pair of Small Diaphragm Microphones with Changeable Capsules, Includes Cardioid Capsule, Shockmount and Custom Case.</i><br /><br />The sE Rupert Neve RN17 small diaphragm condenser mic was designed and built by sE Electronics and Mr. Rupert Neve himself. The sE RN17 is the world\'s first pencil microphone with a large scale, hand wound, ultra high performance transformer.\n<br /><br />\nThe definition and detail from the capsule is incredible, made more so by the headroom afforded by the Rupert Neve transformer. Combined with a newly developed 17mm capsule from sE, the world\'s smallest production gold sputtered Mylar capsule, the result is truly magnificent. The combined effect is one of exceptional clarity, with a wonderfully silky finish.<br /><br />\nThe sE RN17 ships with a cardioid capsule, in a beautiful wooden presentation case, and with 5 canisters to hold the cardioid capsule shipped with the mic, and further supercardioid, omni, hypercardioid and figure of 8 capsules which are available to purchase separately. The whole system is packaged in a signature series flight-case with a custom shock mount, and is also avalable as a stereo pair.<br /><br />\n<h3>Small Diaphragm</h3>\nWith a 15mm diaphragm (the world\'s smallest production gold-sputtered diaphragm), the transient response of the RN17 is unparalleled.\n<br /><br />\nSuch a small capsule reacts extremely quickly, and is therefore adept at picking up the most delicate of high-frequency content.<br /><br />\nHowever, a tiny diaphragm usually results in a lack of low-frequency response. How to counter this?<br /><br />\n<h3>Massive Transformer</h3>\nMade obvious by the unusual chassis shape, the RN17\'s transformer is substantially larger than the norm. This full-scale transformer was custom-designed by Rupert Neve specifically for this microphone - and nobody has been designing audio transformers longer (or better) than Rupert Neve.\n<br /><br />\nWith an audio transformer of this magnitude, the RN17 is able to put out astonishing clarity across ALL frequencies - not just the highs. The midrange is detailed and forward, the lows are full and accurate, and the whole microphone has a balance and headroom never before achieved with a small-capsule microphone.<br /><br />\n<h3>Matte Black Finish</h3>\nThe matte black finish minimizes the level of visual attention drawn to the microphone when used on stage or in the studio, allowing it to blend into the background.\n<br /><br />\n<h3>Additional Capsules</h3>\nThe RN17 ships standard with a cardioid capsule, but an omnidirectional capsule is also available for purchase separately.\n<br /><br />\n<h3>Custom Shock Mount</h3>\nEvery RN17 includes a custom-designed, sturdy, protective, and easy-to-use shock mount, which is essential to reducing the unwanted effects of vibration or knocks to the supporting microphone stand.\n<br /><br />'),(9680,75,1,1614,'<h1>SE Electronics RN17 Rupert Neve Small Diaphragm Instrument Microphone</h1>\n<i>Matched Stereo Pair of Small Diaphragm Microphones with Changeable Capsules, Includes Cardioid Capsule, Shockmount and Custom Case.</i><br /><br />The sE Rupert Neve RN17 small diaphragm condenser mic was designed and built by sE Electronics and Mr. Rupert Neve himself. The sE RN17 is the world\'s first pencil microphone with a large scale, hand wound, ultra high performance transformer.\n<br /><br />\nThe definition and detail from the capsule is incredible, made more so by the headroom afforded by the Rupert Neve transformer. Combined with a newly developed 17mm capsule from sE, the world\'s smallest production gold sputtered Mylar capsule, the result is truly magnificent. The combined effect is one of exceptional clarity, with a wonderfully silky finish.<br /><br />\nThe sE RN17 ships with a cardioid capsule, in a beautiful wooden presentation case, and with 5 canisters to hold the cardioid capsule shipped with the mic, and further supercardioid, omni, hypercardioid and figure of 8 capsules which are available to purchase separately. The whole system is packaged in a signature series flight-case with a custom shock mount, and is also avalable as a stereo pair.<br /><br />\n<h3>Small Diaphragm</h3>\nWith a 15mm diaphragm (the world\'s smallest production gold-sputtered diaphragm), the transient response of the RN17 is unparalleled.\n<br /><br />\nSuch a small capsule reacts extremely quickly, and is therefore adept at picking up the most delicate of high-frequency content.<br /><br />\nHowever, a tiny diaphragm usually results in a lack of low-frequency response. How to counter this?<br /><br />\n<h3>Massive Transformer</h3>\nMade obvious by the unusual chassis shape, the RN17\'s transformer is substantially larger than the norm. This full-scale transformer was custom-designed by Rupert Neve specifically for this microphone - and nobody has been designing audio transformers longer (or better) than Rupert Neve.\n<br /><br />\nWith an audio transformer of this magnitude, the RN17 is able to put out astonishing clarity across ALL frequencies - not just the highs. The midrange is detailed and forward, the lows are full and accurate, and the whole microphone has a balance and headroom never before achieved with a small-capsule microphone.<br /><br />\n<h3>Matte Black Finish</h3>\nThe matte black finish minimizes the level of visual attention drawn to the microphone when used on stage or in the studio, allowing it to blend into the background.\n<br /><br />\n<h3>Additional Capsules</h3>\nThe RN17 ships standard with a cardioid capsule, but an omnidirectional capsule is also available for purchase separately.\n<br /><br />\n<h3>Custom Shock Mount</h3>\nEvery RN17 includes a custom-designed, sturdy, protective, and easy-to-use shock mount, which is essential to reducing the unwanted effects of vibration or knocks to the supporting microphone stand.\n<br /><br />'),(9681,85,0,1614,'SE Electronics RN17 Rupert Neve Small Diaphragm Instrument Microphone Stereo Pair'),(9682,85,1,1614,'SE Electronics RN17 Rupert Neve Small Diaphragm Instrument Microphone Stereo Pair'),(9683,76,0,1614,''),(9684,76,1,1614,''),(9685,75,0,1615,'<h1> SE Electronics RNR1 Active Ribbon Microphone</h1>\nThe sE Rupert Neve RNR1is the World\'s First HF Active Ribbon Mic. For many decades ribbon mics have been used by engineers for their extremely natural sounding reproduction of source material. The nature of their performance differs greatly from condenser mics, which by comparison sound very \'up front\' and lack the harmonic depth of a good ribbon.\n<br/><br/>\nEven at the high end of the market, the customary roll-off of almost all the top end frequencies has always been a major drawback. The frustration with all ribbons is - depending on the model - little or no performance past 7-10KHz, which is why condenser mics dominate the recording market.<br/><br/>\nThe traditional appeal of the condenser then has been the assumption of consistent frequency response from 20Hz to 20KHz. The pay-off of course is that these mics require a certain degree of circuit board magic to achieve this, since the taughtness of the diaphragm - compared with relatively slack ribbon membranes - means condensers tend to be more \'coloured\' in their sound.<br/><br/>\nTraditionally engineers using ribbons, however expensive, have had to accept their significant limitations or have had to augment the recording with a condenser mic to capture the high frequency absent from the ribbon output.<br/><br/>\nSuch compromises have meant that ribbons have never been very widely accepted or used as a first choice for recording.<br/><br/>\n<h3>Custom Transformers</h3>\nNobody knows audio transformers better than Rupert Neve, and ribbon mics require more transformer attention than any other. This is because the transformer that couples the ribbon to the output needs to accomplish a fairly massive impedance conversion.\n<br/><br/>\nWith the RNR1, two custom Rupert Neve-designed transformers form the buffer between the ribbon and the outside world. The circuitry between those transformers helps maintain the ultra-wide frequency response, compensating for the ribbon\'s natural predisposition to roll it off, and thus high-frequency content is preserved.\nView fullsize\n<br/><br/>\n<h3>The Ribbon</h3>\nDuring the RNR1\'s development, a full year was spent working on crafting a ribbon element that would provide the extended response that Mr. Neve demanded.\n<br/><br/>\nAfter experimenting with ribbon materials available from all corners of the world, the design team landed on the 2.5µm aluminum ribbon used in the RNR1, striking the perfect balance of flexibility and stiffness needed for this microphone\'s exceptional performance.<br/><br/>\n<h3>Precision Machine Body</h3>\nAs with many sE microphones, the RNR1 has an unusual and bold design aesthetic, with the form following the function.\n<br/><br/>\nThe precision-machined and scalloped edges don\'t just look vibrant and dramatic, they have also been custom-designed to provide the ribbon with an acoustically ideal setting for the best possible frequency response.<br/><br/>\n<h3>Matte Black Finish</h3>\nThe matte black finish means the mic remains unobtrusive and doesn\'t draw any unnecessary attention to itself under harsh stage or studio lighting.\n<br/><br/>\n<h3>Custom Shock Mount</h3>\nThe RNR1 includes a custom-designed and easy-to-use shock mount, which is essential in use to reduce the unwanted effects of vibration or knocks to the supporting microphone stand.\n<br/><br/>'),(9686,75,1,1615,'<h1> SE Electronics RNR1 Active Ribbon Microphone</h1>\nThe sE Rupert Neve RNR1is the World\'s First HF Active Ribbon Mic. For many decades ribbon mics have been used by engineers for their extremely natural sounding reproduction of source material. The nature of their performance differs greatly from condenser mics, which by comparison sound very \'up front\' and lack the harmonic depth of a good ribbon.\n<br/><br/>\nEven at the high end of the market, the customary roll-off of almost all the top end frequencies has always been a major drawback. The frustration with all ribbons is - depending on the model - little or no performance past 7-10KHz, which is why condenser mics dominate the recording market.<br/><br/>\nThe traditional appeal of the condenser then has been the assumption of consistent frequency response from 20Hz to 20KHz. The pay-off of course is that these mics require a certain degree of circuit board magic to achieve this, since the taughtness of the diaphragm - compared with relatively slack ribbon membranes - means condensers tend to be more \'coloured\' in their sound.<br/><br/>\nTraditionally engineers using ribbons, however expensive, have had to accept their significant limitations or have had to augment the recording with a condenser mic to capture the high frequency absent from the ribbon output.<br/><br/>\nSuch compromises have meant that ribbons have never been very widely accepted or used as a first choice for recording.<br/><br/>\n<h3>Custom Transformers</h3>\nNobody knows audio transformers better than Rupert Neve, and ribbon mics require more transformer attention than any other. This is because the transformer that couples the ribbon to the output needs to accomplish a fairly massive impedance conversion.\n<br/><br/>\nWith the RNR1, two custom Rupert Neve-designed transformers form the buffer between the ribbon and the outside world. The circuitry between those transformers helps maintain the ultra-wide frequency response, compensating for the ribbon\'s natural predisposition to roll it off, and thus high-frequency content is preserved.\nView fullsize\n<br/><br/>\n<h3>The Ribbon</h3>\nDuring the RNR1\'s development, a full year was spent working on crafting a ribbon element that would provide the extended response that Mr. Neve demanded.\n<br/><br/>\nAfter experimenting with ribbon materials available from all corners of the world, the design team landed on the 2.5µm aluminum ribbon used in the RNR1, striking the perfect balance of flexibility and stiffness needed for this microphone\'s exceptional performance.<br/><br/>\n<h3>Precision Machine Body</h3>\nAs with many sE microphones, the RNR1 has an unusual and bold design aesthetic, with the form following the function.\n<br/><br/>\nThe precision-machined and scalloped edges don\'t just look vibrant and dramatic, they have also been custom-designed to provide the ribbon with an acoustically ideal setting for the best possible frequency response.<br/><br/>\n<h3>Matte Black Finish</h3>\nThe matte black finish means the mic remains unobtrusive and doesn\'t draw any unnecessary attention to itself under harsh stage or studio lighting.\n<br/><br/>\n<h3>Custom Shock Mount</h3>\nThe RNR1 includes a custom-designed and easy-to-use shock mount, which is essential in use to reduce the unwanted effects of vibration or knocks to the supporting microphone stand.\n<br/><br/>'),(9687,85,0,1615,'SE Electronics RNR1 Ribbon Microphone'),(9688,85,1,1615,'SE Electronics RNR1 Ribbon Microphone'),(9689,76,0,1615,''),(9690,76,1,1615,''),(9691,75,0,1616,'<h1> SE Electronics RNT Multi Pattern Tube Microphone</h1>\nThe sE Electronics RNT is a Multi Pattern Tube Microphone that utilizes fully discrete, Class-A electronics throughout both of its active stages. The first \n<span style=\"background-color: initial;\">stage is tube-based, with a hand-selected, low-noise 12AU7 tube within the microphone chassis, </span><span style=\"background-color: initial;\">and implementing a custom-built Rupert Neve Designs output transformer. The second stage is </span><span style=\"background-color: initial;\">within the floor box – which also controls polar pattern, filter and gain switching – and is built around </span><span style=\"background-color: initial;\">the same custom op-amps used in Rupert Neve Designs’ flagship 5088 recording console, known </span><span style=\"background-color: initial;\">worldwide for its unrivaled transparency and headroom. This second stage is also coupled with a </span><span style=\"background-color: initial;\">second custom-made Rupert Neve Designs output transformer.</span>\n<br /><br />\nThe custom handcrafted large diaphragm true condenser capsule is sE’s finest capsule yet, born <span style=\"background-color: initial;\">from years of rigorous testing and listening, and developed and constructed by hand in sE’s own </span><span style=\"background-color: initial;\">factory. The Class-A electronics and switchable gain ensure a massive dynamic range, with high </span><span style=\"background-color: initial;\">sound pressure level (SPL) handling capability and extremely low-noise components, and the </span><span style=\"background-color: initial;\">switchable low-cut filters eliminate rumble or footfall noise, and can also compensate for an excess </span><span style=\"background-color: initial;\">of bass frequencies caused by the proximity effect. This enables the RNT to close-mic many </span><span style=\"background-color: initial;\">instruments including electric guitar speaker cabinets, brass instruments and drums. Lastly, the 9-</span><span style=\"background-color: initial;\">position polar pattern switch allows for omnidirectional, cardioid, and figure-eight pickup patterns - </span><span style=\"background-color: initial;\">and several positions in between each – for precise tailoring of the balance between direct and </span><span style=\"background-color: initial;\">ambient sound when recording with the RNT.</span>\n<br /><br />\nReliable operation is ensured by the sturdy all-metal design, robust construction, and high-quality <span style=\"background-color: initial;\">manufacturing standards. A high-quality metal case is also included.</span>\n<br /><br />\n<h3><span style=\"background-color: initial;\">INSIDE THE MICROPHONE</span></h3>\n<span style=\"background-color: initial;\"></span>\n<h4>HAND-CRAFTED, GOLD-SPUTTERED 1\" TRUE CONDENSER CAPSULE</h4>\n<ul>\n	<li>The finest and most complex capsule sE has ever built</li>\n	<li>Hand-crafted and individually tuned in our very own factory</li>\n	<li>Refined electrode design delivers supremely natural sound quality</li>\n</ul>\n<br />\n<h4>NINE SELECTABLE POLAR PATTERNS</h4>\n<ul>\n	<li>Precisely-tuned dual-diaphragm capsule design allows you to choose the perfect setting for every application</li>\n	<li>Minimize unwanted signal bleed with ease</li>\n</ul>\n<br />\n<h4>HAND-SELECTED ECC82 TUBE & CUSTOM RUPERT NEVE DESIGNS AUDIO TRANSFORMER</h4>\n<ul>\n	<li>Each microphone-grade tube is carefully selected and pretested in-house</li>\n	<li>Allows for stunning realism and depth in recordings</li>\n	<li>Unique tube circuit design optimized for driving the first custom-made transformer</li>\n</ul>\n<br />\n<h4>HAND-CRAFTED METAL HOUSING WITH PREMIUM FINISH</h4>\n<ul>\n	<li>All-metal construction built with highest attention to detail</li>\n	<li>Efficient rejection of any electrical interference and noise</li>\n	<li>High quality finish ensures a great look for many years</li>\n	<li>As with all Rupert Neve Signature Series microphones, the RNT\'s solid brass chassis is milled in SE\'s own machine shop.</li>\n</ul>\n<br />\n<h2>INSIDE THE FLOOR BOX</h2>\n<h4><span style=\"background-color: initial;\">A SECOND CUSTOM-BUILT RUPERT NEVE DESIGNS AUDIO TRANSFORMER</span></h4>\n<ul>\n	<li>Designed for sweet, musical performance and bulletproof isolation</li>\n	<li>Provides the legendary sonic character of Rupert Neve\'s famous transformers</li>\n</ul>\n<br />\n<h4>CUSTOM-MADE, DISCRETE CLASS-A RUPERT NEVE DESIGNS AMPLIFICATION</h4>\n<ul>\n	<li>Delivers the sonic character and performance expected from the world\'s most prized recording equipment</li>\n	<li>Utilizes the same operational amplifiers found in Rupert Neve Designs\' flagship 5088 console</li>\n	<li>These discrete op-amps ensure enormous headroom, ultra-wide bandwidth, zero crossover distortion, and quality without compromise</li>\n</ul>\n<br />\n<h4>ACTIVE GAIN STAGE WITH THREE SWITCHABLE LEVELS</h4>\n<ul>\n	<li>Provides 24dB of extended dynamic range for a wide range of applications</li>\n	<li>Discrete Rupert Neve Designs op-amp cards ensure pristine performance</li>\n	<li>Suitable for everything from delicate ambience recordings to close-miking of extremely loud instruments and voices </li>\n</ul>\n<br />\n<h4>TWO SWITCHABLE ACTIVE LOW-CUT FILTERS</h4>\n<ul>\n	<li>Custom Rupert Neve Designs op-amps implemented for best possible sound quality</li>\n	<li>Reduce unwanted rumble or foot-fall noise, or compensate for proximity effect</li>\n</ul><br />'),(9692,75,1,1616,'<h1> SE Electronics RNT Multi Pattern Tube Microphone</h1>\nThe sE Electronics RNT is a Multi Pattern Tube Microphone that utilizes fully discrete, Class-A electronics throughout both of its active stages. The first \n<span style=\"background-color: initial;\">stage is tube-based, with a hand-selected, low-noise 12AU7 tube within the microphone chassis, </span><span style=\"background-color: initial;\">and implementing a custom-built Rupert Neve Designs output transformer. The second stage is </span><span style=\"background-color: initial;\">within the floor box – which also controls polar pattern, filter and gain switching – and is built around </span><span style=\"background-color: initial;\">the same custom op-amps used in Rupert Neve Designs’ flagship 5088 recording console, known </span><span style=\"background-color: initial;\">worldwide for its unrivaled transparency and headroom. This second stage is also coupled with a </span><span style=\"background-color: initial;\">second custom-made Rupert Neve Designs output transformer.</span>\n<br /><br />\nThe custom handcrafted large diaphragm true condenser capsule is sE’s finest capsule yet, born <span style=\"background-color: initial;\">from years of rigorous testing and listening, and developed and constructed by hand in sE’s own </span><span style=\"background-color: initial;\">factory. The Class-A electronics and switchable gain ensure a massive dynamic range, with high </span><span style=\"background-color: initial;\">sound pressure level (SPL) handling capability and extremely low-noise components, and the </span><span style=\"background-color: initial;\">switchable low-cut filters eliminate rumble or footfall noise, and can also compensate for an excess </span><span style=\"background-color: initial;\">of bass frequencies caused by the proximity effect. This enables the RNT to close-mic many </span><span style=\"background-color: initial;\">instruments including electric guitar speaker cabinets, brass instruments and drums. Lastly, the 9-</span><span style=\"background-color: initial;\">position polar pattern switch allows for omnidirectional, cardioid, and figure-eight pickup patterns - </span><span style=\"background-color: initial;\">and several positions in between each – for precise tailoring of the balance between direct and </span><span style=\"background-color: initial;\">ambient sound when recording with the RNT.</span>\n<br /><br />\nReliable operation is ensured by the sturdy all-metal design, robust construction, and high-quality <span style=\"background-color: initial;\">manufacturing standards. A high-quality metal case is also included.</span>\n<br /><br />\n<h3><span style=\"background-color: initial;\">INSIDE THE MICROPHONE</span></h3>\n<span style=\"background-color: initial;\"></span>\n<h4>HAND-CRAFTED, GOLD-SPUTTERED 1\" TRUE CONDENSER CAPSULE</h4>\n<ul>\n	<li>The finest and most complex capsule sE has ever built</li>\n	<li>Hand-crafted and individually tuned in our very own factory</li>\n	<li>Refined electrode design delivers supremely natural sound quality</li>\n</ul>\n<br />\n<h4>NINE SELECTABLE POLAR PATTERNS</h4>\n<ul>\n	<li>Precisely-tuned dual-diaphragm capsule design allows you to choose the perfect setting for every application</li>\n	<li>Minimize unwanted signal bleed with ease</li>\n</ul>\n<br />\n<h4>HAND-SELECTED ECC82 TUBE & CUSTOM RUPERT NEVE DESIGNS AUDIO TRANSFORMER</h4>\n<ul>\n	<li>Each microphone-grade tube is carefully selected and pretested in-house</li>\n	<li>Allows for stunning realism and depth in recordings</li>\n	<li>Unique tube circuit design optimized for driving the first custom-made transformer</li>\n</ul>\n<br />\n<h4>HAND-CRAFTED METAL HOUSING WITH PREMIUM FINISH</h4>\n<ul>\n	<li>All-metal construction built with highest attention to detail</li>\n	<li>Efficient rejection of any electrical interference and noise</li>\n	<li>High quality finish ensures a great look for many years</li>\n	<li>As with all Rupert Neve Signature Series microphones, the RNT\'s solid brass chassis is milled in SE\'s own machine shop.</li>\n</ul>\n<br />\n<h2>INSIDE THE FLOOR BOX</h2>\n<h4><span style=\"background-color: initial;\">A SECOND CUSTOM-BUILT RUPERT NEVE DESIGNS AUDIO TRANSFORMER</span></h4>\n<ul>\n	<li>Designed for sweet, musical performance and bulletproof isolation</li>\n	<li>Provides the legendary sonic character of Rupert Neve\'s famous transformers</li>\n</ul>\n<br />\n<h4>CUSTOM-MADE, DISCRETE CLASS-A RUPERT NEVE DESIGNS AMPLIFICATION</h4>\n<ul>\n	<li>Delivers the sonic character and performance expected from the world\'s most prized recording equipment</li>\n	<li>Utilizes the same operational amplifiers found in Rupert Neve Designs\' flagship 5088 console</li>\n	<li>These discrete op-amps ensure enormous headroom, ultra-wide bandwidth, zero crossover distortion, and quality without compromise</li>\n</ul>\n<br />\n<h4>ACTIVE GAIN STAGE WITH THREE SWITCHABLE LEVELS</h4>\n<ul>\n	<li>Provides 24dB of extended dynamic range for a wide range of applications</li>\n	<li>Discrete Rupert Neve Designs op-amp cards ensure pristine performance</li>\n	<li>Suitable for everything from delicate ambience recordings to close-miking of extremely loud instruments and voices </li>\n</ul>\n<br />\n<h4>TWO SWITCHABLE ACTIVE LOW-CUT FILTERS</h4>\n<ul>\n	<li>Custom Rupert Neve Designs op-amps implemented for best possible sound quality</li>\n	<li>Reduce unwanted rumble or foot-fall noise, or compensate for proximity effect</li>\n</ul><br />'),(9693,85,0,1616,'SE Electronics RNT Multi Pattern Tube Microphone'),(9694,85,1,1616,'SE Electronics RNT Multi Pattern Tube Microphone'),(9695,76,0,1616,''),(9696,76,1,1616,''),(9697,75,0,1617,'<h1>SE Electronics sE2200 Large Diaphragm Cardioid Condenser Microphone</h1><i>Large Diaphragm Cardioid Condenser Microphone with Shockmount and Filter</i><br /><br />The SE Electronics sE2200 is a large diaphragm cardioid condenser microphone delivering smooth, polished sound for vocals, voiceovers, and numerous instrumental applications. State-of-the-art components and a shorter, optimized signal path provide even better noise performance & clarity, new pad & filter options increase its versatility, and the fit & finish has been updated with sE’s latest manufacturing techniques - but the sE2200 retains all the classic sound of the original.\n<br /><br />\n<h3>Handcrafted 1\" True Condenser Capsule</h3>\nAlthough the sE2200 is a cardioid-only microphone, two (instead of one) gold-sputtered diaphragms are used to ensure best possible acoustic performance.\n<br /><br />\nBuilt like the world’s finest musical instruments, every capsule is hand-crafted and individually tuned in SE\'s very own factory - and unlike other microphones with backplate or electret designs, the sE2200 features a true externally polarized condenser capsule, and therefore delivers the best possible performance in every aspect.<br /><br />\n<h3>Traditional Class-A Electronic Design</h3>\nIts carefully selected, discrete components ensure brilliant sound quality on any source. The sE2200’s design still avoids using any ICs (integrated circuits) and is built to excel – not to a standard. Low noise, consistent performance and high sensitivity is provided by state-of-the-art surface-mounted electronic components with extremely tight tolerances.\n<br /><br />\n<h3>Two Switchable Attenuation levels and Low-Cut Filters</h3>\nThe -10 dB and -20 dB pad switches provide extended dynamic range, enabling a wide variety of applications and close-mic techniques for even the loudest instruments...think super-heavy electric guitars, fortissimo brass instruments, and heavy-footed kick drums.\n<br /><br />\nSelectable at either 80Hz or 160Hz, the two low-cut filters help eliminate low-frequency rumble or footfall noise, as well as help compensate for excessive bass (proximity effect) with close-mic techniques.<br /><br />\n<h3>Custom-Built Output Transformer</h3>\nReviving the spirit of classic studio microphones, the sE2200’s custom transformer provides superb depth & weight to the overall sonic image, and the massively shielded metal housing ensures noise-free operation.\n<br /><br />\n<h3>All-Metal Housing and Premium Finish</h3>\nUnlike the cheaply constructed bodies of some other affordable microphones, the sE2200\'s all-metal chassis provides efficient rejection of any electrical interference and noise - and the high-quality finish ensures a great look for years to come.\n<br /><br />\n<h3>Gold-Plated XLR Connection</h3>\nEnsures loss-free, reliable signal connection for years and years and years and...\n<br /><br />'),(9698,75,1,1617,'<h1>SE Electronics sE2200 Large Diaphragm Cardioid Condenser Microphone</h1><i>Large Diaphragm Cardioid Condenser Microphone with Shockmount and Filter</i><br /><br />The SE Electronics sE2200 is a large diaphragm cardioid condenser microphone delivering smooth, polished sound for vocals, voiceovers, and numerous instrumental applications. State-of-the-art components and a shorter, optimized signal path provide even better noise performance & clarity, new pad & filter options increase its versatility, and the fit & finish has been updated with sE’s latest manufacturing techniques - but the sE2200 retains all the classic sound of the original.\n<br /><br />\n<h3>Handcrafted 1\" True Condenser Capsule</h3>\nAlthough the sE2200 is a cardioid-only microphone, two (instead of one) gold-sputtered diaphragms are used to ensure best possible acoustic performance.\n<br /><br />\nBuilt like the world’s finest musical instruments, every capsule is hand-crafted and individually tuned in SE\'s very own factory - and unlike other microphones with backplate or electret designs, the sE2200 features a true externally polarized condenser capsule, and therefore delivers the best possible performance in every aspect.<br /><br />\n<h3>Traditional Class-A Electronic Design</h3>\nIts carefully selected, discrete components ensure brilliant sound quality on any source. The sE2200’s design still avoids using any ICs (integrated circuits) and is built to excel – not to a standard. Low noise, consistent performance and high sensitivity is provided by state-of-the-art surface-mounted electronic components with extremely tight tolerances.\n<br /><br />\n<h3>Two Switchable Attenuation levels and Low-Cut Filters</h3>\nThe -10 dB and -20 dB pad switches provide extended dynamic range, enabling a wide variety of applications and close-mic techniques for even the loudest instruments...think super-heavy electric guitars, fortissimo brass instruments, and heavy-footed kick drums.\n<br /><br />\nSelectable at either 80Hz or 160Hz, the two low-cut filters help eliminate low-frequency rumble or footfall noise, as well as help compensate for excessive bass (proximity effect) with close-mic techniques.<br /><br />\n<h3>Custom-Built Output Transformer</h3>\nReviving the spirit of classic studio microphones, the sE2200’s custom transformer provides superb depth & weight to the overall sonic image, and the massively shielded metal housing ensures noise-free operation.\n<br /><br />\n<h3>All-Metal Housing and Premium Finish</h3>\nUnlike the cheaply constructed bodies of some other affordable microphones, the sE2200\'s all-metal chassis provides efficient rejection of any electrical interference and noise - and the high-quality finish ensures a great look for years to come.\n<br /><br />\n<h3>Gold-Plated XLR Connection</h3>\nEnsures loss-free, reliable signal connection for years and years and years and...\n<br /><br />'),(9699,85,0,1617,'SE Electronics sE2200 Large Diaphragm Cardioid Condenser Microphone'),(9700,85,1,1617,'SE Electronics sE2200 Large Diaphragm Cardioid Condenser Microphone'),(9701,76,0,1617,''),(9702,76,1,1617,''),(9703,75,0,1618,'<h1>SE Electronics sE2300 Large Diaphragm Multi Pattern Condenser Microphone</h1><i>Large Diaphragm Multi Pattern Condenser Microphone with Shockmount and Filter</i><br /><br />The SE Electronics sE2300 is the latest multi-pattern version of the award-winning 2200 condenser microphone that put sE Electronics on the map many years ago with its smooth, polished sound for vocals, voiceovers, and numerous instrumental applications. State-of-the-art components and a shorter, optimized signal path provide even better noise performance & clarity, multiple patterns and new pad & filter options increase its versatility, and the fit & finish has been updated with sE’s latest manufacturing techniques - but the sE2300 retains all the classic sound of the original.<br /><br />\n<h3>Handcrafted 1\" True Condenser Capsule</h3>Built like the world’s finest musical instruments, every capsule is hand-crafted and individually tuned in SE\'s very own factory in - and unlike other microphones with backplate or electret designs, the sE2300 features a true externally polarized condenser capsule, and therefore delivers the best possible performance in every aspect.<br /><h3>Three Selectable Polar Patterns</h3><div>The 3-position Pattern Switch is located on the rear side of the microphone, and allows the sE2300’s polar pattern to be changed from omnidirectional to cardioid to figure-eight. This allows for great control over the balance between direct and ambient sound.</div><br />\n<h3>Traditional Class-A Electronic Design</h3>\nIts carefully selected, discrete components ensure brilliant sound quality on any source. The sE2300’s design still avoids using any ICs (integrated circuits) and is built to excel – not to a standard. Low noise, consistent performance and high sensitivity is provided by state-of-the-art surface-mounted electronic components with extremely tight tolerances.<br /><br />\n<h3>Two Switchable Attenuation levels and Low-Cut Filters</h3><div>The -10 dB and -20 dB pad switches provide extended dynamic range, enabling a wide variety of applications and close-mic techniques for even the loudest instruments...think super-heavy electric guitars, fortissimo brass instruments, and heavy-footed kick drums.</div><div><br /></div><div>Selectable at either 80Hz or 160Hz, the two low-cut filters help eliminate low-frequency rumble or footfall noise, as well as help compensate for excessive bass (proximity effect) with close-mic techniques.</div><br />\n<h3>Custom-Built Output Transformer</h3>\nReviving the spirit of classic studio microphones, the sE2300’s custom transformer provides superb depth & weight to the overall sonic image, and the massively shielded metal housing ensures noise-free operation.<br /><br />\n<h3>All-Metal Housing and Premium Finish</h3>\nUnlike the cheaply constructed bodies of some other affordable microphones, the sE2300\'s all-metal chassis provides efficient rejection of any electrical interference and noise - and the high-quality finish ensures a great look for years to come.\n<br /><br />\n<h3>Gold-Plated XLR Connection</h3>\nEnsures loss-free, reliable signal connection for years and years and years and...\n<br /><br />'),(9704,75,1,1618,'<h1>SE Electronics sE2300 Large Diaphragm Multi Pattern Condenser Microphone</h1><i>Large Diaphragm Multi Pattern Condenser Microphone with Shockmount and Filter</i><br /><br />The SE Electronics sE2300 is the latest multi-pattern version of the award-winning 2200 condenser microphone that put sE Electronics on the map many years ago with its smooth, polished sound for vocals, voiceovers, and numerous instrumental applications. State-of-the-art components and a shorter, optimized signal path provide even better noise performance & clarity, multiple patterns and new pad & filter options increase its versatility, and the fit & finish has been updated with sE’s latest manufacturing techniques - but the sE2300 retains all the classic sound of the original.<br /><br />\n<h3>Handcrafted 1\" True Condenser Capsule</h3>Built like the world’s finest musical instruments, every capsule is hand-crafted and individually tuned in SE\'s very own factory in - and unlike other microphones with backplate or electret designs, the sE2300 features a true externally polarized condenser capsule, and therefore delivers the best possible performance in every aspect.<br /><h3>Three Selectable Polar Patterns</h3><div>The 3-position Pattern Switch is located on the rear side of the microphone, and allows the sE2300’s polar pattern to be changed from omnidirectional to cardioid to figure-eight. This allows for great control over the balance between direct and ambient sound.</div><br />\n<h3>Traditional Class-A Electronic Design</h3>\nIts carefully selected, discrete components ensure brilliant sound quality on any source. The sE2300’s design still avoids using any ICs (integrated circuits) and is built to excel – not to a standard. Low noise, consistent performance and high sensitivity is provided by state-of-the-art surface-mounted electronic components with extremely tight tolerances.<br /><br />\n<h3>Two Switchable Attenuation levels and Low-Cut Filters</h3><div>The -10 dB and -20 dB pad switches provide extended dynamic range, enabling a wide variety of applications and close-mic techniques for even the loudest instruments...think super-heavy electric guitars, fortissimo brass instruments, and heavy-footed kick drums.</div><div><br /></div><div>Selectable at either 80Hz or 160Hz, the two low-cut filters help eliminate low-frequency rumble or footfall noise, as well as help compensate for excessive bass (proximity effect) with close-mic techniques.</div><br />\n<h3>Custom-Built Output Transformer</h3>\nReviving the spirit of classic studio microphones, the sE2300’s custom transformer provides superb depth & weight to the overall sonic image, and the massively shielded metal housing ensures noise-free operation.<br /><br />\n<h3>All-Metal Housing and Premium Finish</h3>\nUnlike the cheaply constructed bodies of some other affordable microphones, the sE2300\'s all-metal chassis provides efficient rejection of any electrical interference and noise - and the high-quality finish ensures a great look for years to come.\n<br /><br />\n<h3>Gold-Plated XLR Connection</h3>\nEnsures loss-free, reliable signal connection for years and years and years and...\n<br /><br />'),(9705,85,0,1618,'SE Electronics sE2300 Large Diaphragm Multi Pattern Condenser Microphone'),(9706,85,1,1618,'SE Electronics sE2300 Large Diaphragm Multi Pattern Condenser Microphone'),(9707,76,0,1618,''),(9708,76,1,1618,''),(9709,75,0,1619,'<h1>SE Electronics sE8 Small Diaphragm Condenser Microphone</h1>\n<i>Small Diaphragm Condenser Microphone with Gold Sputtered Diaphragm</i><br/><br/>The SE Electronics \n<span style=\"background-color: initial;\">sE8 is a high-quality small diaphragm condenser microphone intended for a wide range of</span>\nstudio and live sound applications, from acoustic guitars to pianos to drums and beyond. Thanks <span style=\"background-color: initial;\">to its custom design, hand-crafted true condenser capsule, and transformerless output, it delivers </span><span style=\"background-color: initial;\">pristine sound quality and an even, well-balanced frequency response.</span>\n<br/><br/>\nThe electronics and the switchable attenuation pads ensure a high dynamic range, with high <span style=\"background-color: initial;\">sound pressure level (SPL) handling capability and extremely low-noise components. The </span><span style=\"background-color: initial;\">switchable low-cut filters eliminate rumble or footfall noise, and can also compensate for an </span><span style=\"background-color: initial;\">excess of bass frequencies caused by the proximity effect. This enables the sE8 to close-mic </span><span style=\"background-color: initial;\">many instruments including electric guitar speaker cabinets, brass instruments and drums.</span>\n<br/><br/>\nReliable operation even in demanding on-stage applications in difficult environments is ensured by <span style=\"background-color: initial;\">the roadworthy all-metal design, robust construction, and high-quality manufacturing standards.</span>\n<br/><br/>\n<h3><span style=\"background-color: initial;\">HANDCRAFTED TRUE CONDENSER CAPSULE</span></h3>\n<span style=\"background-color: initial;\"></span>\n<ul>\n	<li>gold-sputtered diaphragms ensure maximum reliability</li>\n	<li>every capsule is handcrafted and individually tuned in our very own factory</li>\n	<li>ultra-precision electrode design optimized for superb linearity and natural sonics</li>\n	<li>ultra-thin 3 micron gold-sputtered diaphragm for superior transients</li>\n	<li>newly-developed backplate design provides smooth, natural sound & truly consistent off-axis response</li>\n	<li>sophisticated acoustic design with precision components</li>\n	<li>avoids coloration in demanding applications</li>\n</ul>\n<br/>\n<h3>THE QUIETEST PENCIL MIC IN ITS CLASS</h3>\n<ul>\n	<li>sophisticated electronic design provides extremely low noise without the use of integrated circuits</li>\n	<li>transformerless design for excellent transparency and clarity</li>\n	<li>proven Class-A circuitry ensures a high dynamic range without distortion and brilliant transient response</li>\n</ul>\n<br/>\n<h3>TWO SWITCHABLE PRE-ATTENUATION PADS</h3>\n<div>\n	The -10 dB and -20 dB pad switches provide extended dynamic range, enabling a wide range of applications and close-mic techniques for brass instruments, snare drums, and more.\n</div>\n<div>\n	<br/>\n</div>\n<h3>TWO SWITCHABLE LOW-CUT FILTERS</h3>\n<div>\n	Selectable at either 80Hz or 160Hz, these two filters help eliminate low-frequency rumble or footfall noise, as well as help compensate for excessive bass (proximity effect) with close-mic techniques.\n</div>\n<div>\n	<br/>\n</div>\n<h3>ALL-METAL HOUSING WITH GOLD-PLATED XLR CONNECTOR, PREMIUM FINISH & ACCESSORIES</h3>\n<div>\n	<span style=\"background-color: initial;\">Unlike the cheaply constructed bodies of some small-capsule microphones, the sE8\'s all-metal chassis provides efficient rejection of any electrical interference and noise - and the high-quality finish and gold-plated XLR connector ensures a great look and a loss-free, reliable signal connection for years to come.</span>\n</div>\n<div>\n	<br/>\n</div>\n<div>\n	The sE8 also comes standard with a newly-designed mic clip that will securely attach it to any mic stand.\n</div>'),(9710,75,1,1619,'<h1>SE Electronics sE8 Small Diaphragm Condenser Microphone</h1>\n<i>Small Diaphragm Condenser Microphone with Gold Sputtered Diaphragm</i><br/><br/>The SE Electronics \n<span style=\"background-color: initial;\">sE8 is a high-quality small diaphragm condenser microphone intended for a wide range of</span>\nstudio and live sound applications, from acoustic guitars to pianos to drums and beyond. Thanks <span style=\"background-color: initial;\">to its custom design, hand-crafted true condenser capsule, and transformerless output, it delivers </span><span style=\"background-color: initial;\">pristine sound quality and an even, well-balanced frequency response.</span>\n<br/><br/>\nThe electronics and the switchable attenuation pads ensure a high dynamic range, with high <span style=\"background-color: initial;\">sound pressure level (SPL) handling capability and extremely low-noise components. The </span><span style=\"background-color: initial;\">switchable low-cut filters eliminate rumble or footfall noise, and can also compensate for an </span><span style=\"background-color: initial;\">excess of bass frequencies caused by the proximity effect. This enables the sE8 to close-mic </span><span style=\"background-color: initial;\">many instruments including electric guitar speaker cabinets, brass instruments and drums.</span>\n<br/><br/>\nReliable operation even in demanding on-stage applications in difficult environments is ensured by <span style=\"background-color: initial;\">the roadworthy all-metal design, robust construction, and high-quality manufacturing standards.</span>\n<br/><br/>\n<h3><span style=\"background-color: initial;\">HANDCRAFTED TRUE CONDENSER CAPSULE</span></h3>\n<span style=\"background-color: initial;\"></span>\n<ul>\n	<li>gold-sputtered diaphragms ensure maximum reliability</li>\n	<li>every capsule is handcrafted and individually tuned in our very own factory</li>\n	<li>ultra-precision electrode design optimized for superb linearity and natural sonics</li>\n	<li>ultra-thin 3 micron gold-sputtered diaphragm for superior transients</li>\n	<li>newly-developed backplate design provides smooth, natural sound & truly consistent off-axis response</li>\n	<li>sophisticated acoustic design with precision components</li>\n	<li>avoids coloration in demanding applications</li>\n</ul>\n<br/>\n<h3>THE QUIETEST PENCIL MIC IN ITS CLASS</h3>\n<ul>\n	<li>sophisticated electronic design provides extremely low noise without the use of integrated circuits</li>\n	<li>transformerless design for excellent transparency and clarity</li>\n	<li>proven Class-A circuitry ensures a high dynamic range without distortion and brilliant transient response</li>\n</ul>\n<br/>\n<h3>TWO SWITCHABLE PRE-ATTENUATION PADS</h3>\n<div>\n	The -10 dB and -20 dB pad switches provide extended dynamic range, enabling a wide range of applications and close-mic techniques for brass instruments, snare drums, and more.\n</div>\n<div>\n	<br/>\n</div>\n<h3>TWO SWITCHABLE LOW-CUT FILTERS</h3>\n<div>\n	Selectable at either 80Hz or 160Hz, these two filters help eliminate low-frequency rumble or footfall noise, as well as help compensate for excessive bass (proximity effect) with close-mic techniques.\n</div>\n<div>\n	<br/>\n</div>\n<h3>ALL-METAL HOUSING WITH GOLD-PLATED XLR CONNECTOR, PREMIUM FINISH & ACCESSORIES</h3>\n<div>\n	<span style=\"background-color: initial;\">Unlike the cheaply constructed bodies of some small-capsule microphones, the sE8\'s all-metal chassis provides efficient rejection of any electrical interference and noise - and the high-quality finish and gold-plated XLR connector ensures a great look and a loss-free, reliable signal connection for years to come.</span>\n</div>\n<div>\n	<br/>\n</div>\n<div>\n	The sE8 also comes standard with a newly-designed mic clip that will securely attach it to any mic stand.\n</div>'),(9711,85,0,1619,'SE Electronics sE8 Small Diaphragm Condenser Microphone'),(9712,85,1,1619,'SE Electronics sE8 Small Diaphragm Condenser Microphone'),(9713,76,0,1619,''),(9714,76,1,1619,''),(9715,75,0,1620,'<h1>SE Electronics sE8 Small Diaphragm Condenser Microphone - Stereo Pair</h1>\n<i>Stereo Pair Small Diaphragm Condenser Microphones with Gold Sputtered Diaphragms</i><br /><br />The SE Electronics \n<span style=\"background-color: initial;\">sE8 is a high-quality small diaphragm condenser microphone intended for a wide range of</span>\nstudio and live sound applications, from acoustic guitars to pianos to drums and beyond. Thanks <span style=\"background-color: initial;\">to its custom design, hand-crafted true condenser capsule, and transformerless output, it delivers </span><span style=\"background-color: initial;\">pristine sound quality and an even, well-balanced frequency response.</span>\n<br /><br />\nThe electronics and the switchable attenuation pads ensure a high dynamic range, with high <span style=\"background-color: initial;\">sound pressure level (SPL) handling capability and extremely low-noise components. The </span><span style=\"background-color: initial;\">switchable low-cut filters eliminate rumble or footfall noise, and can also compensate for an </span><span style=\"background-color: initial;\">excess of bass frequencies caused by the proximity effect. This enables the sE8 to close-mic </span><span style=\"background-color: initial;\">many instruments including electric guitar speaker cabinets, brass instruments and drums.</span>\n<br /><br />\nReliable operation even in demanding on-stage applications in difficult environments is ensured by <span style=\"background-color: initial;\">the roadworthy all-metal design, robust construction, and high-quality manufacturing standards.</span>\n<br /><br />\n<h3><span style=\"background-color: initial;\">HANDCRAFTED TRUE CONDENSER CAPSULE</span></h3>\n<span style=\"background-color: initial;\"></span>\n<ul>\n	<li>gold-sputtered diaphragms ensure maximum reliability</li>\n	<li>every capsule is handcrafted and individually tuned in our very own factory</li>\n	<li>ultra-precision electrode design optimized for superb linearity and natural sonics</li>\n	<li>ultra-thin 3 micron gold-sputtered diaphragm for superior transients</li>\n	<li>newly-developed backplate design provides smooth, natural sound & truly consistent off-axis response</li>\n	<li>sophisticated acoustic design with precision components</li>\n	<li>avoids coloration in demanding applications</li>\n</ul>\n<br />\n<h3>THE QUIETEST PENCIL MIC IN ITS CLASS</h3>\n<ul>\n	<li>sophisticated electronic design provides extremely low noise without the use of integrated circuits</li>\n	<li>transformerless design for excellent transparency and clarity</li>\n	<li>proven Class-A circuitry ensures a high dynamic range without distortion and brilliant transient response</li>\n</ul>\n<br />\n<h3>TWO SWITCHABLE PRE-ATTENUATION PADS</h3>\n<div>\n	The -10 dB and -20 dB pad switches provide extended dynamic range, enabling a wide range of applications and close-mic techniques for brass instruments, snare drums, and more.\n</div>\n<div>\n	<br />\n</div>\n<h3>TWO SWITCHABLE LOW-CUT FILTERS</h3>\n<div>\n	Selectable at either 80Hz or 160Hz, these two filters help eliminate low-frequency rumble or footfall noise, as well as help compensate for excessive bass (proximity effect) with close-mic techniques.\n</div>\n<div>\n	<br />\n</div>\n<h3>ALL-METAL HOUSING WITH GOLD-PLATED XLR CONNECTOR, PREMIUM FINISH & ACCESSORIES</h3>\n<div>\n	<span style=\"background-color: initial;\">Unlike the cheaply constructed bodies of some small-capsule microphones, the sE8\'s all-metal chassis provides efficient rejection of any electrical interference and noise - and the high-quality finish and gold-plated XLR connector ensures a great look and a loss-free, reliable signal connection for years to come.</span>\n</div>\n<div>\n	<br />\n</div>\n<div>\n	The sE8 also comes standard with a newly-designed mic clip that will securely attach it to any mic stand.\n</div>'),(9716,75,1,1620,'<h1>SE Electronics sE8 Small Diaphragm Condenser Microphone - Stereo Pair</h1>\n<i>Stereo Pair Small Diaphragm Condenser Microphones with Gold Sputtered Diaphragms</i><br /><br />The SE Electronics \n<span style=\"background-color: initial;\">sE8 is a high-quality small diaphragm condenser microphone intended for a wide range of</span>\nstudio and live sound applications, from acoustic guitars to pianos to drums and beyond. Thanks <span style=\"background-color: initial;\">to its custom design, hand-crafted true condenser capsule, and transformerless output, it delivers </span><span style=\"background-color: initial;\">pristine sound quality and an even, well-balanced frequency response.</span>\n<br /><br />\nThe electronics and the switchable attenuation pads ensure a high dynamic range, with high <span style=\"background-color: initial;\">sound pressure level (SPL) handling capability and extremely low-noise components. The </span><span style=\"background-color: initial;\">switchable low-cut filters eliminate rumble or footfall noise, and can also compensate for an </span><span style=\"background-color: initial;\">excess of bass frequencies caused by the proximity effect. This enables the sE8 to close-mic </span><span style=\"background-color: initial;\">many instruments including electric guitar speaker cabinets, brass instruments and drums.</span>\n<br /><br />\nReliable operation even in demanding on-stage applications in difficult environments is ensured by <span style=\"background-color: initial;\">the roadworthy all-metal design, robust construction, and high-quality manufacturing standards.</span>\n<br /><br />\n<h3><span style=\"background-color: initial;\">HANDCRAFTED TRUE CONDENSER CAPSULE</span></h3>\n<span style=\"background-color: initial;\"></span>\n<ul>\n	<li>gold-sputtered diaphragms ensure maximum reliability</li>\n	<li>every capsule is handcrafted and individually tuned in our very own factory</li>\n	<li>ultra-precision electrode design optimized for superb linearity and natural sonics</li>\n	<li>ultra-thin 3 micron gold-sputtered diaphragm for superior transients</li>\n	<li>newly-developed backplate design provides smooth, natural sound & truly consistent off-axis response</li>\n	<li>sophisticated acoustic design with precision components</li>\n	<li>avoids coloration in demanding applications</li>\n</ul>\n<br />\n<h3>THE QUIETEST PENCIL MIC IN ITS CLASS</h3>\n<ul>\n	<li>sophisticated electronic design provides extremely low noise without the use of integrated circuits</li>\n	<li>transformerless design for excellent transparency and clarity</li>\n	<li>proven Class-A circuitry ensures a high dynamic range without distortion and brilliant transient response</li>\n</ul>\n<br />\n<h3>TWO SWITCHABLE PRE-ATTENUATION PADS</h3>\n<div>\n	The -10 dB and -20 dB pad switches provide extended dynamic range, enabling a wide range of applications and close-mic techniques for brass instruments, snare drums, and more.\n</div>\n<div>\n	<br />\n</div>\n<h3>TWO SWITCHABLE LOW-CUT FILTERS</h3>\n<div>\n	Selectable at either 80Hz or 160Hz, these two filters help eliminate low-frequency rumble or footfall noise, as well as help compensate for excessive bass (proximity effect) with close-mic techniques.\n</div>\n<div>\n	<br />\n</div>\n<h3>ALL-METAL HOUSING WITH GOLD-PLATED XLR CONNECTOR, PREMIUM FINISH & ACCESSORIES</h3>\n<div>\n	<span style=\"background-color: initial;\">Unlike the cheaply constructed bodies of some small-capsule microphones, the sE8\'s all-metal chassis provides efficient rejection of any electrical interference and noise - and the high-quality finish and gold-plated XLR connector ensures a great look and a loss-free, reliable signal connection for years to come.</span>\n</div>\n<div>\n	<br />\n</div>\n<div>\n	The sE8 also comes standard with a newly-designed mic clip that will securely attach it to any mic stand.\n</div>'),(9717,85,0,1620,'SE Electronics sE8 Small Diaphragm Condenser Microphone - Stereo Pair'),(9718,85,1,1620,'SE Electronics sE8 Small Diaphragm Condenser Microphone - Stereo Pair'),(9719,76,0,1620,''),(9720,76,1,1620,''),(9721,75,0,1621,'<h1>SE Electronics T2 Large Diaphragm Condenser Microphone</h1>\n<i>Multi Pattern Large Diaphragm Condenser Microphone with Titanium Capsule</i><br /><br />This SE Electronics T2 is a multi pattern large diaphragm condenser mic and is the ultimate combination of solid state performance and versatility. Based on the chassis and feature spec of the acclaimed 4400a, but with the highly specialized capsule of the original Titan, it delivers full and perfectly balanced mid and low frequencies, while its Titanium capsule produces un-hyped but ultra-detailed HF response.\n<br /><br />\nThe T2 is also the ideal broadcast mic for spoken word; since the intelligibility of any speech recording comes with good definition of HF (the percussive elements of speech such as ‘p’ and ‘t’ sounds), it is especially important for any mic used to deliver great HF response. However, simply hyping the HF with an EQ bump can cause the sound to be sibilant and harsh sounding. The T2 delivers perfectly balanced HF response due to its very fast HF transient response, giving exceptional intelligibility without the hype.<br /><br />\nIt is thus ideally suited for percussive recordings, including studio use for drums (and of course percussion), picked guitar, hammer action on piano, kick drum, slap bass etc.<br /><br />\n\n<h3>Titanium Diaphragm</h3>\nUnusually, the T2 features a hand-crafted titanium-sputtered capsule. This is much stiffer than our gold-sputtered capsules, meaning quicker transient response, which is important when recording instruments that create fast transients and attack - like drums and percussion - as it enables the microphone to maintain clarity and deliver exceptionally accurate performances.<br /><br />\n\nThe stiffness of this special diaphragm also allows it to withstand extremely high sound pressure levels, so it can handle the loudest percussion with ease.<br /><br />\n\n\n<h3>Custom Shockmount and Chassis</h3>\nThe T2 shares the shockmount of the 4400a. The flat, round-edged chassis design and custom suspension mount allow the mic to be centered within the shock, flipped around and used flat against a drum head or guitar cab, or angled outwards and pushed through inside of a kick drum. And at less than 3/4\" thick, it fits neatly in the palm of your hand, but is built to take a beating on the road.<br /><br />'),(9722,75,1,1621,'<h1>SE Electronics T2 Large Diaphragm Condenser Microphone</h1>\n<i>Multi Pattern Large Diaphragm Condenser Microphone with Titanium Capsule</i><br /><br />This SE Electronics T2 is a multi pattern large diaphragm condenser mic and is the ultimate combination of solid state performance and versatility. Based on the chassis and feature spec of the acclaimed 4400a, but with the highly specialized capsule of the original Titan, it delivers full and perfectly balanced mid and low frequencies, while its Titanium capsule produces un-hyped but ultra-detailed HF response.\n<br /><br />\nThe T2 is also the ideal broadcast mic for spoken word; since the intelligibility of any speech recording comes with good definition of HF (the percussive elements of speech such as ‘p’ and ‘t’ sounds), it is especially important for any mic used to deliver great HF response. However, simply hyping the HF with an EQ bump can cause the sound to be sibilant and harsh sounding. The T2 delivers perfectly balanced HF response due to its very fast HF transient response, giving exceptional intelligibility without the hype.<br /><br />\nIt is thus ideally suited for percussive recordings, including studio use for drums (and of course percussion), picked guitar, hammer action on piano, kick drum, slap bass etc.<br /><br />\n\n<h3>Titanium Diaphragm</h3>\nUnusually, the T2 features a hand-crafted titanium-sputtered capsule. This is much stiffer than our gold-sputtered capsules, meaning quicker transient response, which is important when recording instruments that create fast transients and attack - like drums and percussion - as it enables the microphone to maintain clarity and deliver exceptionally accurate performances.<br /><br />\n\nThe stiffness of this special diaphragm also allows it to withstand extremely high sound pressure levels, so it can handle the loudest percussion with ease.<br /><br />\n\n\n<h3>Custom Shockmount and Chassis</h3>\nThe T2 shares the shockmount of the 4400a. The flat, round-edged chassis design and custom suspension mount allow the mic to be centered within the shock, flipped around and used flat against a drum head or guitar cab, or angled outwards and pushed through inside of a kick drum. And at less than 3/4\" thick, it fits neatly in the palm of your hand, but is built to take a beating on the road.<br /><br />'),(9723,85,0,1621,'SE Electronics T2 Large Diaphragm Condenser Microphone, sE electronics, microphone, condenser mic, mic, large diaphragm, diaphragm,'),(9724,85,1,1621,'SE Electronics T2 Large Diaphragm Condenser Microphone, sE electronics, microphone, condenser mic, mic, large diaphragm, diaphragm,'),(9725,76,0,1621,''),(9726,76,1,1621,''),(9727,75,0,1622,'<h1>SE Electronics Voodoo VR1 Ribbon Microphone</h1>\n<i>Voodoo Passive Ribbon Microphone with Shockmount and Case</i><br /><br />The SE Electronics VR1 is a passive ribbon microphone designed to to bring out the bite and edge from your guitar cabs with no muddy highs. <span style=\"background-color: initial;\">The VR1 is a passive ribbon, so it does not require phantom power – though it is “phantom-protected”, so it will not be damaged by accidental application of phantom power. Given its lower </span><span style=\"background-color: initial;\">output, it is ideally suited for loud sources such as electric guitars, drum overheads, and brass.<br /><br /></span>The Voodoo ribbon microphones from sE mark a new era for ribbon mic technology. Until the Voodoo Series, the only ribbon mic in the world to perform across 20Hz-20kHz was SE\'s Rupert Neve collaboration, the RNR1. This was achieved using state-of-the-art custom transformers and a Rupert Neve-designed circuit to reveal HF usually absent. With the Voodoo mics, full frequency response is achieved using a remarkably clever mechanical device designed by Siwei Zou, the company CEO, and a hand-tensioned ribbon constructed by highly specialized technicians in sE\'s capsule room.<br /><br />The result is a superbly detailed, open and natural recording of acoustic instruments and guitar cabs. The VR1\'s ability to perform - coupled with its unique look - have already made it a secret weapon for top musicians and engineers worldwide.<br /><br />'),(9728,75,1,1622,'<h1>SE Electronics Voodoo VR1 Ribbon Microphone</h1>\n<i>Voodoo Passive Ribbon Microphone with Shockmount and Case</i><br /><br />The SE Electronics VR1 is a passive ribbon microphone designed to to bring out the bite and edge from your guitar cabs with no muddy highs. <span style=\"background-color: initial;\">The VR1 is a passive ribbon, so it does not require phantom power – though it is “phantom-protected”, so it will not be damaged by accidental application of phantom power. Given its lower </span><span style=\"background-color: initial;\">output, it is ideally suited for loud sources such as electric guitars, drum overheads, and brass.<br /><br /></span>The Voodoo ribbon microphones from sE mark a new era for ribbon mic technology. Until the Voodoo Series, the only ribbon mic in the world to perform across 20Hz-20kHz was SE\'s Rupert Neve collaboration, the RNR1. This was achieved using state-of-the-art custom transformers and a Rupert Neve-designed circuit to reveal HF usually absent. With the Voodoo mics, full frequency response is achieved using a remarkably clever mechanical device designed by Siwei Zou, the company CEO, and a hand-tensioned ribbon constructed by highly specialized technicians in sE\'s capsule room.<br /><br />The result is a superbly detailed, open and natural recording of acoustic instruments and guitar cabs. The VR1\'s ability to perform - coupled with its unique look - have already made it a secret weapon for top musicians and engineers worldwide.<br /><br />'),(9729,85,0,1622,'SE Electronics Voodoo VR1 Ribbon Microphone, sE electronics, microphone, condenser mic, mic, large diaphragm, diaphragm,'),(9730,85,1,1622,'SE Electronics Voodoo VR1 Ribbon Microphone, sE electronics, microphone, condenser mic, mic, large diaphragm, diaphragm,'),(9731,76,0,1622,''),(9732,76,1,1622,''),(9733,75,0,1623,'<h1>SE Electronics Voodoo VR2 Active Ribbon Microphone</h1>\n<i>Voodoo Active Ribbon Microphone with Shockmount and Case</i><br /><br />The SE Electronics VR2 active ribbon that can take violins and voices right to the foreground of your listener\'s stereo. <span style=\"background-color: initial;\"> The VR2 is an active ribbon and requires +48V phantom power for operation. With higher sensitivity </span><span style=\"background-color: initial;\">than the VR1, it is ideally suited for applications including acoustic instruments, piano, and vocals, </span><span style=\"background-color: initial;\">as well as the same sources as the VR1 (guitars, drums, brass).<br /><br /></span>The Voodoo ribbon microphones from sE mark a new era for ribbon mic technology. Until the Voodoo Series, the only ribbon mic in the world to perform across 20Hz-20kHz was SE\'s Rupert Neve collaboration, the RNR1. This was achieved using state-of-the-art custom transformers and a Rupert Neve-designed circuit to reveal HF usually absent. With the Voodoo mics, full frequency response is achieved using a remarkably clever mechanical device designed by Siwei Zou, the company CEO, and a hand-tensioned ribbon constructed by highly specialized technicians in sE\'s capsule room.<br /><br />The result is a superbly detailed, open and natural recording of acoustic instruments and guitar cabs. The VR2\'s ability to perform - coupled with its unique look - have already made it a secret weapon for top musicians and engineers worldwide.<br /><br />'),(9734,75,1,1623,'<h1>SE Electronics Voodoo VR2 Active Ribbon Microphone</h1>\n<i>Voodoo Active Ribbon Microphone with Shockmount and Case</i><br /><br />The SE Electronics VR2 active ribbon that can take violins and voices right to the foreground of your listener\'s stereo. <span style=\"background-color: initial;\"> The VR2 is an active ribbon and requires +48V phantom power for operation. With higher sensitivity </span><span style=\"background-color: initial;\">than the VR1, it is ideally suited for applications including acoustic instruments, piano, and vocals, </span><span style=\"background-color: initial;\">as well as the same sources as the VR1 (guitars, drums, brass).<br /><br /></span>The Voodoo ribbon microphones from sE mark a new era for ribbon mic technology. Until the Voodoo Series, the only ribbon mic in the world to perform across 20Hz-20kHz was SE\'s Rupert Neve collaboration, the RNR1. This was achieved using state-of-the-art custom transformers and a Rupert Neve-designed circuit to reveal HF usually absent. With the Voodoo mics, full frequency response is achieved using a remarkably clever mechanical device designed by Siwei Zou, the company CEO, and a hand-tensioned ribbon constructed by highly specialized technicians in sE\'s capsule room.<br /><br />The result is a superbly detailed, open and natural recording of acoustic instruments and guitar cabs. The VR2\'s ability to perform - coupled with its unique look - have already made it a secret weapon for top musicians and engineers worldwide.<br /><br />'),(9735,85,0,1623,'SE Electronics Voodoo VR2 Ribbon Microphone, sE electronics, microphone, condenser mic, mic, large diaphragm, diaphragm,'),(9736,85,1,1623,'SE Electronics Voodoo VR2 Ribbon Microphone, sE electronics, microphone, condenser mic, mic, large diaphragm, diaphragm,'),(9737,76,0,1623,''),(9738,76,1,1623,''),(9739,75,0,1624,'<h1>SE Electronics X1 A Condenser Microphone</h1>\nThe SE Electronics X1 A is high quality condenser microphone intended for a wide range of studio applications, from vocals to drums to acoustic instruments and beyond. Thanks to its custom design and carefully-selected capsule, it delivers pristine sound quality and an even, well-balanced frequency response.\n<br /><br />\n	With a newly-developed condenser capsule and an exterior based on the rugged metal chassis of the X1, the X1 A offers first-class sound & specifications at an even better \"home studio\" cost, featuring an extremely natural frequency response, massive SPL-handling capabilities (150dB!), switchable attenuation and low-cut filters, and a perfectly balanced sensitivity level - so it\'s at home on absolutely any source.\n<br /><br />\nFrom vocals to acoustic instruments to electric guitars or percussion, the X1 A is the perfect choice for any musician seeking a high-quality microphone with an entry-level price tag.<br /><br />\n<h3>Intergrated Windscreen</h3>\nEliminates the need for an external pop filter, and provides an extra layer of safety and security for the all-important capsule. \n<br /><br />\n<h3>Completely New Acoustic Design</h3>\nThe X1 A\'s new condenser capsule design is a work of art, delivering stellar sonic performance on any source with incredible speed, accuracy, and well-balanced frequency response.\n<br /><br />\nThe electronics have also undergone a complete overhaul, and exhibit better specifications and sound - on and off the test bench - than any other microphone in its class.<br /><br />\n<h3>Attenuation and Low-Cut Switches</h3>\nThe -20 dB pad switch on the left provides extended dynamic range, enabling a wide range of applications and close-mic techniques for even the loudest instruments...think super-heavy electric guitars, fortissimo brass instruments, and heavy-footed kick drums.\n<br /><br />\nOn the right, the 100 Hz low-cut switch helps eliminate low-frequency rumble or footfall noise, and compensates for excessive bass with close-mic techniques (proximity effect).<br /><br />\n<h3>Gold-Plated XLR Connector</h3>\nEnsures loss-free, reliable signal connection for years and years and years and...\n<br /><br />'),(9740,75,1,1624,'<h1>SE Electronics X1 A Condenser Microphone</h1>\nThe SE Electronics X1 A is high quality condenser microphone intended for a wide range of studio applications, from vocals to drums to acoustic instruments and beyond. Thanks to its custom design and carefully-selected capsule, it delivers pristine sound quality and an even, well-balanced frequency response.\n<br /><br />\n	With a newly-developed condenser capsule and an exterior based on the rugged metal chassis of the X1, the X1 A offers first-class sound & specifications at an even better \"home studio\" cost, featuring an extremely natural frequency response, massive SPL-handling capabilities (150dB!), switchable attenuation and low-cut filters, and a perfectly balanced sensitivity level - so it\'s at home on absolutely any source.\n<br /><br />\nFrom vocals to acoustic instruments to electric guitars or percussion, the X1 A is the perfect choice for any musician seeking a high-quality microphone with an entry-level price tag.<br /><br />\n<h3>Intergrated Windscreen</h3>\nEliminates the need for an external pop filter, and provides an extra layer of safety and security for the all-important capsule. \n<br /><br />\n<h3>Completely New Acoustic Design</h3>\nThe X1 A\'s new condenser capsule design is a work of art, delivering stellar sonic performance on any source with incredible speed, accuracy, and well-balanced frequency response.\n<br /><br />\nThe electronics have also undergone a complete overhaul, and exhibit better specifications and sound - on and off the test bench - than any other microphone in its class.<br /><br />\n<h3>Attenuation and Low-Cut Switches</h3>\nThe -20 dB pad switch on the left provides extended dynamic range, enabling a wide range of applications and close-mic techniques for even the loudest instruments...think super-heavy electric guitars, fortissimo brass instruments, and heavy-footed kick drums.\n<br /><br />\nOn the right, the 100 Hz low-cut switch helps eliminate low-frequency rumble or footfall noise, and compensates for excessive bass with close-mic techniques (proximity effect).<br /><br />\n<h3>Gold-Plated XLR Connector</h3>\nEnsures loss-free, reliable signal connection for years and years and years and...\n<br /><br />'),(9741,85,0,1624,'SE Electronics X1 Cardioid Condenser Microphone, sE electronics, microphone, condenser mic, mic, large diaphragm, diaphragm,'),(9742,85,1,1624,'SE Electronics X1 Cardioid Condenser Microphone, sE electronics, microphone, condenser mic, mic, large diaphragm, diaphragm,'),(9743,76,0,1624,''),(9744,76,1,1624,''),(9745,75,0,1625,'<h1>SE Electronics X1 R Ribbon Microphone</h1><i>X1 Series Passive Ribbon Microphone with Clip</i><br /><br />The SE Electronics X1 R ribbon microphone is a high performance passive ribbon suited to a variety of recording applications including guitar cabs, overhead drums, brass, woodwind, strings, commercial broadcast and voice-over. X1 R is a vintage-modern hybrid that provides all the inherent smoothness of a hand-crafted ribbon mic, but with more versatility, durability, and ease of use than the delicate ribbons of yesteryear.<br /><br />\nThis state of the art ribbon element enclosed by top-grade Neodymium magnets boasts some of sE\'s latest ribbon microphone technologies. sE have combined theirr traditional ribbon technology with some of the mechanical elements of the VR1/VR2 microphone HF (High Frequency) extension technology to bring you a classic sounding ribbon mic with a gentle HF lift.\n<br /><br />\nThe X1 R doesn\'t quite offer the full-frequency response performance of the VR1, VR2, or the widely acclaimed Rupert Neve Signature Series RNR1 - but its hybrid old and new ribbon technology gives you all the natural beauty of the ribbon sound, but with more versatility and ease of use than the majority of ribbons on today\'s market.\n<br /><br />\nThe X1 R comes standard with a mic clip that will securely attach it to any mic stand, but fits the Isolation Pack if a shockmount solution is desired.<br /><br />'),(9746,75,1,1625,'<h1>SE Electronics X1 R Ribbon Microphone</h1><i>X1 Series Passive Ribbon Microphone with Clip</i><br /><br />The SE Electronics X1 R ribbon microphone is a high performance passive ribbon suited to a variety of recording applications including guitar cabs, overhead drums, brass, woodwind, strings, commercial broadcast and voice-over. X1 R is a vintage-modern hybrid that provides all the inherent smoothness of a hand-crafted ribbon mic, but with more versatility, durability, and ease of use than the delicate ribbons of yesteryear.<br /><br />\nThis state of the art ribbon element enclosed by top-grade Neodymium magnets boasts some of sE\'s latest ribbon microphone technologies. sE have combined theirr traditional ribbon technology with some of the mechanical elements of the VR1/VR2 microphone HF (High Frequency) extension technology to bring you a classic sounding ribbon mic with a gentle HF lift.\n<br /><br />\nThe X1 R doesn\'t quite offer the full-frequency response performance of the VR1, VR2, or the widely acclaimed Rupert Neve Signature Series RNR1 - but its hybrid old and new ribbon technology gives you all the natural beauty of the ribbon sound, but with more versatility and ease of use than the majority of ribbons on today\'s market.\n<br /><br />\nThe X1 R comes standard with a mic clip that will securely attach it to any mic stand, but fits the Isolation Pack if a shockmount solution is desired.<br /><br />'),(9747,85,0,1625,'SE Electronics X1R Ribbon Microphone, sE electronics, microphone, condenser mic, mic, large diaphragm, diaphragm,'),(9748,85,1,1625,'SE Electronics X1R Ribbon Microphone, sE electronics, microphone, condenser mic, mic, large diaphragm, diaphragm,'),(9749,76,0,1625,''),(9750,76,1,1625,''),(9751,75,0,1626,'<h1>SE Electronics X1 S Large Diaphragm Condenser Microphone</h1>\nThe SE Electronics X1 S is a high-quality condenser microphone intended for a wide range of studio applications, from vocals to drums to acoustic instruments and beyond. Thanks to its custom design and handcrafted 1” true condenser capsule, it delivers pristine sound quality and an even, well-balanced <span style=\"background-color: initial;\">frequency response.</span>\n<br /><br />\n	The electronics and the switchable attenuation pads ensure a high dynamic range, with high <span style=\"background-color: initial;\">sound pressure level (SPL) handling capability and extremely low-noise components. The </span><span style=\"background-color: initial;\">switchable low cut filters eliminate rumble or footfall noise, and can also compensate for an </span><span style=\"background-color: initial;\">excess of bass frequencies caused by the proximity effect. This enables the X1 S to close-mic </span><span style=\"background-color: initial;\">many instruments including electric guitar speaker cabinets, brass instruments and drums.<br /><br /></span><span style=\"background-color: initial;\">Reliable operation even in demanding on-stage applications in difficult environments is ensured by </span><span style=\"background-color: initial;\">the roadworthy all-metal design, robust construction, and high quality manufacturing standards.</span>\n<br /><br />\n<h3>Custom Handcrafted Capsule</h3>\nJust like its predecessor, the X1 S utilizes a hand-made condenser capsule, meticulously constructed and tuned in sE’s capsule room by technicians with decades of experience.\n<br /><br />\nThis results in a capsule built like the world’s finest musical instruments - and a capsule truly up to the challenge of recording them.\n<br /><br />\n<h3>High-Performance Electronics</h3>\nWhere the original X1 was powerful, the redesigned electronics of the X1 S take its performance to a whole new level, giving it the highest dynamic range in its class.\n<br /><br />\nIts internal redesign also allows for improved sensitivity, dramatically increased SPL handling (up to 160dB!), and a huge reduction in self-noise.\n<br /><br />\n<h3>Two Switchable Attenuation Levels</h3>\nThe -10 dB and -20 dB pad switches provide extended dynamic range, enabling a wide range of applications and close-mic techniques for even the loudest instruments...think super-heavy electric guitars, fortissimo brass instruments, and heavy-footed kick drums.\n<br /><br />\n<h3>Two Switchable Low-Cut Filters</h3>\nSelectable at either 80Hz or 160Hz, these two filters help eliminate low-frequency rumble or footfall noise, as well as help compensate for excessive bass (proximity effect) with close-mic techniques.\n<br /><br />\n<h3>All Metal Housing and Premium Finish</h3>\nUnlike the cheaply constructed bodies of some other \"entry-level\" microphones, the X1 S\'s all-metal chassis provides efficient rejection of any electrical interference and noise - and the high-quality finish ensures a great look for years to come.\n<br /><br />\n<h3>Gold-Plated XLR Connector</h3>\nEnsures loss-free, reliable signal connection for years and years and years and...\n<br /><br />'),(9752,75,1,1626,'<h1>SE Electronics X1 S Large Diaphragm Condenser Microphone</h1>\nThe SE Electronics X1 S is a high-quality condenser microphone intended for a wide range of studio applications, from vocals to drums to acoustic instruments and beyond. Thanks to its custom design and handcrafted 1” true condenser capsule, it delivers pristine sound quality and an even, well-balanced <span style=\"background-color: initial;\">frequency response.</span>\n<br /><br />\n	The electronics and the switchable attenuation pads ensure a high dynamic range, with high <span style=\"background-color: initial;\">sound pressure level (SPL) handling capability and extremely low-noise components. The </span><span style=\"background-color: initial;\">switchable low cut filters eliminate rumble or footfall noise, and can also compensate for an </span><span style=\"background-color: initial;\">excess of bass frequencies caused by the proximity effect. This enables the X1 S to close-mic </span><span style=\"background-color: initial;\">many instruments including electric guitar speaker cabinets, brass instruments and drums.<br /><br /></span><span style=\"background-color: initial;\">Reliable operation even in demanding on-stage applications in difficult environments is ensured by </span><span style=\"background-color: initial;\">the roadworthy all-metal design, robust construction, and high quality manufacturing standards.</span>\n<br /><br />\n<h3>Custom Handcrafted Capsule</h3>\nJust like its predecessor, the X1 S utilizes a hand-made condenser capsule, meticulously constructed and tuned in sE’s capsule room by technicians with decades of experience.\n<br /><br />\nThis results in a capsule built like the world’s finest musical instruments - and a capsule truly up to the challenge of recording them.\n<br /><br />\n<h3>High-Performance Electronics</h3>\nWhere the original X1 was powerful, the redesigned electronics of the X1 S take its performance to a whole new level, giving it the highest dynamic range in its class.\n<br /><br />\nIts internal redesign also allows for improved sensitivity, dramatically increased SPL handling (up to 160dB!), and a huge reduction in self-noise.\n<br /><br />\n<h3>Two Switchable Attenuation Levels</h3>\nThe -10 dB and -20 dB pad switches provide extended dynamic range, enabling a wide range of applications and close-mic techniques for even the loudest instruments...think super-heavy electric guitars, fortissimo brass instruments, and heavy-footed kick drums.\n<br /><br />\n<h3>Two Switchable Low-Cut Filters</h3>\nSelectable at either 80Hz or 160Hz, these two filters help eliminate low-frequency rumble or footfall noise, as well as help compensate for excessive bass (proximity effect) with close-mic techniques.\n<br /><br />\n<h3>All Metal Housing and Premium Finish</h3>\nUnlike the cheaply constructed bodies of some other \"entry-level\" microphones, the X1 S\'s all-metal chassis provides efficient rejection of any electrical interference and noise - and the high-quality finish ensures a great look for years to come.\n<br /><br />\n<h3>Gold-Plated XLR Connector</h3>\nEnsures loss-free, reliable signal connection for years and years and years and...\n<br /><br />'),(9753,85,0,1626,'SE Electronics X1 Cardioid Condenser Microphone, sE electronics, microphone, condenser mic, mic, large diaphragm, diaphragm,'),(9754,85,1,1626,'SE Electronics X1 Cardioid Condenser Microphone, sE electronics, microphone, condenser mic, mic, large diaphragm, diaphragm,'),(9755,76,0,1626,''),(9756,76,1,1626,''),(9757,75,0,1627,'Another first from sE... simple, but highly effective. This is a professional solution to the problem of needing different pop shields to suit vocal performances. The device has a strong goose neck with both a standard fabric membrane and sE\'s pro metal pop shield on a hinge mechanism. You can use either separately or both simultaneously depending on the application.'),(9758,75,1,1627,'Another first from sE... simple, but highly effective. This is a professional solution to the problem of needing different pop shields to suit vocal performances. The device has a strong goose neck with both a standard fabric membrane and sE\'s pro metal pop shield on a hinge mechanism. You can use either separately or both simultaneously depending on the application.'),(9759,85,0,1627,'sE Electronics Dual Pro Mic Pop Shield - Metal And Fabric, pop filter, pop blocker, pop screen'),(9760,85,1,1627,'sE Electronics Dual Pro Mic Pop Shield - Metal And Fabric, pop filter, pop blocker, pop screen'),(9761,76,0,1627,''),(9762,76,1,1627,''),(9763,75,0,1628,'The POP Stopper\'s unique metal screen is not simply perforated but louvered at a slight angle to redirect ultra-low frequency breath blasts which are pushed past the side of the screen. This process does not attenuate high frequencies, as fabric screens do, and leaves the vocal performance unaffected but without annoying low frequency \"pops.\" It\'s also built to last and will take a lot more abuse than a traditional fabric shield, so it works wonderfully for commercial applications.'),(9764,75,1,1628,'The POP Stopper\'s unique metal screen is not simply perforated but louvered at a slight angle to redirect ultra-low frequency breath blasts which are pushed past the side of the screen. This process does not attenuate high frequencies, as fabric screens do, and leaves the vocal performance unaffected but without annoying low frequency \"pops.\" It\'s also built to last and will take a lot more abuse than a traditional fabric shield, so it works wonderfully for commercial applications.'),(9765,85,0,1628,'sE Electronics POP Stopper, pop filter, pop blocker, pop screen'),(9766,85,1,1628,'sE Electronics POP Stopper, pop filter, pop blocker, pop screen'),(9767,76,0,1628,''),(9768,76,1,1628,''),(9769,75,0,1629,'<h2>sE Electronics Reflexion Filter X Portable Vocal Booth</h2>\nUnwanted audio ambience may be generated if working in ‘untreated’ acoustic environments when recording and this naturally affects the quality of any signal captured via microphone. Six years ago sE Electronics were the first company to develop a solution to this commonplace problem and launched the highly successful Reflexion Filter RF-PRO.<br /><br />\n\nThe sE Electronics RF-X is the latest high-performance acoustic filter joining sE’s highly-acclaimed line of successful and industry standard Reflexion Filter products. Using the same US patented design technology as the RF-PRO the new RF-X has been conceived to answer the needs of the discerning recording artist working on a budget. With a new lightweight body and re-designed lightweight clamp assembly the RF-X is simplicity itself, providing unbeatable performance and ease-of-use.<br /><br />\n\nThe RF-X uses the same US patented design technology as the RF-PRO, however new materials have been developed to make it lighter than its predecessors but also to maintain it’s durability - helping to position the RF-X as a versatile product suited for any challenging working environment. It features a four layer acoustic filter design comprising the outer composite panel itself, a wool fabric layer, an air gap layer and an inner acoustic foam layer. This multi-layer design with air gaps differentiates the RF-X from its competitors by helping to ensure that recordings exhibit almost zero sound coloration when using the filter.<br /><br />\n\nThe RF-X clamp assembly also utilizes a new lightweight design allowing it to be used on almost any microphone stand. It has been simplified to achieve this and allows vertical mounting only - making it the perfect solution for vocal recording. (We recommend the IRF2 for angled instrument miking, or the RF-Pro for specialized vocal mic positioning).'),(9770,75,1,1629,'<h2>sE Electronics Reflexion Filter X Portable Vocal Booth</h2>\nUnwanted audio ambience may be generated if working in ‘untreated’ acoustic environments when recording and this naturally affects the quality of any signal captured via microphone. Six years ago sE Electronics were the first company to develop a solution to this commonplace problem and launched the highly successful Reflexion Filter RF-PRO.<br /><br />\n\nThe sE Electronics RF-X is the latest high-performance acoustic filter joining sE’s highly-acclaimed line of successful and industry standard Reflexion Filter products. Using the same US patented design technology as the RF-PRO the new RF-X has been conceived to answer the needs of the discerning recording artist working on a budget. With a new lightweight body and re-designed lightweight clamp assembly the RF-X is simplicity itself, providing unbeatable performance and ease-of-use.<br /><br />\n\nThe RF-X uses the same US patented design technology as the RF-PRO, however new materials have been developed to make it lighter than its predecessors but also to maintain it’s durability - helping to position the RF-X as a versatile product suited for any challenging working environment. It features a four layer acoustic filter design comprising the outer composite panel itself, a wool fabric layer, an air gap layer and an inner acoustic foam layer. This multi-layer design with air gaps differentiates the RF-X from its competitors by helping to ensure that recordings exhibit almost zero sound coloration when using the filter.<br /><br />\n\nThe RF-X clamp assembly also utilizes a new lightweight design allowing it to be used on almost any microphone stand. It has been simplified to achieve this and allows vertical mounting only - making it the perfect solution for vocal recording. (We recommend the IRF2 for angled instrument miking, or the RF-Pro for specialized vocal mic positioning).'),(9771,85,0,1629,'sE Electronics Reflexion Filter X Portable Vocal Booth, reflection filter,'),(9772,85,1,1629,'sE Electronics Reflexion Filter X Portable Vocal Booth, reflection filter,'),(9773,76,0,1629,''),(9774,76,1,1629,''),(9775,75,0,1630,'<h2>sE Electronics Reflexion Filter PRO Portable Vocal Booth</h2>\nThe sE Electronics Reflexion Filter Pro is a portable device for recording live sound sources with reduced room ambience. It is an advanced composite wall which is positioned behind any microphone by means of a variable position stand clamp assembly which ships with the product. The main function is to help obtain a \'dry\' vocal or instrument recording.<br /><br />\n\nThis is especially useful in studios without proper acoustic treatment, but can also be used to help record takes in control rooms where the performer also has to operate the recording device or in rehearsal studios to reduce ambient noise.<br /><br />\n\n<h2>Reflexion Filter Pro Design </h2>\nThe feature that sets the Reflexion Filter Pro apart fromt the rest is its nine layer patented multi-layer air gap technology. The outer shell is a strong layer of punched Aluminium which allows sound waves to pass through it, diffused, to a layer of absorptive wool.<br /><br />\n\nThe sound waves then hit a layer of Aluminium foil which helps dissipate energy and break up the lower frequency wave-forms. From here the sound waves hit an air space kept open by rods passing through the various layers. The air gap acts as an acoustic barrier. The sound waves then pass to a further layer of wool and then through further air gaps before the segmented polyester fibreboard panels come into play.<br /><br />\n\nThe main absorber has 4 formed pieces of state-of-the-art specialist acoustic absorptive material attached to its face via the extended separation rods, which further serve to absorb and then diffuse the sound waves as they pass to the main filter.<br /><br />\n\nThe stand assembly comprises a mic stand clamp fitting, which attaches by means of a vertical joint to the horizontal bar assembly onto which both the Reflexion Filter, and any standard fitting shock mount can be fixed. The microphone (in its shock mount) can then be moved both vertically and horizontally along the bar, and the Reflexion Filter itself can be moved vertically to obtain the optimum working position.<br /><br />\n\n<b>How does it work?</b><br /><br />\n\nThe various layers both absorb and diffuse the sound waves hitting them, so progressively less of the original source acoustic energy passes through each layer. This reduces the amount of energy hitting un-treated walls and other surfaces so there is less of the original source reflected back as unwanted room ambience to the mic. The Reflexion Filter also helps prevent any reflected sound reaching the back and sides of the mic. Its shape and size have been carefully tested to maximize absorption while keeping \'coloration\' down to only around 1dB, and leaving the microphone\'s polar pattern unaffected.<br /><br />\n\n<b>The Results:</b><br /><br />\n\nIndependent test results from the Tongji University Audio Lab in Shanghai show audio image colouration with and without the sE Reflexion Filter. The tests (carried out by China\'s leading Acoustic Engineering University completely independently) clearly show extremely low levels of coloration when using a microphone with the Reflexion Filter while recording (20Hz to 20KHz).<br /><br />\n\nThis was one of the greatest challenges in designing the RF. Other companies have now started to try and copy our designs (without breaking the patents which are what make the Reflexion Filter actually work!), but fail to achieve such good results because the designs are too simplistic.<br /><br />\n\nThe RF comprises several layers of Aluminium and patented acoustic fibreboard separated by acoustically isolating air gaps... and therefore manages to remove large amounts of room ambience with a very compact design. The whole idea was to make the unit as effective as possible, but in the smallest space... otherwise what would be the point... you may as well treat a wall behind the mic.<br /><br />\n\nThe shape of the RF is also critical to the design as it randomises any Reflections back from the surface of the filter. Products which are semicircular (without the flat diffuser panels the RF has) will concentrate any inconsistently reflected frequencies onto the mic... the worst possible scenario.<br /><br />\n\nAnother very poor design though is a simple \'V\' shape behind the mic. This creates one of the worst coloration problems you can manage to achieve when recording audio. Think about problems of Bass Accumulation in room corners... the bass is accentuated worst in 90 degree corners, so any baffle placed behind a mic which is this shape creates huge coloration problems in bass frequencies. This also adversely affects higher harmonic frequencies because of the massive energy in bass frequencies exciting these higher harmonics. A simple flat panel on a wall positioned behind the mic is a much better solution, as it does not create coloration, but still limits at least some of the early reflections in the room.'),(9776,75,1,1630,'<h2>sE Electronics Reflexion Filter PRO Portable Vocal Booth</h2>\nThe sE Electronics Reflexion Filter Pro is a portable device for recording live sound sources with reduced room ambience. It is an advanced composite wall which is positioned behind any microphone by means of a variable position stand clamp assembly which ships with the product. The main function is to help obtain a \'dry\' vocal or instrument recording.<br /><br />\n\nThis is especially useful in studios without proper acoustic treatment, but can also be used to help record takes in control rooms where the performer also has to operate the recording device or in rehearsal studios to reduce ambient noise.<br /><br />\n\n<h2>Reflexion Filter Pro Design </h2>\nThe feature that sets the Reflexion Filter Pro apart fromt the rest is its nine layer patented multi-layer air gap technology. The outer shell is a strong layer of punched Aluminium which allows sound waves to pass through it, diffused, to a layer of absorptive wool.<br /><br />\n\nThe sound waves then hit a layer of Aluminium foil which helps dissipate energy and break up the lower frequency wave-forms. From here the sound waves hit an air space kept open by rods passing through the various layers. The air gap acts as an acoustic barrier. The sound waves then pass to a further layer of wool and then through further air gaps before the segmented polyester fibreboard panels come into play.<br /><br />\n\nThe main absorber has 4 formed pieces of state-of-the-art specialist acoustic absorptive material attached to its face via the extended separation rods, which further serve to absorb and then diffuse the sound waves as they pass to the main filter.<br /><br />\n\nThe stand assembly comprises a mic stand clamp fitting, which attaches by means of a vertical joint to the horizontal bar assembly onto which both the Reflexion Filter, and any standard fitting shock mount can be fixed. The microphone (in its shock mount) can then be moved both vertically and horizontally along the bar, and the Reflexion Filter itself can be moved vertically to obtain the optimum working position.<br /><br />\n\n<b>How does it work?</b><br /><br />\n\nThe various layers both absorb and diffuse the sound waves hitting them, so progressively less of the original source acoustic energy passes through each layer. This reduces the amount of energy hitting un-treated walls and other surfaces so there is less of the original source reflected back as unwanted room ambience to the mic. The Reflexion Filter also helps prevent any reflected sound reaching the back and sides of the mic. Its shape and size have been carefully tested to maximize absorption while keeping \'coloration\' down to only around 1dB, and leaving the microphone\'s polar pattern unaffected.<br /><br />\n\n<b>The Results:</b><br /><br />\n\nIndependent test results from the Tongji University Audio Lab in Shanghai show audio image colouration with and without the sE Reflexion Filter. The tests (carried out by China\'s leading Acoustic Engineering University completely independently) clearly show extremely low levels of coloration when using a microphone with the Reflexion Filter while recording (20Hz to 20KHz).<br /><br />\n\nThis was one of the greatest challenges in designing the RF. Other companies have now started to try and copy our designs (without breaking the patents which are what make the Reflexion Filter actually work!), but fail to achieve such good results because the designs are too simplistic.<br /><br />\n\nThe RF comprises several layers of Aluminium and patented acoustic fibreboard separated by acoustically isolating air gaps... and therefore manages to remove large amounts of room ambience with a very compact design. The whole idea was to make the unit as effective as possible, but in the smallest space... otherwise what would be the point... you may as well treat a wall behind the mic.<br /><br />\n\nThe shape of the RF is also critical to the design as it randomises any Reflections back from the surface of the filter. Products which are semicircular (without the flat diffuser panels the RF has) will concentrate any inconsistently reflected frequencies onto the mic... the worst possible scenario.<br /><br />\n\nAnother very poor design though is a simple \'V\' shape behind the mic. This creates one of the worst coloration problems you can manage to achieve when recording audio. Think about problems of Bass Accumulation in room corners... the bass is accentuated worst in 90 degree corners, so any baffle placed behind a mic which is this shape creates huge coloration problems in bass frequencies. This also adversely affects higher harmonic frequencies because of the massive energy in bass frequencies exciting these higher harmonics. A simple flat panel on a wall positioned behind the mic is a much better solution, as it does not create coloration, but still limits at least some of the early reflections in the room.'),(9777,85,0,1630,'sE Electronics Reflexion Filter PRO Portable Vocal Booth, reflection filter,'),(9778,85,1,1630,'sE Electronics Reflexion Filter PRO Portable Vocal Booth, reflection filter,'),(9779,76,0,1630,''),(9780,76,1,1630,''),(9781,75,0,1631,'<h2>SE Electronics sE1a Condenser Microphone</h2>\nBuilding on the incredibly popular sE1, the sE1a retains the same capsule but combines this with all new, super-quiet electronics, all housed in a superbly restyled chassis.<br><br>\n\nThis end-fire small diaphragm condenser microphone really is astonishing value for money. Great for drums, pianos, and acoustic stringed instruments the sE1a is a must have for any size studio.'),(9782,75,1,1631,'<h2>SE Electronics sE1a Condenser Microphone</h2>\nBuilding on the incredibly popular sE1, the sE1a retains the same capsule but combines this with all new, super-quiet electronics, all housed in a superbly restyled chassis.<br><br>\n\nThis end-fire small diaphragm condenser microphone really is astonishing value for money. Great for drums, pianos, and acoustic stringed instruments the sE1a is a must have for any size studio.'),(9783,85,0,1631,'SE Electronics sE1a Condenser Microphone'),(9784,85,1,1631,'SE Electronics sE1a Condenser Microphone'),(9785,76,0,1631,''),(9786,76,1,1631,''),(9787,75,0,1632,'Building on the incredibly popular sE1, the sE1a retains the same capsule but combines this with all new, super-quiet electronics, all housed in a superbly restyled chassis.\n\nThis end-fire small diaphragm condenser microphone really is astonishing value for money.\n\nGreat for drums, pianos, and acoustic stringed instruments the sE1a is a must have for any size studio.'),(9788,75,1,1632,'Building on the incredibly popular sE1, the sE1a retains the same capsule but combines this with all new, super-quiet electronics, all housed in a superbly restyled chassis.\n\nThis end-fire small diaphragm condenser microphone really is astonishing value for money.\n\nGreat for drums, pianos, and acoustic stringed instruments the sE1a is a must have for any size studio.'),(9789,85,0,1632,'SE Electronics sE1a Condenser Microphone Pair'),(9790,85,1,1632,'SE Electronics sE1a Condenser Microphone Pair'),(9791,76,0,1632,''),(9792,76,1,1632,''),(9793,75,0,1633,'Source-Connect enables audio connections between digital audio systems anywhere in the world, allowing direct-to-the-timeline recording with real-time, broadcast-quality audio using only T1, Cable, or DSL internet connections. \n\nSource Connect Pro features include stereo bit-rates up to 320kbs, Multi Connect, Remote Transport Sync with overdub and review mode, VPN functionality for increased security, advanced control over bandwidth optimization and latency, user-definable port selection, phone support and is optimized for multiple users within a network.'),(9794,75,1,1633,'Source-Connect enables audio connections between digital audio systems anywhere in the world, allowing direct-to-the-timeline recording with real-time, broadcast-quality audio using only T1, Cable, or DSL internet connections. \n\nSource Connect Pro features include stereo bit-rates up to 320kbs, Multi Connect, Remote Transport Sync with overdub and review mode, VPN functionality for increased security, advanced control over bandwidth optimization and latency, user-definable port selection, phone support and is optimized for multiple users within a network.'),(9795,85,0,1633,'Source Elements Source Connect Pro'),(9796,85,1,1633,'Source Elements Source Connect Pro'),(9797,76,0,1633,''),(9798,76,1,1633,''),(9799,75,0,1634,'Source-Connect enables audio connections between digital audio systems anywhere in the world, allowing direct-to-the-timeline recording with real-time, broadcast-quality audio using only T1, Cable, or DSL internet connections. \n\nSource Connect is customized for musicians and voice-over artists, featuring stereo bit rates up to 192KHz, and a simplified user interface, Remote transport synchronization with overdub mode and the ability to connect with Source Connect Pro.'),(9800,75,1,1634,'Source-Connect enables audio connections between digital audio systems anywhere in the world, allowing direct-to-the-timeline recording with real-time, broadcast-quality audio using only T1, Cable, or DSL internet connections. \n\nSource Connect is customized for musicians and voice-over artists, featuring stereo bit rates up to 192KHz, and a simplified user interface, Remote transport synchronization with overdub mode and the ability to connect with Source Connect Pro.'),(9801,85,0,1634,'Source Elements Source Connect Standard'),(9802,85,1,1634,'Source Elements Source Connect Standard'),(9803,76,0,1634,''),(9804,76,1,1634,''),(9805,75,0,1635,'The e 602 II is a cardioid instrument microphone especially suitable for use with bass drums, bass guitar cabs, tubas and other low frequency instruments.'),(9806,75,1,1635,'The e 602 II is a cardioid instrument microphone especially suitable for use with bass drums, bass guitar cabs, tubas and other low frequency instruments.'),(9807,85,0,1635,'Sennheiser e602 II Dynamic Microphone'),(9808,85,1,1635,'Sennheiser e602 II Dynamic Microphone'),(9809,76,0,1635,''),(9810,76,1,1635,''),(9811,75,0,1636,'Sennheiser e604 Dynamic Microphone'),(9812,75,1,1636,'Sennheiser e604 Dynamic Microphone'),(9813,85,0,1636,'Sennheiser e604 Dynamic Microphone'),(9814,85,1,1636,'Sennheiser e604 Dynamic Microphone'),(9815,76,0,1636,''),(9816,76,1,1636,''),(9817,75,0,1637,'The e 608 has a newly developed clamp and goose-neck mounting, which enables the capsule to be positioned close to the signal source for high realism and high level output. Extensive damping and shock mounting isolates the capsule and signal from extraneous vibration, noise and impact. Humbucking coil protects against induced electrical interference. A high strength, reinforced glass-fiber casing protects the capsule from impact damage.'),(9818,75,1,1637,'The e 608 has a newly developed clamp and goose-neck mounting, which enables the capsule to be positioned close to the signal source for high realism and high level output. Extensive damping and shock mounting isolates the capsule and signal from extraneous vibration, noise and impact. Humbucking coil protects against induced electrical interference. A high strength, reinforced glass-fiber casing protects the capsule from impact damage.'),(9819,85,0,1637,'Sennheiser e608 Dynamic Microphone'),(9820,85,1,1637,'Sennheiser e608 Dynamic Microphone'),(9821,76,0,1637,''),(9822,76,1,1637,''),(9823,75,0,1638,'The e 609 Silver is based on the legendary MD 409 microphone. Able to withstand high SPLs without distorting, the e 609 Silver\'s flat-profile capsule facilitates extremely close miking of guitar cabinets and is also suitable for drum miking, particularly toms. The e 609 Silver\'s super-cardioid design improves isolation in live sound reinforcement and recording applications while its increased output and wider frequency response improves performance. Its sound inlet basket, made of refined steel, is distinguished by a unique silver address side.'),(9824,75,1,1638,'The e 609 Silver is based on the legendary MD 409 microphone. Able to withstand high SPLs without distorting, the e 609 Silver\'s flat-profile capsule facilitates extremely close miking of guitar cabinets and is also suitable for drum miking, particularly toms. The e 609 Silver\'s super-cardioid design improves isolation in live sound reinforcement and recording applications while its increased output and wider frequency response improves performance. Its sound inlet basket, made of refined steel, is distinguished by a unique silver address side.'),(9825,85,0,1638,'Sennheiser e609 Dynamic Microphone'),(9826,85,1,1638,'Sennheiser e609 Dynamic Microphone'),(9827,76,0,1638,''),(9828,76,1,1638,''),(9829,75,0,1639,'The e 614 is a super-cardioid condenser microphone, designed for demanding instrument recordings and performances that require extended frequency response, high SPL handling, fast transient response and compact size. While drumset overhead miking was the first design priority, the e614 also works exceptionally well on percussion setups as well, fitting comfortably into tight setups. The e 614 can handle high SPLs and features medium sensitivity, which ensures reduced bleed from other instruments on stage. Because of its excellent acoustic properties, this mic is also ideal for home recording.'),(9830,75,1,1639,'The e 614 is a super-cardioid condenser microphone, designed for demanding instrument recordings and performances that require extended frequency response, high SPL handling, fast transient response and compact size. While drumset overhead miking was the first design priority, the e614 also works exceptionally well on percussion setups as well, fitting comfortably into tight setups. The e 614 can handle high SPLs and features medium sensitivity, which ensures reduced bleed from other instruments on stage. Because of its excellent acoustic properties, this mic is also ideal for home recording.'),(9831,85,0,1639,'Sennheiser e614 Condenser Microphone'),(9832,85,1,1639,'Sennheiser e614 Condenser Microphone'),(9833,76,0,1639,''),(9834,76,1,1639,''),(9835,75,0,1640,'Lead vocal stage mic, designed to perform under pressure. Uniform frequency pick-up pattern maintains signal quality when moving on and off axis during performance. Gentle presence boost to even tonal response ensures clarity and projection. Minimal proximity effect provides consistently clear bass and performance when singing closer to or farther from capsule.'),(9836,75,1,1640,'Lead vocal stage mic, designed to perform under pressure. Uniform frequency pick-up pattern maintains signal quality when moving on and off axis during performance. Gentle presence boost to even tonal response ensures clarity and projection. Minimal proximity effect provides consistently clear bass and performance when singing closer to or farther from capsule.'),(9837,85,0,1640,'Sennheiser e835 Dynamic Microphone'),(9838,85,1,1640,'Sennheiser e835 Dynamic Microphone'),(9839,76,0,1640,''),(9840,76,1,1640,''),(9841,75,0,1641,'Extended high frequency response and supercardioid pick-up pattern for higher signal output, cuts through high on-stage sound levels. Smooth warm tonal response and full dynamic range, with presence lift for vocal clarity and projection. Consistent on/off axis and proximity response maintain sound quality while moving, providing greater on-stage freedom. \n\nFull metal construction and extensive suspension and shock-mounting minimize handling noise and signal interference. High output performance microphone, offering power, clarity and projection'),(9842,75,1,1641,'Extended high frequency response and supercardioid pick-up pattern for higher signal output, cuts through high on-stage sound levels. Smooth warm tonal response and full dynamic range, with presence lift for vocal clarity and projection. Consistent on/off axis and proximity response maintain sound quality while moving, providing greater on-stage freedom. \n\nFull metal construction and extensive suspension and shock-mounting minimize handling noise and signal interference. High output performance microphone, offering power, clarity and projection'),(9843,85,0,1641,'Sennheiser e845 Dynamic Microphone'),(9844,85,1,1641,'Sennheiser e845 Dynamic Microphone'),(9845,76,0,1641,''),(9846,76,1,1641,''),(9847,75,0,1642,'The e 865 represents the first condenser microphone in the acclaimed evolution series. A live performance, lead vocal microphone, the e 865 easily cuts through high on-stage levels by virtue of its detailed and natural 40 Hz - 20 kHz reproduction and superb transient response.'),(9848,75,1,1642,'The e 865 represents the first condenser microphone in the acclaimed evolution series. A live performance, lead vocal microphone, the e 865 easily cuts through high on-stage levels by virtue of its detailed and natural 40 Hz - 20 kHz reproduction and superb transient response.'),(9849,85,0,1642,'Sennheiser e865 Condenser Microphone'),(9850,85,1,1642,'Sennheiser e865 Condenser Microphone'),(9851,76,0,1642,''),(9852,76,1,1642,''),(9853,75,0,1643,'<h1>Sennheiser HD 25 Plus Studio Monitor / DJ Headphones</h1>\nThe Sennheiser HD 25 Plus headphones are indispensable for mobile monitoring, due to their low weight and the option of one-ear listening. The closed-back HD 25 are purpose-designed, professional monitoring headphones offering high attenuation of background noise.\n<br /><br />\nCapable of handling very high sound pressure levels and of extremely robust construction, these headphones perform exceptionally well in loud environments, e.g. ENG, sound reinforcement, studio monitoring and audio equipment testing. Ideal monitoring headphones for cameramen and DJs, these are a pair of true sound professionals’ working headphones.\n<br /><br />\n<h3>HD 25 Plus Key Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">High sensitivity due to lightweight aluminium voice coils</span></li>\n	<li>Capable of handling very high sound pressure levels</li>\n	<li>Very lightweight and comfortable, even if used for long periods of time</li>\n	<li>Tough, detachable, single-sided cable</li>\n	<li>Rotatable capsule for single-ear listening</li>\n</ul>\n<br />\n<h3>HD 25 Plus Includes:</h3>\n<ul>\n	<li>1 HD 25 PLUS with coiled cable</li>\n	<li>1 Pouch</li>\n	<li>1 additional pair of soft earpads</li>\n	<li>1 additional 1.5m straight cable</li>\n	<li>1 Screw on jack adapter 3.5 to 6.3 mm</li>\n</ul>'),(9854,75,1,1643,'<h1>Sennheiser HD 25 Plus Studio Monitor / DJ Headphones</h1>\nThe Sennheiser HD 25 Plus headphones are indispensable for mobile monitoring, due to their low weight and the option of one-ear listening. The closed-back HD 25 are purpose-designed, professional monitoring headphones offering high attenuation of background noise.\n<br /><br />\nCapable of handling very high sound pressure levels and of extremely robust construction, these headphones perform exceptionally well in loud environments, e.g. ENG, sound reinforcement, studio monitoring and audio equipment testing. Ideal monitoring headphones for cameramen and DJs, these are a pair of true sound professionals’ working headphones.\n<br /><br />\n<h3>HD 25 Plus Key Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">High sensitivity due to lightweight aluminium voice coils</span></li>\n	<li>Capable of handling very high sound pressure levels</li>\n	<li>Very lightweight and comfortable, even if used for long periods of time</li>\n	<li>Tough, detachable, single-sided cable</li>\n	<li>Rotatable capsule for single-ear listening</li>\n</ul>\n<br />\n<h3>HD 25 Plus Includes:</h3>\n<ul>\n	<li>1 HD 25 PLUS with coiled cable</li>\n	<li>1 Pouch</li>\n	<li>1 additional pair of soft earpads</li>\n	<li>1 additional 1.5m straight cable</li>\n	<li>1 Screw on jack adapter 3.5 to 6.3 mm</li>\n</ul>'),(9855,85,0,1643,'Sennheiser HD 25 Plus Studio Monitor / DJ Headphones'),(9856,85,1,1643,'Sennheiser HD 25 Plus Studio Monitor / DJ Headphones'),(9857,76,0,1643,''),(9858,76,1,1643,''),(9859,75,0,1644,'<h1>Sennheiser HD 25 Studio Monitor / DJ Headphones</h1>\nThe Sennheiser HD 25 Plus headphones are indispensable for mobile monitoring, due to their low weight and the option of one-ear listening. The closed-back HD 25 Plus are purpose-designed, professional monitoring headphones offering high attenuation of background noise.\n<br /><br />\nCapable of handling very high sound pressure levels and of extremely robust construction, these headphones perform exceptionally well in loud environments, e.g. ENG, sound reinforcement, studio monitoring and audio equipment testing. Ideal monitoring headphones for cameramen and DJs, these are a pair of true sound professionals’ working headphones.\n<br /><br />\n<h3>HD 25 Key Features</h3>\n<ul>\n	<li>High sensitivity due to lightweight aluminium voice coils</li>\n	<li>Capable of handling very high sound pressure levels</li>\n	<li>Very lightweight and comfortable, even if used for long periods of time</li>\n	<li>Tough, detachable, single-sided cable</li>\n	<li>Rotatable capsule for single-ear listening</li>\n</ul><br />\n<h3>HD 25 Includes:</h3><ul style=\"\"><li>1 HD 25</li><li>1 Screw on jack adapter 3.5 to 6.3 mm</li>\n</ul>\n<br />'),(9860,75,1,1644,'<h1>Sennheiser HD 25 Studio Monitor / DJ Headphones</h1>\nThe Sennheiser HD 25 Plus headphones are indispensable for mobile monitoring, due to their low weight and the option of one-ear listening. The closed-back HD 25 Plus are purpose-designed, professional monitoring headphones offering high attenuation of background noise.\n<br /><br />\nCapable of handling very high sound pressure levels and of extremely robust construction, these headphones perform exceptionally well in loud environments, e.g. ENG, sound reinforcement, studio monitoring and audio equipment testing. Ideal monitoring headphones for cameramen and DJs, these are a pair of true sound professionals’ working headphones.\n<br /><br />\n<h3>HD 25 Key Features</h3>\n<ul>\n	<li>High sensitivity due to lightweight aluminium voice coils</li>\n	<li>Capable of handling very high sound pressure levels</li>\n	<li>Very lightweight and comfortable, even if used for long periods of time</li>\n	<li>Tough, detachable, single-sided cable</li>\n	<li>Rotatable capsule for single-ear listening</li>\n</ul><br />\n<h3>HD 25 Includes:</h3><ul style=\"\"><li>1 HD 25</li><li>1 Screw on jack adapter 3.5 to 6.3 mm</li>\n</ul>\n<br />'),(9861,85,0,1644,'Sennheiser HD 25 Studio Monitor / DJ Headphones'),(9862,85,1,1644,'Sennheiser HD 25 Studio Monitor / DJ Headphones'),(9863,76,0,1644,''),(9864,76,1,1644,''),(9865,75,0,1645,'<h1>Sennheiser HD 280 PRO Headphones</h1><i>\nRugged, comfortable headphones designed for professional monitoring applications. Features include single-sided coiled cable, rotating ear cups and up to 32 dB noise attenuation.<br /></i><br />\nThe Sennheiser HD 280 Pro is closed back, around-the-ear headphone designed to exceed the demands of any professional environment. The HD 280 Pro boasts extremely robust construction combined with the sound quality, modular design and aggressive noise isolation the necessary in the field. The unique collapsible design, combined with swiveling ear cups, offers maximum flexibility in any application.<br /><br /><h3>HD 280 Pro <span style=\"background-color: initial;\">Key Features</span></h3><span style=\"background-color: initial;\"></span><ul><li>High ambient noise attenuation</li><li>Accurate, linear sound reproduction</li><li>Soft earpads for a comfortable fit</li><li>Folding and rotating earcups for space-saving transport</li><li>Tough, single-sided cable</li></ul>'),(9866,75,1,1645,'<h1>Sennheiser HD 280 PRO Headphones</h1><i>\nRugged, comfortable headphones designed for professional monitoring applications. Features include single-sided coiled cable, rotating ear cups and up to 32 dB noise attenuation.<br /></i><br />\nThe Sennheiser HD 280 Pro is closed back, around-the-ear headphone designed to exceed the demands of any professional environment. The HD 280 Pro boasts extremely robust construction combined with the sound quality, modular design and aggressive noise isolation the necessary in the field. The unique collapsible design, combined with swiveling ear cups, offers maximum flexibility in any application.<br /><br /><h3>HD 280 Pro <span style=\"background-color: initial;\">Key Features</span></h3><span style=\"background-color: initial;\"></span><ul><li>High ambient noise attenuation</li><li>Accurate, linear sound reproduction</li><li>Soft earpads for a comfortable fit</li><li>Folding and rotating earcups for space-saving transport</li><li>Tough, single-sided cable</li></ul>'),(9867,85,0,1645,'Sennheiser HD 280 PRO Headphones'),(9868,85,1,1645,'Sennheiser HD 280 PRO Headphones'),(9869,76,0,1645,''),(9870,76,1,1645,''),(9871,75,0,1646,'<h3>Sennheiser HD 300 PRO Headphones</h3>\n<i>Closed-back studio headphones capable of locating everything and reproducing every detail. The newly developed acoustic system in the HD 300 PRO enables neutral, delicate sound reproduction and the high level of wearing comfort and efficient ambient noise attenuation make this a great monitoring headphone.<br /></i><br />The Sennheiser <span style=\"background-color: initial;\">HD 300 PRO headphone delivers a neutral, high-resolution working sound. Its huge depth of detail passes through even in the loudest of environments. Irrespective of whether you are editing, playing or composing music, and regardless of whether you’re behind a drum kit, at the mixing desk, in a live setting or in the studio, the HD 300 PRO provides the details that you need for making good decisions.<br /></span><div>HD 300 PRO. Keep control.</div><br />\n<h3>HD 300 Pro <span style=\"background-color: initial;\">Key Features</span></h3>\n<ul style=\"\">\n	<li>Highest resolution due to accurate and linear sound reproduction</li>\n	<li>Comfortable padding design allows for extended use in long wearing sessions</li>\n	<li>Superior ambient noise attenuation in loud environments due to closed passive earcup construction</li>\n	<li>Perfect companion for your daily work due to long lasting materials and exchangeable cables with Sennheiser\'s established system connector</li>\n</ul><div><br /></div>\n<h3>Measuring the truth</h3>\n<div>\n	The HD 300 PRO works at the same level of precision that you apply to your production. To make this possible, we have pushed its acoustic properties to the boundaries of physics and recalculated them. Firstly, it’s linear frequency response. It doesn’t interpret, but rather ensures neutral transparency – the basis for good decisions. Its sound pattern remains delicate and precise in every application – across the entire spectrum.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	Secondly, we have reduced distortion, wobbling motions and partial vibrations of the diaphragm to a minimum. Together with highly sensitive transducers, this construction guarantees powerful and distortion-free reproduction even at high sound pressure levels. Not to mention the recalculated air volumes in front of the ear. The HD 300 PRO gives the sound a remarkably natural, three-dimensional quality.\n</div>\n<div>\n	<br />\n</div>\n<h3>Only the sound carries weight.</h3>\n<div>\n	The design of the HD 300 PRO represents a smart combination of wearing comfort and ambient noise attenuation. Its circumaural, viscoelastic earpads can barely be felt even after several hours. And they provide reliable protection even against very loud ambient noise. To achieve this, we have designed the acoustic unit to be more isolated than a monitoring set has ever been. Even after sessions lasting several hours, you will detect only its sound – not its weight.\n</div>'),(9872,75,1,1646,'<h3>Sennheiser HD 300 PRO Headphones</h3>\n<i>Closed-back studio headphones capable of locating everything and reproducing every detail. The newly developed acoustic system in the HD 300 PRO enables neutral, delicate sound reproduction and the high level of wearing comfort and efficient ambient noise attenuation make this a great monitoring headphone.<br /></i><br />The Sennheiser <span style=\"background-color: initial;\">HD 300 PRO headphone delivers a neutral, high-resolution working sound. Its huge depth of detail passes through even in the loudest of environments. Irrespective of whether you are editing, playing or composing music, and regardless of whether you’re behind a drum kit, at the mixing desk, in a live setting or in the studio, the HD 300 PRO provides the details that you need for making good decisions.<br /></span><div>HD 300 PRO. Keep control.</div><br />\n<h3>HD 300 Pro <span style=\"background-color: initial;\">Key Features</span></h3>\n<ul style=\"\">\n	<li>Highest resolution due to accurate and linear sound reproduction</li>\n	<li>Comfortable padding design allows for extended use in long wearing sessions</li>\n	<li>Superior ambient noise attenuation in loud environments due to closed passive earcup construction</li>\n	<li>Perfect companion for your daily work due to long lasting materials and exchangeable cables with Sennheiser\'s established system connector</li>\n</ul><div><br /></div>\n<h3>Measuring the truth</h3>\n<div>\n	The HD 300 PRO works at the same level of precision that you apply to your production. To make this possible, we have pushed its acoustic properties to the boundaries of physics and recalculated them. Firstly, it’s linear frequency response. It doesn’t interpret, but rather ensures neutral transparency – the basis for good decisions. Its sound pattern remains delicate and precise in every application – across the entire spectrum.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	Secondly, we have reduced distortion, wobbling motions and partial vibrations of the diaphragm to a minimum. Together with highly sensitive transducers, this construction guarantees powerful and distortion-free reproduction even at high sound pressure levels. Not to mention the recalculated air volumes in front of the ear. The HD 300 PRO gives the sound a remarkably natural, three-dimensional quality.\n</div>\n<div>\n	<br />\n</div>\n<h3>Only the sound carries weight.</h3>\n<div>\n	The design of the HD 300 PRO represents a smart combination of wearing comfort and ambient noise attenuation. Its circumaural, viscoelastic earpads can barely be felt even after several hours. And they provide reliable protection even against very loud ambient noise. To achieve this, we have designed the acoustic unit to be more isolated than a monitoring set has ever been. Even after sessions lasting several hours, you will detect only its sound – not its weight.\n</div>'),(9873,85,0,1646,'Sennheiser HD 300 PRO Headphones'),(9874,85,1,1646,'Sennheiser HD 300 PRO Headphones'),(9875,76,0,1646,''),(9876,76,1,1646,''),(9877,75,0,1647,'The MD 421 II continues the tradition of the MD 421, which has been one of Sennheiser\'s most popular dynamic mics for over 35 years. The large diaphragm, dynamic element handles high sound pressure levels, making it a natural for recording guitars and drums. The MD 421\'s full-bodied cardioid pattern and five-position bass control make it an excellent choice for most instruments, as well as group vocals or radio broadcast announcers. One listen and you\'ll know why it\'s a classic.'),(9878,75,1,1647,'The MD 421 II continues the tradition of the MD 421, which has been one of Sennheiser\'s most popular dynamic mics for over 35 years. The large diaphragm, dynamic element handles high sound pressure levels, making it a natural for recording guitars and drums. The MD 421\'s full-bodied cardioid pattern and five-position bass control make it an excellent choice for most instruments, as well as group vocals or radio broadcast announcers. One listen and you\'ll know why it\'s a classic.'),(9879,85,0,1647,'Sennheiser MD 421 II Dynamic Microphone'),(9880,85,1,1647,'Sennheiser MD 421 II Dynamic Microphone'),(9881,76,0,1647,''),(9882,76,1,1647,''),(9883,75,0,1648,'The MD 441 is acknowledged as the most accurate and versatile dynamic mic available. It has a nearly textbook perfect super-cardioid pattern, a five-position low frequency contour switch, a two-position high frequency switch, a critically damped internal shock suspension, and a hum bucking coil. Perfect for vocals and virtually every instrument.'),(9884,75,1,1648,'The MD 441 is acknowledged as the most accurate and versatile dynamic mic available. It has a nearly textbook perfect super-cardioid pattern, a five-position low frequency contour switch, a two-position high frequency switch, a critically damped internal shock suspension, and a hum bucking coil. Perfect for vocals and virtually every instrument.'),(9885,85,0,1648,'Sennheiser MD 441 Dynamic Microphone'),(9886,85,1,1648,'Sennheiser MD 441 Dynamic Microphone'),(9887,76,0,1648,''),(9888,76,1,1648,''),(9889,75,0,1649,'<h2>Sequential Instruments - OB 6 - 6-Voice Polyphonic Analog Synthesizer</h2><p style=\"color: #000000;\"><i>The OB 6 is a 6-Voice Polyphonic Analog Synthesizer, classic \nOberheim-inspired 2-pole, state-variable, resonant filter provides \nlow-pass, high-pass, band-pass, and notch functionality.</i></p><p>The Sequential <span style=\"letter-spacing: 0px;\">OB-6 is a once-in-a-lifetime collaboration between the two most \ninfluential designers in poly synth history, Dave Smith and Tom \nOberheim. The OB-6 takes the classic bold Tom Oberheim sound — with its \ntrue voltage-controlled oscillators, 2-pole filter, and amplifiers — and\n adds modern enhancements such as studio-quality effects, a polyphonic \nstep sequencer, an arpeggiator, and more. No other modern analog poly \nsynth can boast such a pedigree or such a massive, in-your-face sonic \nsignature.</span></p>\n<h3>Vintage SEM Tone</h3>\n<p>The OB-6 sound engine is inspired by Tom’s original SEM, the core of \nhis acclaimed 4-voice and 8- voice synthesizers. It features two \ndiscrete voltage-controlled oscillators (plus sub-oscillator) per voice \nwith continuously variable waveshapes (sawtooth and variable-width \npulse, plus a triangle wave on oscillator 2). The classic \nOberheim-inspired 2-pole, state-variable, resonant filter provides \nlow-pass, high-pass, band-pass, and notch functionality. \nVoltage-controlled amplifiers complete the all-analog signal path.</p>\n<h3>Dual Effects</h3>\n<p>The dual effects section provides studio-quality reverbs, delays \n(standard and BBD), chorus, flangers, and faithful recreations of Tom’s \noriginal phase shifter and ring modulator. While the effects themselves \nare digital, with 24-bit, 48 kHz resolution, a true bypass maintains a \nfull analog signal path.</p>\n<h3>X-Mod and Poly Step Sequencing</h3>\n<p>Also present is X-Mod, which expands the tonal palette and makes it \neasy to create dramatic and unconventional sounds. Modulation sources \nare filter envelope and oscillator 2, both with bi-polar control. \nDestinations include oscillator 1 frequency, oscillator 1 shape, \noscillator 1 pulse width, filter cutoff, and filter mode. The polyphonic\n step sequencer allows up to 64 steps and up to 6 notes per step. You \ncan create sequences polyphonically, with rests, and sync to an external\n MIDI clock. The full-featured arpeggiator can be synced to external \nMIDI clock as well. Unison mode features configurable voice count (1-6 \nvoices), chord memory, and key modes.</p>\n<h3>Easy to Program</h3>\n<p>The knob-per-function front panel puts virtually all OB-6 functions \nat your fingertips. Included are 500 permanent factory programs and 500 \nrewritable user programs. Turning on the Manual button enables live \npanel mode, in which the sound of the OB-6 switches to its current front\n panel settings. In this state, what you see is what you hear.</p>\n<h3>Easy to Play</h3>\n<p>This analog powerhouse is packed into a four-octave, semi-weighted \nkeyboard with velocity and channel aftertouch, making it perfect for \nstage or studio.</p><h3>OB 6 Analog Synthesizer Specifications</h3><h5><strong>OSCILLATORS</strong></h5>\n<ul><li>Two discrete VCOs per voice</li><li>Continuously variable wave shape (sawtooth and variable-width pulse, plus triangle on oscillator 2) per oscillator</li><li>Pulse width per oscillator</li><li>Hard sync: oscillator 1 syncs to oscillator 2</li><li>Square wave sub-octave generator (oscillator 1) per voice</li><li>Low frequency mode (oscillator 2)</li><li>Keyboard tracking on/off (oscillator 2)</li><li>Oscillator detune amount for increased tuning instability, from subtle to extreme</li></ul>\n<h5><strong>MIXER</strong></h5>\n<ul><li>Oscillator 1 amount</li><li>Oscillator 1 sub-octave amount</li><li>Oscillator 2 amount</li><li>White noise amount</li></ul>\n<h5><strong>STATE-VARIABLE FILTER</strong></h5>\n<ul><li>Two-pole, resonant, filter per voice with low-pass, high-pass, \nband-pass, and notch functionality inspired by the original Oberheim SEM\n filter</li><li>Bi-polar filter envelope amount</li><li>Velocity modulation of envelope amount</li><li>Keyboard tracking: off, half, full</li></ul>\n<h5><strong>FILTER ENVELOPE</strong></h5>\n<ul><li>Four-stage (ADSR) envelope generator</li><li>Velocity modulation of envelope amount</li></ul>\n<h5><strong>AMPLIFIER ENVELOPE</strong></h5>\n<ul><li>Four-stage (ADSR) envelope generator</li><li>Velocity modulation of envelope amount</li></ul>\n<h5><strong>LOW FREQUENCY OSCILLATOR</strong></h5>\n<ul><li>Five wave shapes: sine, sawtooth, reverse sawtooth, square, and random (sample and hold)</li><li>Clock sync (internal or external MIDI clock)</li><li>Initial amount</li><li>Mod destinations: oscillator 1 frequency, oscillator 2 frequency, \noscillator 1 and 2 pulse width, filter cutoff, filter mode, amp</li></ul>\n<h5><strong>X-MOD</strong></h5>\n<ul><li>Sources: filter envelope (bi-polar) and oscillator 2 (bi-polar)</li><li>Destinations: oscillator 1 frequency, oscillator 1 shape, oscillator\n 1 pulse width, filter cutoff, filter mode, normal to bandpass filter</li></ul>\n<h5><strong>AFTERTOUCH</strong></h5>\n<ul><li>Source: channel (mono) aftertouch with bi-polar amount</li><li>Destinations: oscillator 1 frequency, oscillator 2 frequency, LFO \namount, amplifier envelope amount, filter envelope amount, filter mode</li></ul>\n<h5><strong>CLOCK</strong></h5>\n<ul><li>Master clock with tap tempo</li><li>BPM control and display</li><li>MIDI clock sync</li></ul>\n<h5><strong>ARPEGGIATOR</strong></h5>\n<ul><li>Selectable note value: 16th note, 8th note triplet, 8th note, dotted 8th note, quarter note</li><li>One, two, or three octave range</li><li>Up, down, up/down, random, and assign modes</li></ul>\n<h5><strong>SEQUENCER</strong></h5>\n<ul><li>Polyphonic step sequencer with up to 64 steps and rests</li></ul>\n<h5><strong>EFFECTS</strong></h5>\n<ul><li>Stereo analog distortion</li><li>Dual, 24-bit, 48 kHz digital effects, including: reverb (room, hall,\n plate, spring), delay (full bandwidth digital delay and emulated bucket\n brigade), chorus, flanger, phase shifters, and ring modulator</li><li>Delay sync</li><li>True bypass maintains fully analog signal path when digital effects are off</li></ul>\n<h5><strong>PERFORMANCE CONTROLS</strong></h5>\n<ul><li>Full-sized, semi-weighted, 4-octave keyboard with velocity and aftertouch</li><li>Backlit pitch and mod wheels</li><li>Spring-loaded pitch wheel with selectable range per program (1 to 12 semitones up and down)</li><li>Transpose controls for an 8-octave range</li><li>Hold switch latches held notes on</li><li>Polyphonic portamento</li><li>Unison (monophonic) mode with configurable voice count, from one to all six voices, chord memory, and key modes</li><li>Manual switch: when on, the front panel is live; what you see is what you hear</li></ul>\n<h5><strong>PATCH MEMORY</strong></h5>\n<ul><li>500 user and 500 factory programs in 10 banks of 100 programs each</li><li>Direct program access, including single-button access to the current set of 10 programs</li></ul>\n<h5><strong>IN/OUT</strong></h5>\n<ul><li>Left/mono and right audio outputs (2 x 1/4” phone jack)</li><li>Headphone output (stereo, 1/4” phone jack)</li><li>MIDI in, out, and thru ports</li><li>USB for bidirectional MIDI communication</li><li>Filter cutoff expression pedal input</li><li>Volume expression pedal input</li><li>Sustain footswitch input</li><li>Sequencer start/stop footswitch input</li></ul>\n<h5><strong>POWER</strong></h5>\n<ul><li>IEC AC power inlet for internal power supply</li><li>Operates worldwide on voltages between 100 and 240 volts at 50 to 60 Hz; 30 watts maximum power consumption</li></ul>\n<h5><strong>PHYSICAL SPECS</strong></h5>\n<ul><li>31.8” L x 12.7” W x 4.6″ H (80.7 cm x 32.3 cm x 11.7 cm)</li><li>20 lbs (9.5 kg)</li><li>Walnut end panels</li></ul><span id=\"product_description\" itemprop=\"description\"><h3>Sequential Instruments products are used by an ever-growing roster of well-known musicians. Call or chat with\n a RSPE representative today for more information.</h3>\n</span>'),(9890,75,1,1649,'<h2>Sequential Instruments - OB 6 - 6-Voice Polyphonic Analog Synthesizer</h2><p style=\"color: #000000;\"><i>The OB 6 is a 6-Voice Polyphonic Analog Synthesizer, classic \nOberheim-inspired 2-pole, state-variable, resonant filter provides \nlow-pass, high-pass, band-pass, and notch functionality.</i></p><p>The Sequential <span style=\"letter-spacing: 0px;\">OB-6 is a once-in-a-lifetime collaboration between the two most \ninfluential designers in poly synth history, Dave Smith and Tom \nOberheim. The OB-6 takes the classic bold Tom Oberheim sound — with its \ntrue voltage-controlled oscillators, 2-pole filter, and amplifiers — and\n adds modern enhancements such as studio-quality effects, a polyphonic \nstep sequencer, an arpeggiator, and more. No other modern analog poly \nsynth can boast such a pedigree or such a massive, in-your-face sonic \nsignature.</span></p>\n<h3>Vintage SEM Tone</h3>\n<p>The OB-6 sound engine is inspired by Tom’s original SEM, the core of \nhis acclaimed 4-voice and 8- voice synthesizers. It features two \ndiscrete voltage-controlled oscillators (plus sub-oscillator) per voice \nwith continuously variable waveshapes (sawtooth and variable-width \npulse, plus a triangle wave on oscillator 2). The classic \nOberheim-inspired 2-pole, state-variable, resonant filter provides \nlow-pass, high-pass, band-pass, and notch functionality. \nVoltage-controlled amplifiers complete the all-analog signal path.</p>\n<h3>Dual Effects</h3>\n<p>The dual effects section provides studio-quality reverbs, delays \n(standard and BBD), chorus, flangers, and faithful recreations of Tom’s \noriginal phase shifter and ring modulator. While the effects themselves \nare digital, with 24-bit, 48 kHz resolution, a true bypass maintains a \nfull analog signal path.</p>\n<h3>X-Mod and Poly Step Sequencing</h3>\n<p>Also present is X-Mod, which expands the tonal palette and makes it \neasy to create dramatic and unconventional sounds. Modulation sources \nare filter envelope and oscillator 2, both with bi-polar control. \nDestinations include oscillator 1 frequency, oscillator 1 shape, \noscillator 1 pulse width, filter cutoff, and filter mode. The polyphonic\n step sequencer allows up to 64 steps and up to 6 notes per step. You \ncan create sequences polyphonically, with rests, and sync to an external\n MIDI clock. The full-featured arpeggiator can be synced to external \nMIDI clock as well. Unison mode features configurable voice count (1-6 \nvoices), chord memory, and key modes.</p>\n<h3>Easy to Program</h3>\n<p>The knob-per-function front panel puts virtually all OB-6 functions \nat your fingertips. Included are 500 permanent factory programs and 500 \nrewritable user programs. Turning on the Manual button enables live \npanel mode, in which the sound of the OB-6 switches to its current front\n panel settings. In this state, what you see is what you hear.</p>\n<h3>Easy to Play</h3>\n<p>This analog powerhouse is packed into a four-octave, semi-weighted \nkeyboard with velocity and channel aftertouch, making it perfect for \nstage or studio.</p><h3>OB 6 Analog Synthesizer Specifications</h3><h5><strong>OSCILLATORS</strong></h5>\n<ul><li>Two discrete VCOs per voice</li><li>Continuously variable wave shape (sawtooth and variable-width pulse, plus triangle on oscillator 2) per oscillator</li><li>Pulse width per oscillator</li><li>Hard sync: oscillator 1 syncs to oscillator 2</li><li>Square wave sub-octave generator (oscillator 1) per voice</li><li>Low frequency mode (oscillator 2)</li><li>Keyboard tracking on/off (oscillator 2)</li><li>Oscillator detune amount for increased tuning instability, from subtle to extreme</li></ul>\n<h5><strong>MIXER</strong></h5>\n<ul><li>Oscillator 1 amount</li><li>Oscillator 1 sub-octave amount</li><li>Oscillator 2 amount</li><li>White noise amount</li></ul>\n<h5><strong>STATE-VARIABLE FILTER</strong></h5>\n<ul><li>Two-pole, resonant, filter per voice with low-pass, high-pass, \nband-pass, and notch functionality inspired by the original Oberheim SEM\n filter</li><li>Bi-polar filter envelope amount</li><li>Velocity modulation of envelope amount</li><li>Keyboard tracking: off, half, full</li></ul>\n<h5><strong>FILTER ENVELOPE</strong></h5>\n<ul><li>Four-stage (ADSR) envelope generator</li><li>Velocity modulation of envelope amount</li></ul>\n<h5><strong>AMPLIFIER ENVELOPE</strong></h5>\n<ul><li>Four-stage (ADSR) envelope generator</li><li>Velocity modulation of envelope amount</li></ul>\n<h5><strong>LOW FREQUENCY OSCILLATOR</strong></h5>\n<ul><li>Five wave shapes: sine, sawtooth, reverse sawtooth, square, and random (sample and hold)</li><li>Clock sync (internal or external MIDI clock)</li><li>Initial amount</li><li>Mod destinations: oscillator 1 frequency, oscillator 2 frequency, \noscillator 1 and 2 pulse width, filter cutoff, filter mode, amp</li></ul>\n<h5><strong>X-MOD</strong></h5>\n<ul><li>Sources: filter envelope (bi-polar) and oscillator 2 (bi-polar)</li><li>Destinations: oscillator 1 frequency, oscillator 1 shape, oscillator\n 1 pulse width, filter cutoff, filter mode, normal to bandpass filter</li></ul>\n<h5><strong>AFTERTOUCH</strong></h5>\n<ul><li>Source: channel (mono) aftertouch with bi-polar amount</li><li>Destinations: oscillator 1 frequency, oscillator 2 frequency, LFO \namount, amplifier envelope amount, filter envelope amount, filter mode</li></ul>\n<h5><strong>CLOCK</strong></h5>\n<ul><li>Master clock with tap tempo</li><li>BPM control and display</li><li>MIDI clock sync</li></ul>\n<h5><strong>ARPEGGIATOR</strong></h5>\n<ul><li>Selectable note value: 16th note, 8th note triplet, 8th note, dotted 8th note, quarter note</li><li>One, two, or three octave range</li><li>Up, down, up/down, random, and assign modes</li></ul>\n<h5><strong>SEQUENCER</strong></h5>\n<ul><li>Polyphonic step sequencer with up to 64 steps and rests</li></ul>\n<h5><strong>EFFECTS</strong></h5>\n<ul><li>Stereo analog distortion</li><li>Dual, 24-bit, 48 kHz digital effects, including: reverb (room, hall,\n plate, spring), delay (full bandwidth digital delay and emulated bucket\n brigade), chorus, flanger, phase shifters, and ring modulator</li><li>Delay sync</li><li>True bypass maintains fully analog signal path when digital effects are off</li></ul>\n<h5><strong>PERFORMANCE CONTROLS</strong></h5>\n<ul><li>Full-sized, semi-weighted, 4-octave keyboard with velocity and aftertouch</li><li>Backlit pitch and mod wheels</li><li>Spring-loaded pitch wheel with selectable range per program (1 to 12 semitones up and down)</li><li>Transpose controls for an 8-octave range</li><li>Hold switch latches held notes on</li><li>Polyphonic portamento</li><li>Unison (monophonic) mode with configurable voice count, from one to all six voices, chord memory, and key modes</li><li>Manual switch: when on, the front panel is live; what you see is what you hear</li></ul>\n<h5><strong>PATCH MEMORY</strong></h5>\n<ul><li>500 user and 500 factory programs in 10 banks of 100 programs each</li><li>Direct program access, including single-button access to the current set of 10 programs</li></ul>\n<h5><strong>IN/OUT</strong></h5>\n<ul><li>Left/mono and right audio outputs (2 x 1/4” phone jack)</li><li>Headphone output (stereo, 1/4” phone jack)</li><li>MIDI in, out, and thru ports</li><li>USB for bidirectional MIDI communication</li><li>Filter cutoff expression pedal input</li><li>Volume expression pedal input</li><li>Sustain footswitch input</li><li>Sequencer start/stop footswitch input</li></ul>\n<h5><strong>POWER</strong></h5>\n<ul><li>IEC AC power inlet for internal power supply</li><li>Operates worldwide on voltages between 100 and 240 volts at 50 to 60 Hz; 30 watts maximum power consumption</li></ul>\n<h5><strong>PHYSICAL SPECS</strong></h5>\n<ul><li>31.8” L x 12.7” W x 4.6″ H (80.7 cm x 32.3 cm x 11.7 cm)</li><li>20 lbs (9.5 kg)</li><li>Walnut end panels</li></ul><span id=\"product_description\" itemprop=\"description\"><h3>Sequential Instruments products are used by an ever-growing roster of well-known musicians. Call or chat with\n a RSPE representative today for more information.</h3>\n</span>'),(9891,85,0,1649,'Sequential Instruments - OB 6 - 6-Voice Polyphonic Analog Synthesizer'),(9892,85,1,1649,'Sequential Instruments - OB 6 - 6-Voice Polyphonic Analog Synthesizer'),(9893,76,0,1649,''),(9894,76,1,1649,''),(9895,75,0,1650,'<h2>Sequential Instruments - OB 6 Desktop Module</h2><p style=\"color: #000000;\"><i>The OB 6 is a 6-Voice Polyphonic Analog Synthesizer, classic \nOberheim-inspired 2-pole, state-variable, resonant filter provides \nlow-pass, high-pass, band-pass, and notch functionality.</i></p><p><br />The Sequential <span style=\"letter-spacing: 0px;\">OB-6 desktop module is just as powerful and easy to use as its \ncounterpart, the OB-6 Keyboard. The module has all of the same controls \nas the keyboard version and provides the same immediacy and ease of use.\n As with the OB-6 Keyboard, all parameters are at your fingertips, with \nfull-sized knobs and switches and a comfortable, intuitive layout.</span></p>\n<p>How does it sound? Massive — just like the keyboard, because on the \ninside, it’s exactly the same. The same analog signal path with discrete\n VCOs and VCFs. The same high-quality digital effects. The same classic \nOberheim sound that has been earning raves from musicians around the \nworld.</p>\n<p>We’ve also added a poly chain feature so that any two OB-6s can be paired for twelve-voice polyphony!</p>\n<h3>Two Legends. One Instrument</h3>\n<p>Both the OB-6 desktop module and OB-6 keyboard are a \nonce-in-a-lifetime collaboration between the two most influential \ndesigners in poly synth history, Dave Smith and Tom Oberheim. The OB-6 \ntakes the classic bold Tom Oberheim sound — with its true \nvoltage-controlled oscillators, 2-pole filter, and amplifiers — and adds\n modern enhancements such as studio-quality effects, a polyphonic step \nsequencer, an arpeggiator, and more. No other modern analog poly synth \ncan boast such a pedigree or such a massive, in-your-face sonic \nsignature.</p>\n<h3>Vintage SEM Tone</h3>\n<p>The OB-6 sound engine is inspired by Tom’s original SEM, the core of \nhis acclaimed 4-voice and 8- voice synthesizers. It features two \ndiscrete voltage-controlled oscillators (plus sub-oscillator) per voice \nwith continuously variable waveshapes (sawtooth and variable-width \npulse, plus a triangle wave on oscillator 2). Voltage-controlled amplifiers complete the all-analog signal path.</p>\n<h3>Dual Effects</h3>\n<p>The dual effects section provides studio-quality reverbs, delays \n(standard and BBD), chorus, flangers, and faithful recreations of Tom’s \noriginal phase shifter and ring modulator. While the effects themselves \nare digital, with 24-bit, 48 kHz resolution, a true bypass maintains a \nfull analog signal path.</p>\n<h3>X-Mod and Poly Step Sequencing</h3>\n<p>Also present is X-Mod, which expands the tonal palette and makes it \neasy to create dramatic and unconventional sounds. Modulation sources \nare filter envelope and oscillator 2, both with bi-polar control. \nDestinations include oscillator 1 frequency, oscillator 1 shape, \noscillator 1 pulse width, filter cutoff, and filter mode. The polyphonic\n step sequencer allows up to 64 steps and up to 6 notes per step. You \ncan create sequences polyphonically, with rests, and sync to an external\n MIDI clock. The full-featured arpeggiator can be synced to external \nMIDI clock as well. Unison mode features configurable voice count (1-6 \nvoices), chord memory, and key modes.</p>\n<h3>Easy to Program</h3>\n<p>The knob-per-function front panel puts virtually all OB-6 functions \nat your fingertips. Included are 500 permanent factory programs and 500 \nrewritable user programs. Turning on the Manual button enables live \npanel mode, in which the sound of the OB-6 switches to its current front\n panel settings. In this state, what you see is what you hear.</p>\n<h3>Easy to Play</h3>\n<p>This analog powerhouse is packed into a desktop module that’s small \nenough to fit in a backpack. It’s an ideal combination of portability \nand power for the project studio or the gigging musician.</p><br /><h3>OB 6 Desktop Module Specifications</h3><h5><strong>OSCILLATORS</strong></h5>\n<ul><li>Two discrete VCOs per voice</li><li>Continuously variable wave shape (sawtooth and variable-width pulse, plus triangle on oscillator 2) per oscillator</li><li>Pulse width per oscillator</li><li>Hard sync: oscillator 1 syncs to oscillator 2</li><li>Square wave sub-octave generator (oscillator 1) per voice</li><li>Low frequency mode (oscillator 2)</li><li>Keyboard tracking on/off (oscillator 2)</li><li>Oscillator detune amount for increased tuning instability, from subtle to extreme</li></ul>\n<h5><strong>MIXER</strong></h5>\n<ul><li>Oscillator 1 amount</li><li>Oscillator 1 sub-octave amount</li><li>Oscillator 2 amount</li><li>White noise amount</li></ul>\n<h5><strong>STATE-VARIABLE FILTER</strong></h5>\n<ul><li>Two-pole, resonant, filter per voice with low-pass, high-pass, \nband-pass, and notch functionality inspired by the original Oberheim SEM\n filter</li><li>Bi-polar filter envelope amount</li><li>Velocity modulation of envelope amount</li><li>Keyboard tracking: off, half, full</li></ul>\n<h5><strong>FILTER ENVELOPE</strong></h5>\n<ul><li>Four-stage (ADSR) envelope generator</li><li>Velocity modulation of envelope amount</li></ul>\n<h5><strong>AMPLIFIER ENVELOPE</strong></h5>\n<ul><li>Four-stage (ADSR) envelope generator</li><li>Velocity modulation of envelope amount</li></ul>\n<h5><strong>LOW FREQUENCY OSCILLATOR</strong></h5>\n<ul><li>Five wave shapes: sine, sawtooth, reverse sawtooth, square, and random (sample and hold)</li><li>Clock sync (internal or external MIDI clock)</li><li>Initial amount</li><li>Mod destinations: oscillator 1 frequency, oscillator 2 frequency, \noscillator 1 and 2 pulse width, filter cutoff, filter mode, amp</li></ul>\n<h5><strong>X-MOD</strong></h5>\n<ul><li>Sources: filter envelope (bi-polar) and oscillator 2 (bi-polar)</li><li>Destinations: oscillator 1 frequency, oscillator 1 shape, oscillator\n 1 pulse width, filter cutoff, filter mode, normal to bandpass filter</li></ul>\n<h5><strong>AFTERTOUCH</strong></h5>\n<ul><li>Source: channel (mono) aftertouch with bi-polar amount</li><li>Destinations: oscillator 1 frequency, oscillator 2 frequency, LFO \namount, amplifier envelope amount, filter envelope amount, filter mode</li></ul>\n<h5><strong>CLOCK</strong></h5>\n<ul><li>Master clock with tap tempo</li><li>BPM control and display</li><li>MIDI clock sync</li></ul>\n<h5><strong>ARPEGGIATOR</strong></h5>\n<ul><li>Selectable note value: 16th note, 8th note triplet, 8th note, dotted 8th note, quarter note</li><li>One, two, or three octave range</li><li>Up, down, up/down, random, and assign modes</li></ul>\n<h5><strong>SEQUENCER</strong></h5>\n<ul><li>Polyphonic step sequencer with up to 64 steps and rests</li></ul>\n<h5><strong>EFFECTS</strong></h5>\n<ul><li>Stereo analog distortion</li><li>Dual, 24-bit, 48 kHz digital effects, including: reverb (room, hall,\n plate, spring), delay (full bandwidth digital delay and emulated bucket\n brigade), chorus, flanger, phase shifters, and ring modulator</li><li>Delay sync</li><li>True bypass maintains fully analog signal path when digital effects are off</li></ul>\n<h5><strong>PERFORMANCE CONTROLS</strong></h5>\n<ul><li>Full-sized, semi-weighted, 4-octave keyboard with velocity and aftertouch</li><li>Backlit pitch and mod wheels</li><li>Spring-loaded pitch wheel with selectable range per program (1 to 12 semitones up and down)</li><li>Transpose controls for an 8-octave range</li><li>Hold switch latches held notes on</li><li>Polyphonic portamento</li><li>Unison (monophonic) mode with configurable voice count, from one to all six voices, chord memory, and key modes</li><li>Manual switch: when on, the front panel is live; what you see is what you hear</li></ul>\n<h5><strong>PATCH MEMORY</strong></h5>\n<ul><li>500 user and 500 factory programs in 10 banks of 100 programs each</li><li>Direct program access, including single-button access to the current set of 10 programs</li></ul>\n<h5><strong>IN/OUT</strong></h5>\n<ul><li>Left/mono and right audio outputs (2 x 1/4” phone jack)</li><li>Headphone output (stereo, 1/4” phone jack)</li><li>MIDI in, out, and thru ports</li><li>USB for bidirectional MIDI communication</li><li>Filter cutoff expression pedal input</li><li>Volume expression pedal input</li><li>Sustain footswitch input</li><li>Sequencer start/stop footswitch input</li></ul>\n<h5><strong>POWER</strong></h5>\n<ul><li>IEC AC power inlet for internal power supply</li><li>Operates worldwide on voltages between 100 and 240 volts at 50 to 60 Hz; 30 watts maximum power consumption</li></ul>\n<h5><strong>PHYSICAL SPECS</strong></h5>\n<ul><li>20.75” L x 7.8” W x 4.4″ H (52.0 cm x 19.8 cm x 11.2 cm)</li><li>13.0 lbs (5.9 kg)</li><li>Walnut end panels</li></ul><span id=\"product_description\" itemprop=\"description\"><h3>Sequential Instruments products are used by an ever-growing roster of well-known musicians. Call or chat with\n a RSPE representative today for more information.</h3>\n</span>'),(9896,75,1,1650,'<h2>Sequential Instruments - OB 6 Desktop Module</h2><p style=\"color: #000000;\"><i>The OB 6 is a 6-Voice Polyphonic Analog Synthesizer, classic \nOberheim-inspired 2-pole, state-variable, resonant filter provides \nlow-pass, high-pass, band-pass, and notch functionality.</i></p><p><br />The Sequential <span style=\"letter-spacing: 0px;\">OB-6 desktop module is just as powerful and easy to use as its \ncounterpart, the OB-6 Keyboard. The module has all of the same controls \nas the keyboard version and provides the same immediacy and ease of use.\n As with the OB-6 Keyboard, all parameters are at your fingertips, with \nfull-sized knobs and switches and a comfortable, intuitive layout.</span></p>\n<p>How does it sound? Massive — just like the keyboard, because on the \ninside, it’s exactly the same. The same analog signal path with discrete\n VCOs and VCFs. The same high-quality digital effects. The same classic \nOberheim sound that has been earning raves from musicians around the \nworld.</p>\n<p>We’ve also added a poly chain feature so that any two OB-6s can be paired for twelve-voice polyphony!</p>\n<h3>Two Legends. One Instrument</h3>\n<p>Both the OB-6 desktop module and OB-6 keyboard are a \nonce-in-a-lifetime collaboration between the two most influential \ndesigners in poly synth history, Dave Smith and Tom Oberheim. The OB-6 \ntakes the classic bold Tom Oberheim sound — with its true \nvoltage-controlled oscillators, 2-pole filter, and amplifiers — and adds\n modern enhancements such as studio-quality effects, a polyphonic step \nsequencer, an arpeggiator, and more. No other modern analog poly synth \ncan boast such a pedigree or such a massive, in-your-face sonic \nsignature.</p>\n<h3>Vintage SEM Tone</h3>\n<p>The OB-6 sound engine is inspired by Tom’s original SEM, the core of \nhis acclaimed 4-voice and 8- voice synthesizers. It features two \ndiscrete voltage-controlled oscillators (plus sub-oscillator) per voice \nwith continuously variable waveshapes (sawtooth and variable-width \npulse, plus a triangle wave on oscillator 2). Voltage-controlled amplifiers complete the all-analog signal path.</p>\n<h3>Dual Effects</h3>\n<p>The dual effects section provides studio-quality reverbs, delays \n(standard and BBD), chorus, flangers, and faithful recreations of Tom’s \noriginal phase shifter and ring modulator. While the effects themselves \nare digital, with 24-bit, 48 kHz resolution, a true bypass maintains a \nfull analog signal path.</p>\n<h3>X-Mod and Poly Step Sequencing</h3>\n<p>Also present is X-Mod, which expands the tonal palette and makes it \neasy to create dramatic and unconventional sounds. Modulation sources \nare filter envelope and oscillator 2, both with bi-polar control. \nDestinations include oscillator 1 frequency, oscillator 1 shape, \noscillator 1 pulse width, filter cutoff, and filter mode. The polyphonic\n step sequencer allows up to 64 steps and up to 6 notes per step. You \ncan create sequences polyphonically, with rests, and sync to an external\n MIDI clock. The full-featured arpeggiator can be synced to external \nMIDI clock as well. Unison mode features configurable voice count (1-6 \nvoices), chord memory, and key modes.</p>\n<h3>Easy to Program</h3>\n<p>The knob-per-function front panel puts virtually all OB-6 functions \nat your fingertips. Included are 500 permanent factory programs and 500 \nrewritable user programs. Turning on the Manual button enables live \npanel mode, in which the sound of the OB-6 switches to its current front\n panel settings. In this state, what you see is what you hear.</p>\n<h3>Easy to Play</h3>\n<p>This analog powerhouse is packed into a desktop module that’s small \nenough to fit in a backpack. It’s an ideal combination of portability \nand power for the project studio or the gigging musician.</p><br /><h3>OB 6 Desktop Module Specifications</h3><h5><strong>OSCILLATORS</strong></h5>\n<ul><li>Two discrete VCOs per voice</li><li>Continuously variable wave shape (sawtooth and variable-width pulse, plus triangle on oscillator 2) per oscillator</li><li>Pulse width per oscillator</li><li>Hard sync: oscillator 1 syncs to oscillator 2</li><li>Square wave sub-octave generator (oscillator 1) per voice</li><li>Low frequency mode (oscillator 2)</li><li>Keyboard tracking on/off (oscillator 2)</li><li>Oscillator detune amount for increased tuning instability, from subtle to extreme</li></ul>\n<h5><strong>MIXER</strong></h5>\n<ul><li>Oscillator 1 amount</li><li>Oscillator 1 sub-octave amount</li><li>Oscillator 2 amount</li><li>White noise amount</li></ul>\n<h5><strong>STATE-VARIABLE FILTER</strong></h5>\n<ul><li>Two-pole, resonant, filter per voice with low-pass, high-pass, \nband-pass, and notch functionality inspired by the original Oberheim SEM\n filter</li><li>Bi-polar filter envelope amount</li><li>Velocity modulation of envelope amount</li><li>Keyboard tracking: off, half, full</li></ul>\n<h5><strong>FILTER ENVELOPE</strong></h5>\n<ul><li>Four-stage (ADSR) envelope generator</li><li>Velocity modulation of envelope amount</li></ul>\n<h5><strong>AMPLIFIER ENVELOPE</strong></h5>\n<ul><li>Four-stage (ADSR) envelope generator</li><li>Velocity modulation of envelope amount</li></ul>\n<h5><strong>LOW FREQUENCY OSCILLATOR</strong></h5>\n<ul><li>Five wave shapes: sine, sawtooth, reverse sawtooth, square, and random (sample and hold)</li><li>Clock sync (internal or external MIDI clock)</li><li>Initial amount</li><li>Mod destinations: oscillator 1 frequency, oscillator 2 frequency, \noscillator 1 and 2 pulse width, filter cutoff, filter mode, amp</li></ul>\n<h5><strong>X-MOD</strong></h5>\n<ul><li>Sources: filter envelope (bi-polar) and oscillator 2 (bi-polar)</li><li>Destinations: oscillator 1 frequency, oscillator 1 shape, oscillator\n 1 pulse width, filter cutoff, filter mode, normal to bandpass filter</li></ul>\n<h5><strong>AFTERTOUCH</strong></h5>\n<ul><li>Source: channel (mono) aftertouch with bi-polar amount</li><li>Destinations: oscillator 1 frequency, oscillator 2 frequency, LFO \namount, amplifier envelope amount, filter envelope amount, filter mode</li></ul>\n<h5><strong>CLOCK</strong></h5>\n<ul><li>Master clock with tap tempo</li><li>BPM control and display</li><li>MIDI clock sync</li></ul>\n<h5><strong>ARPEGGIATOR</strong></h5>\n<ul><li>Selectable note value: 16th note, 8th note triplet, 8th note, dotted 8th note, quarter note</li><li>One, two, or three octave range</li><li>Up, down, up/down, random, and assign modes</li></ul>\n<h5><strong>SEQUENCER</strong></h5>\n<ul><li>Polyphonic step sequencer with up to 64 steps and rests</li></ul>\n<h5><strong>EFFECTS</strong></h5>\n<ul><li>Stereo analog distortion</li><li>Dual, 24-bit, 48 kHz digital effects, including: reverb (room, hall,\n plate, spring), delay (full bandwidth digital delay and emulated bucket\n brigade), chorus, flanger, phase shifters, and ring modulator</li><li>Delay sync</li><li>True bypass maintains fully analog signal path when digital effects are off</li></ul>\n<h5><strong>PERFORMANCE CONTROLS</strong></h5>\n<ul><li>Full-sized, semi-weighted, 4-octave keyboard with velocity and aftertouch</li><li>Backlit pitch and mod wheels</li><li>Spring-loaded pitch wheel with selectable range per program (1 to 12 semitones up and down)</li><li>Transpose controls for an 8-octave range</li><li>Hold switch latches held notes on</li><li>Polyphonic portamento</li><li>Unison (monophonic) mode with configurable voice count, from one to all six voices, chord memory, and key modes</li><li>Manual switch: when on, the front panel is live; what you see is what you hear</li></ul>\n<h5><strong>PATCH MEMORY</strong></h5>\n<ul><li>500 user and 500 factory programs in 10 banks of 100 programs each</li><li>Direct program access, including single-button access to the current set of 10 programs</li></ul>\n<h5><strong>IN/OUT</strong></h5>\n<ul><li>Left/mono and right audio outputs (2 x 1/4” phone jack)</li><li>Headphone output (stereo, 1/4” phone jack)</li><li>MIDI in, out, and thru ports</li><li>USB for bidirectional MIDI communication</li><li>Filter cutoff expression pedal input</li><li>Volume expression pedal input</li><li>Sustain footswitch input</li><li>Sequencer start/stop footswitch input</li></ul>\n<h5><strong>POWER</strong></h5>\n<ul><li>IEC AC power inlet for internal power supply</li><li>Operates worldwide on voltages between 100 and 240 volts at 50 to 60 Hz; 30 watts maximum power consumption</li></ul>\n<h5><strong>PHYSICAL SPECS</strong></h5>\n<ul><li>20.75” L x 7.8” W x 4.4″ H (52.0 cm x 19.8 cm x 11.2 cm)</li><li>13.0 lbs (5.9 kg)</li><li>Walnut end panels</li></ul><span id=\"product_description\" itemprop=\"description\"><h3>Sequential Instruments products are used by an ever-growing roster of well-known musicians. Call or chat with\n a RSPE representative today for more information.</h3>\n</span>'),(9897,85,0,1650,'Sequential Instruments - OB 6 Desktop Module'),(9898,85,1,1650,'Sequential Instruments - OB 6 Desktop Module'),(9899,76,0,1650,''),(9900,76,1,1650,''),(9901,75,0,1651,'<h1>Sequential Prophet-10 Keyboard Synthesizer</h1>\n<i>A ten-voice version of the Prophet-5 — just like Dave Smith’s ultra-rare original from 1978, of which there are only one or two in existence today. The Sequential Prophet-10 \"Rev 4\" combines the authentic, lush sound of the original with the reliability of a state-of-the-art modern instrument.</i><br /><br />\nThe Sequential Prophet-10 “Rev 4” is Dave Smith\'s return to the analog poly synth that changed the world. It’s “the best of all Prophet-10s” because it embodies all three revisions of the legendary synth—Rev1, Rev2, and Rev3—through the use of genuine Curtis analog VCOs and filters (as in the Rev3) as well as new 2140 low-pass filters designed by Dave Rossum, the modern equivalent of the 2040 filters he designed in the original Rev1 and Rev2. A Rev switch lets you choose between the two filter designs.<br /><br />\nThe result is as pure a renewal of an analog classic as you could wish for, with the authentic, muscular sound of the original and the roadworthiness of a state-of-the-art modern instrument.<br /><br />\nTo give even more authentic mojo to the new Prophet-10, Sequential created the Vintage knob. Use it to dial in as much old-school randomness as you’d like and it will loosen up the oscillators and envelopes just like they were in the good old days. It lets you dial in progressively more vintage character as you go from a stable 4 (as in Prophet-10 Rev4) all the way to 1 (as in Prophet-10 Rev1, the rarest and most temperamental of all Prophet-10s).<br /><br />\nThe Prophet-10 includes the original 40 Prophet-10 factory sounds.<br /><br />\n<h3>Sequential Prophet-10 Features:</h3>\n<ul>\n	<li>Authentic reimagining of the original Prophet-10 in look and sound</li>\n	<li>10 voices, with velocity and aftertouch, MIDI, and a premium Fatar keyboard</li>\n	<li>Authentic vintage CEM VCOs</li>\n	<li>Authentic vintage Doug Curtis and Dave Rossum-designed  filters (switchable)</li>\n</ul>\n<br />\n<h3>Vintage Sound, Vintage Knob</h3>\nIn addition to sourcing genuine Prophet-5 hardware components, Sequential did extensive research into exactly what made the original sound the way it did — warm, organic, and alive. They found that much of this desirable character was due to slight fluctuations and differences in the response times and frequencies of the individual VCOs, filters, envelopes, and amplifiers from voice to voice.\n<br /><br />\nTo give the same mojo to the new Prophet-10, Seqiential created the Vintage knob. Use it to dial in as much old-school randomness as you’d like. Go from a very stable “4” — as in Prophet-5 Rev4, which is how we refer to the new version in house — all the way to “1,” as in Prophet-5 Rev1, the rarest and most temperamental of all Prophet-5s.<br /><br />\n<h3>Poly Mod and Enhanced Unison</h3>\nIn addition to the unmistakable tone of its oscillators and filters, much of the classic sound of Prophet-5 was the result of Poly Mod, which is faithfully present here as well. True to the original, modulation sources are Filter Envelope and Oscillator B. Destinations include Oscillator A frequency, Oscillator A pulse width, and low-pass filter. The range of sounds possible defy its simplicity. Another welcome reprise is Unison mode, which now features configurable voice count (1-5 voices) with variable detuning, and chord memory. And now Glide works both in and out of Unison.\n<br /><br />\n<h3>Velocity and Aftertouch</h3>\nThough Sequential\'s mission was to make the new Prophet-5 and Prophet-10 as accurate, authoritative, and true to the original as possible, they couldn’t resist adding a couple of modern enhancements to increase expressiveness: velocity sensitivity and aftertouch. These enable the new Prophet-5 and Prophet-10 to perform in ways the original never could by putting filter sweeps, LFO mod, and volume changes at your fingertips.\n<br /><br />\n<h3>Effortless to Program</h3>\nThe purity of the new Prophet’s sound is matched only by its simplicity to program. The knob-per-function front panel gives you instant gratification and immediate access to all sound-shaping controls. Toggling off the Preset button enables live panel mode, where the Prophet-10 switches to the current settings of its knobs and switches. What you see is exactly what you hear. Included are 200 permanent factory programs and 200 rewritable user programs, including the original 40-program sound set from 1978 that found its way onto countless recordings and film soundtracks back in the day and beyond.\n<br /><br />\n<h3>The Whole Package</h3>\nAll of this punchy, powerful, analog goodness is housed in a full, five-octave, semi-weighted Fatar keyboard with USB, MIDI, Gate and CV ins/outs, and a premium-quality, steel and hand-oiled, sustainable black walnut heartwood body that make it as satisfying to behold as it is to hear and play.\n<br /><br />'),(9902,75,1,1651,'<h1>Sequential Prophet-10 Keyboard Synthesizer</h1>\n<i>A ten-voice version of the Prophet-5 — just like Dave Smith’s ultra-rare original from 1978, of which there are only one or two in existence today. The Sequential Prophet-10 \"Rev 4\" combines the authentic, lush sound of the original with the reliability of a state-of-the-art modern instrument.</i><br /><br />\nThe Sequential Prophet-10 “Rev 4” is Dave Smith\'s return to the analog poly synth that changed the world. It’s “the best of all Prophet-10s” because it embodies all three revisions of the legendary synth—Rev1, Rev2, and Rev3—through the use of genuine Curtis analog VCOs and filters (as in the Rev3) as well as new 2140 low-pass filters designed by Dave Rossum, the modern equivalent of the 2040 filters he designed in the original Rev1 and Rev2. A Rev switch lets you choose between the two filter designs.<br /><br />\nThe result is as pure a renewal of an analog classic as you could wish for, with the authentic, muscular sound of the original and the roadworthiness of a state-of-the-art modern instrument.<br /><br />\nTo give even more authentic mojo to the new Prophet-10, Sequential created the Vintage knob. Use it to dial in as much old-school randomness as you’d like and it will loosen up the oscillators and envelopes just like they were in the good old days. It lets you dial in progressively more vintage character as you go from a stable 4 (as in Prophet-10 Rev4) all the way to 1 (as in Prophet-10 Rev1, the rarest and most temperamental of all Prophet-10s).<br /><br />\nThe Prophet-10 includes the original 40 Prophet-10 factory sounds.<br /><br />\n<h3>Sequential Prophet-10 Features:</h3>\n<ul>\n	<li>Authentic reimagining of the original Prophet-10 in look and sound</li>\n	<li>10 voices, with velocity and aftertouch, MIDI, and a premium Fatar keyboard</li>\n	<li>Authentic vintage CEM VCOs</li>\n	<li>Authentic vintage Doug Curtis and Dave Rossum-designed  filters (switchable)</li>\n</ul>\n<br />\n<h3>Vintage Sound, Vintage Knob</h3>\nIn addition to sourcing genuine Prophet-5 hardware components, Sequential did extensive research into exactly what made the original sound the way it did — warm, organic, and alive. They found that much of this desirable character was due to slight fluctuations and differences in the response times and frequencies of the individual VCOs, filters, envelopes, and amplifiers from voice to voice.\n<br /><br />\nTo give the same mojo to the new Prophet-10, Seqiential created the Vintage knob. Use it to dial in as much old-school randomness as you’d like. Go from a very stable “4” — as in Prophet-5 Rev4, which is how we refer to the new version in house — all the way to “1,” as in Prophet-5 Rev1, the rarest and most temperamental of all Prophet-5s.<br /><br />\n<h3>Poly Mod and Enhanced Unison</h3>\nIn addition to the unmistakable tone of its oscillators and filters, much of the classic sound of Prophet-5 was the result of Poly Mod, which is faithfully present here as well. True to the original, modulation sources are Filter Envelope and Oscillator B. Destinations include Oscillator A frequency, Oscillator A pulse width, and low-pass filter. The range of sounds possible defy its simplicity. Another welcome reprise is Unison mode, which now features configurable voice count (1-5 voices) with variable detuning, and chord memory. And now Glide works both in and out of Unison.\n<br /><br />\n<h3>Velocity and Aftertouch</h3>\nThough Sequential\'s mission was to make the new Prophet-5 and Prophet-10 as accurate, authoritative, and true to the original as possible, they couldn’t resist adding a couple of modern enhancements to increase expressiveness: velocity sensitivity and aftertouch. These enable the new Prophet-5 and Prophet-10 to perform in ways the original never could by putting filter sweeps, LFO mod, and volume changes at your fingertips.\n<br /><br />\n<h3>Effortless to Program</h3>\nThe purity of the new Prophet’s sound is matched only by its simplicity to program. The knob-per-function front panel gives you instant gratification and immediate access to all sound-shaping controls. Toggling off the Preset button enables live panel mode, where the Prophet-10 switches to the current settings of its knobs and switches. What you see is exactly what you hear. Included are 200 permanent factory programs and 200 rewritable user programs, including the original 40-program sound set from 1978 that found its way onto countless recordings and film soundtracks back in the day and beyond.\n<br /><br />\n<h3>The Whole Package</h3>\nAll of this punchy, powerful, analog goodness is housed in a full, five-octave, semi-weighted Fatar keyboard with USB, MIDI, Gate and CV ins/outs, and a premium-quality, steel and hand-oiled, sustainable black walnut heartwood body that make it as satisfying to behold as it is to hear and play.\n<br /><br />'),(9903,85,0,1651,'Sequential Prophet-10 Keyboard Synthesizer'),(9904,85,1,1651,'Sequential Prophet-10 Keyboard Synthesizer'),(9905,76,0,1651,''),(9906,76,1,1651,''),(9907,75,0,1652,'<h1>Sequential Prophet-10 Desktop Module</h1>\n<i>A ten-voice version of the Prophet-5 — just like Dave Smith’s ultra-rare original from 1978, of which there are only one or two in existence today. The Sequential Prophet-10 \"Rev 4\" combines the authentic, lush sound of the original with the reliability of a state-of-the-art modern instrument.</i><br /><br />\nThe Prophet-10 module puts ten voices of Sequential’s legendary analog poly synth on your desktop. Like the full keyboard version, it’s “the best of all Prophet-5s” because it embodies all three Prophet-5 revisions — Rev1, Rev2, and Rev3 — through the use of genuine Curtis analog VCOs and filters (as in the Rev3) as well as new 2140 low-pass filters designed by Dave Rossum, like the 2040 filters he designed in the original Rev1 and Rev2. A Rev switch lets you choose between the two filter designs. It also adjusts the Filter Envelope’s shape and response to match the original Prophet Rev 1/2 or Rev 3 respectively.\n<br /><br />\nThe result is as pure a renewal of an analog classic as you could wish \nfor, with the authentic, muscular sound of the original and the \nroadworthiness of a state-of-the-art modern instrument.\n<br /><br />\n<h3>Vintage Sound, Vintage Knob</h3>\n	In addition to sourcing genuine Prophet-5 hardware components, we did\n extensive research into exactly what made the original sound the way it\n did — warm, organic, and alive. We found that much of this desirable \ncharacter was due to slight fluctuations and differences in the response\n times and frequencies of the individual VCOs, filters, envelopes, and \namplifiers from voice to voice.\n<br /><br />\nTo give the same mojo to the new Prophet-5/Prophet-10, we created the <em>Vintage</em> knob. Use it to dial in as much old-school randomness as you’d like. Go from a very stable “4” — as in <em>Prophet-5 Rev4</em>, which is how we refer to the new version in house — all the way to “1,” as in <em>Prophet-5 Rev1</em>, the rarest and most temperamental of all Prophet-5s.\n<br /><br />\n<h3>Poly Mod and Enhanced Unison</h3>\n	In addition to the unmistakable tone of its oscillators and filters, \nmuch of the classic sound of Prophet-5 was the result of Poly Mod, which\n is faithfully present here as well. True to the original, modulation \nsources are Filter Envelope and Oscillator B. Destinations include \nOscillator A frequency, Oscillator A pulse width, and low-pass filter. \nThe range of sounds possible defy its simplicity. Another welcome \nreprise is Unison mode, which now features configurable voice count \n(1-10 voices) with variable detuning, and chord memory. And now Glide \nworks both in and out of Unison.\n<br /><br />\n<h3>Velocity and Aftertouch</h3>\nThough our mission was to make the new Prophet-5/Prophet-10 as \naccurate, authoritative, and true to the original as possible, we \ncouldn’t resist adding a couple of modern enhancements to increase \nexpressiveness: velocity sensitivity and aftertouch. These enable the \nnew Prophet-5/Prophet-10 to perform in ways the original never could by \nputting filter sweeps, LFO mod, and volume changes at your fingertips.\n<br /><br />\n<h3>Effortless to Program</h3>\nThe purity of the new Prophet’s sound is matched only by its \nsimplicity to program. The knob-per-function front panel gives you \ninstant gratification and immediate access to all sound-shaping \ncontrols. Toggling off the Preset button enables live panel mode, where \nthe Prophet-10 switches to the current settings of its knobs and \nswitches. What you see is exactly what you hear. Included are 200 \npermanent factory programs and 200 rewritable user programs, including \nthe original 40-program sound set from 1978 that found its way onto \ncountless recordings and film soundtracks back in the day and beyond.\n<br /><br />\n<h3>The Whole Package</h3>\nAll of this punchy, powerful, analog goodness is housed in a compact \nsteel case with USB, MIDI, Gate and CV ins/outs, and premium-quality, \nhand-oiled, sustainable black walnut heartwood trim.\n<br /><br />\n	The new Prophet-10 desktop module — history never sounded better'),(9908,75,1,1652,'<h1>Sequential Prophet-10 Desktop Module</h1>\n<i>A ten-voice version of the Prophet-5 — just like Dave Smith’s ultra-rare original from 1978, of which there are only one or two in existence today. The Sequential Prophet-10 \"Rev 4\" combines the authentic, lush sound of the original with the reliability of a state-of-the-art modern instrument.</i><br /><br />\nThe Prophet-10 module puts ten voices of Sequential’s legendary analog poly synth on your desktop. Like the full keyboard version, it’s “the best of all Prophet-5s” because it embodies all three Prophet-5 revisions — Rev1, Rev2, and Rev3 — through the use of genuine Curtis analog VCOs and filters (as in the Rev3) as well as new 2140 low-pass filters designed by Dave Rossum, like the 2040 filters he designed in the original Rev1 and Rev2. A Rev switch lets you choose between the two filter designs. It also adjusts the Filter Envelope’s shape and response to match the original Prophet Rev 1/2 or Rev 3 respectively.\n<br /><br />\nThe result is as pure a renewal of an analog classic as you could wish \nfor, with the authentic, muscular sound of the original and the \nroadworthiness of a state-of-the-art modern instrument.\n<br /><br />\n<h3>Vintage Sound, Vintage Knob</h3>\n	In addition to sourcing genuine Prophet-5 hardware components, we did\n extensive research into exactly what made the original sound the way it\n did — warm, organic, and alive. We found that much of this desirable \ncharacter was due to slight fluctuations and differences in the response\n times and frequencies of the individual VCOs, filters, envelopes, and \namplifiers from voice to voice.\n<br /><br />\nTo give the same mojo to the new Prophet-5/Prophet-10, we created the <em>Vintage</em> knob. Use it to dial in as much old-school randomness as you’d like. Go from a very stable “4” — as in <em>Prophet-5 Rev4</em>, which is how we refer to the new version in house — all the way to “1,” as in <em>Prophet-5 Rev1</em>, the rarest and most temperamental of all Prophet-5s.\n<br /><br />\n<h3>Poly Mod and Enhanced Unison</h3>\n	In addition to the unmistakable tone of its oscillators and filters, \nmuch of the classic sound of Prophet-5 was the result of Poly Mod, which\n is faithfully present here as well. True to the original, modulation \nsources are Filter Envelope and Oscillator B. Destinations include \nOscillator A frequency, Oscillator A pulse width, and low-pass filter. \nThe range of sounds possible defy its simplicity. Another welcome \nreprise is Unison mode, which now features configurable voice count \n(1-10 voices) with variable detuning, and chord memory. And now Glide \nworks both in and out of Unison.\n<br /><br />\n<h3>Velocity and Aftertouch</h3>\nThough our mission was to make the new Prophet-5/Prophet-10 as \naccurate, authoritative, and true to the original as possible, we \ncouldn’t resist adding a couple of modern enhancements to increase \nexpressiveness: velocity sensitivity and aftertouch. These enable the \nnew Prophet-5/Prophet-10 to perform in ways the original never could by \nputting filter sweeps, LFO mod, and volume changes at your fingertips.\n<br /><br />\n<h3>Effortless to Program</h3>\nThe purity of the new Prophet’s sound is matched only by its \nsimplicity to program. The knob-per-function front panel gives you \ninstant gratification and immediate access to all sound-shaping \ncontrols. Toggling off the Preset button enables live panel mode, where \nthe Prophet-10 switches to the current settings of its knobs and \nswitches. What you see is exactly what you hear. Included are 200 \npermanent factory programs and 200 rewritable user programs, including \nthe original 40-program sound set from 1978 that found its way onto \ncountless recordings and film soundtracks back in the day and beyond.\n<br /><br />\n<h3>The Whole Package</h3>\nAll of this punchy, powerful, analog goodness is housed in a compact \nsteel case with USB, MIDI, Gate and CV ins/outs, and premium-quality, \nhand-oiled, sustainable black walnut heartwood trim.\n<br /><br />\n	The new Prophet-10 desktop module — history never sounded better'),(9909,85,0,1652,'Sequential Prophet-10 Desktop Module'),(9910,85,1,1652,'Sequential Prophet-10 Desktop Module'),(9911,76,0,1652,''),(9912,76,1,1652,''),(9913,75,0,1653,'<h2>Sequential Instruments - Prophet 12 - 12-Voice Hybrid Digital / Analog Synthesizer</h2><p style=\"color: #000000;\"><i>The Prophet-12 has a  resonant Curtis low-pass and \nhigh-pass filter, four loopable five-stage envelope generators and a sixteen slot modulation matrix with 26 mod sources.</i></p><p>The Sequential <span style=\"letter-spacing: 0px;\">Prophet 12 is the next step for Dave Smith’s revered line of \nProphet synthesizers. Each of the Prophet’s twelve voices is composed of\n a brand new hybrid digital/analog architecture that sounds different \nthan any other DSI synth, yet retains the true Prophet vibe. With a \nhumongous twelve voice polyphony, streamlined design, and sophisticated \narchitecture, the Prophet 12 is ready to handle any sound you can dream \nup!</span></p>\n<h3>The Prophet Sings</h3>\n<p>The Prophet 12’s brand new hybrid voice has a digital front end \nfollowed by an all analog signal path output. Each voice has four high \nresolution digital oscillators (plus a sub oscillator), a digital \ncharacter effects section, a resonant Curtis low-pass filter, a \nhigh-pass filter, a tune-able feedback circuit, a four-tap delay line \nwith feedback per line, four loopable five-stage envelope generators, \nfour syncable LFOs with slew and phase offset, a sophisticated \narpeggiator, and a sixteen slot modulation matrix with 26 mod sources \nand 97 modulation destinations. The Prophet 12 is packed with a plethora\n of sonic potential and power!</p>\n<p>The digital oscillators can be frequency and amplitude modulated by \neach other with incredible accuracy. They can be freely assigned in \nwhatever operator and modulator configurations you would choose. You can\n even assign each of the oscillators to modulate LFOs, envelopes, and \nfilters.</p>\n<h3>The Prophet Controls</h3>\n<p>The Prophet’s sleek and instinctive interface invites full control of\n the synth. Every parameter is fully programmable and editable from the \nfront panel. The controls are laid out in a coherent and logical fashion\n allowing quick and precise access in the studio and on stage.</p>\n<p>The Prophet’s full-sized, five-octave, semi-weighted keyboard with \nvelocity and channel aftertouch is rugged without sacrificing great feel\n and playability. Two backlit, smooth and precise pitch and mod wheels \nare accompanied by two location and pressure sensitive touch sliders. \nThe Prophet offers a myriad of controls for creation and performance of \nits innovative sounds.</p>\n<h3>A Prophecy for the Future</h3>\n<p>The Prophet 12 is the most cutting edge hybrid synthesizer on the \nmarket and defines what a modern polyphonic synthesizer is. Designed and\n manufactured in San Francisco, the Prophet 12 has a glorious \ncombination of form and function in a sturdy, yet refined and elegant \nbuild.</p><h3>Prophet 12 Synthesizer Specifications</h3><h5><strong>Oscillators</strong></h5>\n<ul style=\"color: #000000;\"><li>Five DSP-based oscillators per voice (including one sine wave sub oscillator)</li><li>Four classic wave shapes (saw, square, triangle, sine) per oscillator</li><li>Twelve selectable complex shapes per oscillator</li><li>Three noise types per oscillator: white, pink, violet</li><li>Analog VCAs</li><li>Shape modulation</li><li>Oscillator cross modulation: frequency modulation (FM) and amplitude modulation (AM)</li><li>DX-style linear FM</li><li>Hard sync on each of the four oscillators</li></ul>\n<h5 style=\"color: #000000;\"><strong>Character Effects</strong></h5>\n<ul style=\"color: #000000;\"><li>Five high-quality digital effects. Thicken the signal and add harmonics or completely destroy the signal pre-filter.</li><li>Girth and Air are high and low shelf equalizers with harmonic excitement. Useful for thickening and/or adding air to the signal.</li><li>Hack and Decimate are sample and bit rate reduction algorithms which\n can add subtle grit or completely destroy the signal. It’s harsh yet \nmusical!</li><li>Drive is a soft saturator for adding soft distortion and harmonic content to the signal</li></ul>\n<h5 style=\"color: #000000;\"><strong>Filters</strong></h5>\n<ul style=\"color: #000000;\"><li>Famed Curtis 2- or 4-pole resonant analog low-pass filter (self oscillates in 4-pole mode) per voice</li><li>2-pole resonant analog high-pass filter per voice</li></ul>\n<h5 style=\"color: #000000;\"><strong>Feedback and Dela</strong>y</h5>\n<ul style=\"color: #000000;\"><li>Tuned feedback</li><li>Four-tap syncable multi delay with feedback and amount per delay per voice</li></ul>\n<h5 style=\"color: #000000;\"><strong>Envelopes</strong></h5>\n<ul style=\"color: #000000;\"><li>Four Delay + ADSR envelopes (LPF, VCA , and two Auxiliary envelopes)</li><li>Auxiliary envelopes 3 and 4 freely assignable to multiple modulation destinations</li><li>All envelopes can repeat/loop</li></ul>\n<h5 style=\"color: #000000;\"><strong>LFOs</strong></h5>\n<ul style=\"color: #000000;\"><li>Four syncable LFO’s with phase offset and slew per LFO</li></ul>\n<h5 style=\"color: #000000;\"><strong>Modulation</strong></h5>\n<ul style=\"color: #000000;\"><li>16 x 2 modulation matrix with 26 mod sources and 100 mod destinations</li><li>Modulation assignment buttons enable quick and easy modulation routing</li></ul>\n<h5 style=\"color: #000000;\"><strong>Arpeggiator</strong></h5>\n<ul style=\"color: #000000;\"><li>Sophisticated programmable arpeggiator with up, down, up+down, random, assign modes</li><li>Arpeggios are editable and saveable</li><li>Re-latching arpeggiator</li><li>MIDI note output</li></ul>\n<h5 style=\"color: #000000;\"><strong>Programmable Distortion</strong></h5>\n<ul style=\"color: #000000;\"><li>Independent programmable stereo analog distortion per layer.</li></ul>\n<h5 style=\"color: #000000;\"><strong>Controls</strong></h5>\n<ul style=\"color: #000000;\"><li>More than 50 knobs and 50 buttons enable deep and comprehensive editing with little to no menu diving.</li><li>Backlit pitch and mod wheels are easily visible in low light situations and have a smooth yet precise feel and response.</li><li>Independently adjustable upper and lower pitch wheel range.</li><li>Two assignable position- and pressure-sensitive latchable touch sliders for enhanced interactivity and control.</li><li>Full-sized, 5-Octave, semi-weighted keyboard with velocity and channel aftertouch</li></ul>\n<h5 style=\"color: #000000;\"><strong>Memory</strong></h5>\n<ul style=\"color: #000000;\"><li>396 user and 396 factory programs</li><li>Direct program access using numeric keypad and dedicated User, Factory, and Bank buttons</li><li>Playlist mode for generating easily accessible setlists of your \nfavorite programs. Create four play lists with up to forty programs \neach!</li></ul>\n<h5><strong>In/Out</strong></h5>\n<ul><li>1 MIDI In, 1 MIDI out, and 1 MIDI Thru port</li><li>USB port for bidirectional MIDI communication</li><li>1 Sustain/footswitch input</li><li>2 expression pedal inputs</li><li>Main stereo output (2 x 1/4″ phone jack)</li><li>Layer B stereo output (2 x 1/4″ phone jack)</li><li>Headphone out (stereo 1/4″ phone jack)</li></ul>\n<h5><strong>Power</strong></h5>\n<ul><li>1 universal IEC AC power inlet for internal power supply</li><li>Operates worldwide on voltages between 100-240v, 50-60Hz, 30 watts maximum power consumption</li></ul>\n<h5><strong>Physical Specs</strong></h5>\n<ul><li>Walnut wood end panels and trim</li><li>38.4″ L x 12.8″ W x 4.15″ H (97.5 cm x 32.5 cm x 10.5 cm)</li><li>26 lbs. (11.8 kg)</li></ul><span id=\"product_description\" itemprop=\"description\"><h3>Sequential Instruments products are used by an ever-growing roster of well-known musicians. Call or chat with\n a RSPE representative today for more information.</h3>\n</span>'),(9914,75,1,1653,'<h2>Sequential Instruments - Prophet 12 - 12-Voice Hybrid Digital / Analog Synthesizer</h2><p style=\"color: #000000;\"><i>The Prophet-12 has a  resonant Curtis low-pass and \nhigh-pass filter, four loopable five-stage envelope generators and a sixteen slot modulation matrix with 26 mod sources.</i></p><p>The Sequential <span style=\"letter-spacing: 0px;\">Prophet 12 is the next step for Dave Smith’s revered line of \nProphet synthesizers. Each of the Prophet’s twelve voices is composed of\n a brand new hybrid digital/analog architecture that sounds different \nthan any other DSI synth, yet retains the true Prophet vibe. With a \nhumongous twelve voice polyphony, streamlined design, and sophisticated \narchitecture, the Prophet 12 is ready to handle any sound you can dream \nup!</span></p>\n<h3>The Prophet Sings</h3>\n<p>The Prophet 12’s brand new hybrid voice has a digital front end \nfollowed by an all analog signal path output. Each voice has four high \nresolution digital oscillators (plus a sub oscillator), a digital \ncharacter effects section, a resonant Curtis low-pass filter, a \nhigh-pass filter, a tune-able feedback circuit, a four-tap delay line \nwith feedback per line, four loopable five-stage envelope generators, \nfour syncable LFOs with slew and phase offset, a sophisticated \narpeggiator, and a sixteen slot modulation matrix with 26 mod sources \nand 97 modulation destinations. The Prophet 12 is packed with a plethora\n of sonic potential and power!</p>\n<p>The digital oscillators can be frequency and amplitude modulated by \neach other with incredible accuracy. They can be freely assigned in \nwhatever operator and modulator configurations you would choose. You can\n even assign each of the oscillators to modulate LFOs, envelopes, and \nfilters.</p>\n<h3>The Prophet Controls</h3>\n<p>The Prophet’s sleek and instinctive interface invites full control of\n the synth. Every parameter is fully programmable and editable from the \nfront panel. The controls are laid out in a coherent and logical fashion\n allowing quick and precise access in the studio and on stage.</p>\n<p>The Prophet’s full-sized, five-octave, semi-weighted keyboard with \nvelocity and channel aftertouch is rugged without sacrificing great feel\n and playability. Two backlit, smooth and precise pitch and mod wheels \nare accompanied by two location and pressure sensitive touch sliders. \nThe Prophet offers a myriad of controls for creation and performance of \nits innovative sounds.</p>\n<h3>A Prophecy for the Future</h3>\n<p>The Prophet 12 is the most cutting edge hybrid synthesizer on the \nmarket and defines what a modern polyphonic synthesizer is. Designed and\n manufactured in San Francisco, the Prophet 12 has a glorious \ncombination of form and function in a sturdy, yet refined and elegant \nbuild.</p><h3>Prophet 12 Synthesizer Specifications</h3><h5><strong>Oscillators</strong></h5>\n<ul style=\"color: #000000;\"><li>Five DSP-based oscillators per voice (including one sine wave sub oscillator)</li><li>Four classic wave shapes (saw, square, triangle, sine) per oscillator</li><li>Twelve selectable complex shapes per oscillator</li><li>Three noise types per oscillator: white, pink, violet</li><li>Analog VCAs</li><li>Shape modulation</li><li>Oscillator cross modulation: frequency modulation (FM) and amplitude modulation (AM)</li><li>DX-style linear FM</li><li>Hard sync on each of the four oscillators</li></ul>\n<h5 style=\"color: #000000;\"><strong>Character Effects</strong></h5>\n<ul style=\"color: #000000;\"><li>Five high-quality digital effects. Thicken the signal and add harmonics or completely destroy the signal pre-filter.</li><li>Girth and Air are high and low shelf equalizers with harmonic excitement. Useful for thickening and/or adding air to the signal.</li><li>Hack and Decimate are sample and bit rate reduction algorithms which\n can add subtle grit or completely destroy the signal. It’s harsh yet \nmusical!</li><li>Drive is a soft saturator for adding soft distortion and harmonic content to the signal</li></ul>\n<h5 style=\"color: #000000;\"><strong>Filters</strong></h5>\n<ul style=\"color: #000000;\"><li>Famed Curtis 2- or 4-pole resonant analog low-pass filter (self oscillates in 4-pole mode) per voice</li><li>2-pole resonant analog high-pass filter per voice</li></ul>\n<h5 style=\"color: #000000;\"><strong>Feedback and Dela</strong>y</h5>\n<ul style=\"color: #000000;\"><li>Tuned feedback</li><li>Four-tap syncable multi delay with feedback and amount per delay per voice</li></ul>\n<h5 style=\"color: #000000;\"><strong>Envelopes</strong></h5>\n<ul style=\"color: #000000;\"><li>Four Delay + ADSR envelopes (LPF, VCA , and two Auxiliary envelopes)</li><li>Auxiliary envelopes 3 and 4 freely assignable to multiple modulation destinations</li><li>All envelopes can repeat/loop</li></ul>\n<h5 style=\"color: #000000;\"><strong>LFOs</strong></h5>\n<ul style=\"color: #000000;\"><li>Four syncable LFO’s with phase offset and slew per LFO</li></ul>\n<h5 style=\"color: #000000;\"><strong>Modulation</strong></h5>\n<ul style=\"color: #000000;\"><li>16 x 2 modulation matrix with 26 mod sources and 100 mod destinations</li><li>Modulation assignment buttons enable quick and easy modulation routing</li></ul>\n<h5 style=\"color: #000000;\"><strong>Arpeggiator</strong></h5>\n<ul style=\"color: #000000;\"><li>Sophisticated programmable arpeggiator with up, down, up+down, random, assign modes</li><li>Arpeggios are editable and saveable</li><li>Re-latching arpeggiator</li><li>MIDI note output</li></ul>\n<h5 style=\"color: #000000;\"><strong>Programmable Distortion</strong></h5>\n<ul style=\"color: #000000;\"><li>Independent programmable stereo analog distortion per layer.</li></ul>\n<h5 style=\"color: #000000;\"><strong>Controls</strong></h5>\n<ul style=\"color: #000000;\"><li>More than 50 knobs and 50 buttons enable deep and comprehensive editing with little to no menu diving.</li><li>Backlit pitch and mod wheels are easily visible in low light situations and have a smooth yet precise feel and response.</li><li>Independently adjustable upper and lower pitch wheel range.</li><li>Two assignable position- and pressure-sensitive latchable touch sliders for enhanced interactivity and control.</li><li>Full-sized, 5-Octave, semi-weighted keyboard with velocity and channel aftertouch</li></ul>\n<h5 style=\"color: #000000;\"><strong>Memory</strong></h5>\n<ul style=\"color: #000000;\"><li>396 user and 396 factory programs</li><li>Direct program access using numeric keypad and dedicated User, Factory, and Bank buttons</li><li>Playlist mode for generating easily accessible setlists of your \nfavorite programs. Create four play lists with up to forty programs \neach!</li></ul>\n<h5><strong>In/Out</strong></h5>\n<ul><li>1 MIDI In, 1 MIDI out, and 1 MIDI Thru port</li><li>USB port for bidirectional MIDI communication</li><li>1 Sustain/footswitch input</li><li>2 expression pedal inputs</li><li>Main stereo output (2 x 1/4″ phone jack)</li><li>Layer B stereo output (2 x 1/4″ phone jack)</li><li>Headphone out (stereo 1/4″ phone jack)</li></ul>\n<h5><strong>Power</strong></h5>\n<ul><li>1 universal IEC AC power inlet for internal power supply</li><li>Operates worldwide on voltages between 100-240v, 50-60Hz, 30 watts maximum power consumption</li></ul>\n<h5><strong>Physical Specs</strong></h5>\n<ul><li>Walnut wood end panels and trim</li><li>38.4″ L x 12.8″ W x 4.15″ H (97.5 cm x 32.5 cm x 10.5 cm)</li><li>26 lbs. (11.8 kg)</li></ul><span id=\"product_description\" itemprop=\"description\"><h3>Sequential Instruments products are used by an ever-growing roster of well-known musicians. Call or chat with\n a RSPE representative today for more information.</h3>\n</span>'),(9915,85,0,1653,'Sequential Instruments - Prophet 12 - 12-Voice Hybrid Digital / Analog Synthesizer'),(9916,85,1,1653,'Sequential Instruments - Prophet 12 - 12-Voice Hybrid Digital / Analog Synthesizer'),(9917,76,0,1653,''),(9918,76,1,1653,''),(9919,75,0,1654,'<h2>Sequential Instruments - Prophet 12 Synthesizer Module</h2><p style=\"color: #000000;\"><i>The Prophet 12 is a 12-voice hybrid Synthesizer with Four Oscillators, </i><i>a Sixteen Slot Modulation Matrix, and Analog VCAs Per Voice.<br /></i><br />The<span style=\"color: rgb(48, 56, 71);\"> </span>Sequential<span style=\"letter-spacing: 0px;\"> Prophet 12 is the most cutting edge \nhybrid synthesizer on the market and defines what a modern polyphonic \nsynthesizer is. Designed and manufactured in San Francisco, the Prophet \n12 Module has a glorious combination of form and function in a sturdy, \nportable and elegant build. Use it as a desktop module or add it to your\n rack with the </span><a target=\"_blank\" href=\"http://store.davesmithinstruments.com/proddetail.php?prod=DSI-9909\" style=\"letter-spacing: 0px;\">optional rack mount kit</a><span style=\"letter-spacing: 0px;\"> (available separately).</span></p>\n<p style=\"color: #000000;\">Dave has been a pioneer in the field for 35 \nyears. After creating such greats as the Prophet-5, ’08, and VS, this is\n his favorite Prophet yet!</p><h3 style=\"color: #000000;\">A Voice as Big as the Rest</h3><p style=\"color: #000000;\">The Prophet 12’s brand new hybrid voice has a\n digital front end followed by an all analog signal path output. Each \nvoice has four high resolution digital oscillators (plus a sub \noscillator), a digital character effects section, a resonant Curtis \nlow-pass filter, a high-pass filter, a tune-able feedback circuit, a \nfour-tap delay line with feedback per line, four loopable five-stage \nenvelope generators, four syncable LFOs with slew and phase offset, a \nsophisticated arpeggiator, and a sixteen slot modulation matrix with 26 \nmod sources and 97 modulation destinations. The Prophet 12 Module is \npacked with a plethora of sonic potential and power!</p>\n<p style=\"color: #000000;\">Frequency and amplitude modulate the \noscillators with incredible accuracy. Freely assign oscillators in \nwhatever operator and modulator configurations you choose. You can even \nassign each of the oscillators to modulate LFOs, envelopes, and filters.</p><h3>A Powerful Prophet Module</h3>\n<p style=\"color: #000000;\">Don’t let its small size fool you. The \nProphet 12 Module boasts the same power and sound as the Prophet 12 \nKeyboard. Each of the Prophet’s twelve voices is composed of a brand new\n hybrid digital/analog architecture that sounds different than any other\n DSI line of synths, yet retains the true Prophet vibe. With a humongous\n twelve voice polyphony, sophisticated architecture, and sleek design, \nthe Prophet 12 is ready to handle any sound in any setting.</p><p style=\"color: #000000;\"></p><br /><h3>Prophet 12 Desktop Module Specifications</h3>\n<h5><strong>Oscillators</strong></h5>\n<ul style=\"color: #000000;\"><li>Five DSP-based oscillators per voice (including one sine wave sub oscillator)</li><li>Four classic wave shapes (saw, square, triangle, sine) per oscillator</li><li>Twelve selectable complex shapes per oscillator</li><li>Three noise types per oscillator: white, pink, violet</li><li>Analog VCAs</li><li>Shape modulation</li><li>Oscillator cross modulation: frequency modulation (FM) and amplitude modulation (AM)</li><li>Hard sync on each of the four oscillators</li></ul>\n<h5 style=\"color: #000000;\"><strong>Character Effects</strong></h5>\n<ul style=\"color: #000000;\"><li>Five high-quality digital effects. Thicken the signal and add harmonics or completely destroy the signal pre-filter.</li><li>Girth and Air are high and low shelf equalizers with harmonic excitement. Useful for thickening and/or adding air to the signal.</li><li>Hack and Decimate are sample and bit rate reduction algorithms which\n can add subtle grit or completely destroy the signal. It’s harsh yet \nmusical!</li><li>Drive is a soft saturator for adding soft distortion and harmonic content to the signal</li></ul>\n<h5 style=\"color: #000000;\"><strong>Filters</strong></h5>\n<ul style=\"color: #000000;\"><li>Famed Curtis 2- or 4-pole resonant analog low-pass filter (self oscillates in 4-pole mode) per voice</li><li>2-pole resonant analog high-pass filter per voice</li></ul>\n<h5 style=\"color: #000000;\"><strong>Feedback and Delay</strong></h5>\n<ul style=\"color: #000000;\"><li>Tuned feedback</li><li>Four-tap syncable multi delay with feedback and amount per delay per voice</li></ul>\n<h5 style=\"color: #000000;\"><strong>Envelopes</strong></h5>\n<ul style=\"color: #000000;\"><li>Four Delay + ADSR envelopes (LPF, VCA , and two Auxiliary envelopes)</li><li>Auxiliary envelopes 3 and 4 freely assignable to multiple modulation destinations</li><li>All envelopes can repeat/loop</li></ul>\n<h5 style=\"color: #000000;\"><strong>LFOs</strong></h5>\n<ul style=\"color: #000000;\"><li>Four syncable LFO’s with phase offset and slew per LFO</li></ul>\n<h5 style=\"color: #000000;\"><strong>Modulation</strong></h5>\n<ul style=\"color: #000000;\"><li>16 x 2 modulation matrix with 26 mod sources and 97 mod destinations</li><li>Modulation assignment buttons enable quick and easy modulation routing</li></ul>\n<h5 style=\"color: #000000;\"><strong>Arpeggiator</strong></h5>\n<ul style=\"color: #000000;\"><li>Sophisticated programmable arpeggiator with up, down, up+down, random, assign modes</li><li>Re-latching arpeggiator</li></ul>\n<h5 style=\"color: #000000;\"><strong>Programmable Distortion</strong></h5>\n<ul style=\"color: #000000;\"><li>Independent programmable stereo analog distortion per layer.</li></ul>\n<h5 style=\"color: #000000;\"><strong>Controls</strong></h5>\n<ul style=\"color: #000000;\"><li>12 knobs and 34 buttons enable deep and comprehensive editing with little to no menu diving.</li><li>Crisp OLED display is easily visible in low light situations and from many angles.</li></ul>\n<h5 style=\"color: #000000;\"><strong>Memory</strong></h5>\n<ul style=\"color: #000000;\"><li>396 user and 396 factory programs</li><li>Direct program access using numeric keypad and dedicated User, Factory, and Bank buttons</li></ul>\n<h5 style=\"color: #000000;\"><strong>In/Out</strong></h5>\n<ul style=\"color: #000000;\"><li>1 MIDI In, 1 MIDI out, and 1 MIDI Thru port</li><li>USB port for bidirectional MIDI communication</li><li>1 Sustain/footswitch input</li><li>2 expression pedal inputs</li><li>Main stereo output (2 x 1/4″ phone jack)</li><li>Layer B stereo output (2 x 1/4″ phone jack)</li><li>Headphone out (stereo 1/4″ phone jack)</li></ul>\n<h5 style=\"color: #000000;\"><strong>Power</strong></h5>\n<ul style=\"color: #000000;\"><li>External Power supply</li><li>Operates worldwide on voltages between 100-240v, 50-60Hz</li></ul>\n<h5 style=\"color: #000000;\"><strong>Physical Specs</strong></h5>\n<ul style=\"color: #000000;\"><li>Oiled walnut wood end panels</li><li>16.5″ L x 6.8″ W x 2.85″ H (41.9 cm L x 17.3 cm W x 7.2 cm H)</li><li>4 lbs. 14 oz. (2.21 kg)</li><li>Rack-mountable with the <a target=\"_blank\" href=\"http://store.davesmithinstruments.com/proddetail.php?prod=DSI-9909\">optional rack mount kit</a></li></ul><span id=\"product_description\" itemprop=\"description\"><h3>Sequential Instruments products are used by an ever-growing roster of well-known musicians. Call or chat with\n a RSPE representative today for more information.</h3>\n</span>'),(9920,75,1,1654,'<h2>Sequential Instruments - Prophet 12 Synthesizer Module</h2><p style=\"color: #000000;\"><i>The Prophet 12 is a 12-voice hybrid Synthesizer with Four Oscillators, </i><i>a Sixteen Slot Modulation Matrix, and Analog VCAs Per Voice.<br /></i><br />The<span style=\"color: rgb(48, 56, 71);\"> </span>Sequential<span style=\"letter-spacing: 0px;\"> Prophet 12 is the most cutting edge \nhybrid synthesizer on the market and defines what a modern polyphonic \nsynthesizer is. Designed and manufactured in San Francisco, the Prophet \n12 Module has a glorious combination of form and function in a sturdy, \nportable and elegant build. Use it as a desktop module or add it to your\n rack with the </span><a target=\"_blank\" href=\"http://store.davesmithinstruments.com/proddetail.php?prod=DSI-9909\" style=\"letter-spacing: 0px;\">optional rack mount kit</a><span style=\"letter-spacing: 0px;\"> (available separately).</span></p>\n<p style=\"color: #000000;\">Dave has been a pioneer in the field for 35 \nyears. After creating such greats as the Prophet-5, ’08, and VS, this is\n his favorite Prophet yet!</p><h3 style=\"color: #000000;\">A Voice as Big as the Rest</h3><p style=\"color: #000000;\">The Prophet 12’s brand new hybrid voice has a\n digital front end followed by an all analog signal path output. Each \nvoice has four high resolution digital oscillators (plus a sub \noscillator), a digital character effects section, a resonant Curtis \nlow-pass filter, a high-pass filter, a tune-able feedback circuit, a \nfour-tap delay line with feedback per line, four loopable five-stage \nenvelope generators, four syncable LFOs with slew and phase offset, a \nsophisticated arpeggiator, and a sixteen slot modulation matrix with 26 \nmod sources and 97 modulation destinations. The Prophet 12 Module is \npacked with a plethora of sonic potential and power!</p>\n<p style=\"color: #000000;\">Frequency and amplitude modulate the \noscillators with incredible accuracy. Freely assign oscillators in \nwhatever operator and modulator configurations you choose. You can even \nassign each of the oscillators to modulate LFOs, envelopes, and filters.</p><h3>A Powerful Prophet Module</h3>\n<p style=\"color: #000000;\">Don’t let its small size fool you. The \nProphet 12 Module boasts the same power and sound as the Prophet 12 \nKeyboard. Each of the Prophet’s twelve voices is composed of a brand new\n hybrid digital/analog architecture that sounds different than any other\n DSI line of synths, yet retains the true Prophet vibe. With a humongous\n twelve voice polyphony, sophisticated architecture, and sleek design, \nthe Prophet 12 is ready to handle any sound in any setting.</p><p style=\"color: #000000;\"></p><br /><h3>Prophet 12 Desktop Module Specifications</h3>\n<h5><strong>Oscillators</strong></h5>\n<ul style=\"color: #000000;\"><li>Five DSP-based oscillators per voice (including one sine wave sub oscillator)</li><li>Four classic wave shapes (saw, square, triangle, sine) per oscillator</li><li>Twelve selectable complex shapes per oscillator</li><li>Three noise types per oscillator: white, pink, violet</li><li>Analog VCAs</li><li>Shape modulation</li><li>Oscillator cross modulation: frequency modulation (FM) and amplitude modulation (AM)</li><li>Hard sync on each of the four oscillators</li></ul>\n<h5 style=\"color: #000000;\"><strong>Character Effects</strong></h5>\n<ul style=\"color: #000000;\"><li>Five high-quality digital effects. Thicken the signal and add harmonics or completely destroy the signal pre-filter.</li><li>Girth and Air are high and low shelf equalizers with harmonic excitement. Useful for thickening and/or adding air to the signal.</li><li>Hack and Decimate are sample and bit rate reduction algorithms which\n can add subtle grit or completely destroy the signal. It’s harsh yet \nmusical!</li><li>Drive is a soft saturator for adding soft distortion and harmonic content to the signal</li></ul>\n<h5 style=\"color: #000000;\"><strong>Filters</strong></h5>\n<ul style=\"color: #000000;\"><li>Famed Curtis 2- or 4-pole resonant analog low-pass filter (self oscillates in 4-pole mode) per voice</li><li>2-pole resonant analog high-pass filter per voice</li></ul>\n<h5 style=\"color: #000000;\"><strong>Feedback and Delay</strong></h5>\n<ul style=\"color: #000000;\"><li>Tuned feedback</li><li>Four-tap syncable multi delay with feedback and amount per delay per voice</li></ul>\n<h5 style=\"color: #000000;\"><strong>Envelopes</strong></h5>\n<ul style=\"color: #000000;\"><li>Four Delay + ADSR envelopes (LPF, VCA , and two Auxiliary envelopes)</li><li>Auxiliary envelopes 3 and 4 freely assignable to multiple modulation destinations</li><li>All envelopes can repeat/loop</li></ul>\n<h5 style=\"color: #000000;\"><strong>LFOs</strong></h5>\n<ul style=\"color: #000000;\"><li>Four syncable LFO’s with phase offset and slew per LFO</li></ul>\n<h5 style=\"color: #000000;\"><strong>Modulation</strong></h5>\n<ul style=\"color: #000000;\"><li>16 x 2 modulation matrix with 26 mod sources and 97 mod destinations</li><li>Modulation assignment buttons enable quick and easy modulation routing</li></ul>\n<h5 style=\"color: #000000;\"><strong>Arpeggiator</strong></h5>\n<ul style=\"color: #000000;\"><li>Sophisticated programmable arpeggiator with up, down, up+down, random, assign modes</li><li>Re-latching arpeggiator</li></ul>\n<h5 style=\"color: #000000;\"><strong>Programmable Distortion</strong></h5>\n<ul style=\"color: #000000;\"><li>Independent programmable stereo analog distortion per layer.</li></ul>\n<h5 style=\"color: #000000;\"><strong>Controls</strong></h5>\n<ul style=\"color: #000000;\"><li>12 knobs and 34 buttons enable deep and comprehensive editing with little to no menu diving.</li><li>Crisp OLED display is easily visible in low light situations and from many angles.</li></ul>\n<h5 style=\"color: #000000;\"><strong>Memory</strong></h5>\n<ul style=\"color: #000000;\"><li>396 user and 396 factory programs</li><li>Direct program access using numeric keypad and dedicated User, Factory, and Bank buttons</li></ul>\n<h5 style=\"color: #000000;\"><strong>In/Out</strong></h5>\n<ul style=\"color: #000000;\"><li>1 MIDI In, 1 MIDI out, and 1 MIDI Thru port</li><li>USB port for bidirectional MIDI communication</li><li>1 Sustain/footswitch input</li><li>2 expression pedal inputs</li><li>Main stereo output (2 x 1/4″ phone jack)</li><li>Layer B stereo output (2 x 1/4″ phone jack)</li><li>Headphone out (stereo 1/4″ phone jack)</li></ul>\n<h5 style=\"color: #000000;\"><strong>Power</strong></h5>\n<ul style=\"color: #000000;\"><li>External Power supply</li><li>Operates worldwide on voltages between 100-240v, 50-60Hz</li></ul>\n<h5 style=\"color: #000000;\"><strong>Physical Specs</strong></h5>\n<ul style=\"color: #000000;\"><li>Oiled walnut wood end panels</li><li>16.5″ L x 6.8″ W x 2.85″ H (41.9 cm L x 17.3 cm W x 7.2 cm H)</li><li>4 lbs. 14 oz. (2.21 kg)</li><li>Rack-mountable with the <a target=\"_blank\" href=\"http://store.davesmithinstruments.com/proddetail.php?prod=DSI-9909\">optional rack mount kit</a></li></ul><span id=\"product_description\" itemprop=\"description\"><h3>Sequential Instruments products are used by an ever-growing roster of well-known musicians. Call or chat with\n a RSPE representative today for more information.</h3>\n</span>'),(9921,85,0,1654,'Sequential Instruments - Prophet 12 Synthesizer Module'),(9922,85,1,1654,'Sequential Instruments - Prophet 12 Synthesizer Module'),(9923,76,0,1654,''),(9924,76,1,1654,''),(9925,75,0,1655,'<h1>Sequential Prophet-5 Keyboard Synthesizer</h1>\n<i>The Prophet-5 has returned! The Sequential Prophet-5 \"Rev 4\" combines the authentic, lush sound of the original with the reliability of a state-of-the-art modern instrument.</i><br /><br />\nThe Sequential Prophet-5 “Rev 4” is Dave Smith\'s return to the analog poly synth that changed the world. It’s “the best of all Prophet-5s” because it embodies all three revisions of the legendary synth—Rev1, Rev2, and Rev3—through the use of genuine Curtis analog VCOs and filters (as in the Rev3) as well as new 2140 low-pass filters designed by Dave Rossum, the modern equivalent of the 2040 filters he designed in the original Rev1 and Rev2. A Rev switch lets you choose between the two filter designs.<br /><br />\nThe result is as pure a renewal of an analog classic as you could wish for, with the authentic, muscular sound of the original and the roadworthiness of a state-of-the-art modern instrument.<br /><br />\nTo give even more authentic mojo to the new Prophet-5, Sequential created the Vintage knob. Use it to dial in as much old-school randomness as you’d like and it will loosen up the oscillators and envelopes just like they were in the good old days. It lets you dial in progressively more vintage character as you go from a stable 4 (as in Prophet-5 Rev4) all the way to 1 (as in Prophet-5 Rev1, the rarest and most temperamental of all Prophet-5s).<br /><br />\nThe Prophet-5 includes the original 40 Prophet-5 factory sounds.<br /><br />\n<h3>Sequential Prophet-5 Features:</h3>\n<ul>\n	<li>Authentic reimagining of the original Prophet-5 in look and sound</li>\n	<li>5 voices, with velocity and aftertouch, MIDI, and a premium Fatar keyboard</li>\n	<li>Authentic vintage CEM VCOs</li>\n	<li>Authentic vintage Doug Curtis and Dave Rossum-designed  filters (switchable)</li>\n</ul>\n<br />\n\n<h3>Vintage Sound, Vintage Knob</h3>\nIn addition to sourcing genuine Prophet-5 hardware components, Sequential did extensive research into exactly what made the original sound the way it did — warm, organic, and alive. They found that much of this desirable character was due to slight fluctuations and differences in the response times and frequencies of the individual VCOs, filters, envelopes, and amplifiers from voice to voice.<br /><br />\n\nTo give the same mojo to the new Prophet-5, Sequential created the Vintage knob. Use it to dial in as much old-school randomness as you’d like. Go from a very stable “4” — as in Prophet-5 Rev4, which is how we refer to the new version in house — all the way to “1,” as in Prophet-5 Rev1, the rarest and most temperamental of all Prophet-5s.<br /><br />\n\n<h3>Poly Mod and Enhanced Unison</h3>\nIn addition to the unmistakable tone of its oscillators and filters, much of the classic sound of Prophet-5 was the result of Poly Mod, which is faithfully present here as well. True to the original, modulation sources are Filter Envelope and Oscillator B. Destinations include Oscillator A frequency, Oscillator A pulse width, and low-pass filter. The range of sounds possible defy its simplicity. Another welcome reprise is Unison mode, which now features configurable voice count (1-5 voices) with variable detuning, and chord memory. And now Glide works both in and out of Unison.<br /><br />\n\n<h3>Velocity and Aftertouch</h3>\nThough Sequential\'s mission was to make the new Prophet-5 as accurate, authoritative, and true to the original as possible, they couldn’t resist adding a couple of modern enhancements to increase expressiveness: velocity sensitivity and aftertouch. These enable the new Prophet-5 to perform in ways the original never could by putting filter sweeps, LFO mod, and volume changes at your fingertips.<br /><br />\n\n<h3>Effortless to Program</h3>\nThe purity of the new Prophet’s sound is matched only by its simplicity to program. The knob-per-function front panel gives you instant gratification and immediate access to all sound-shaping controls. Toggling off the Preset button enables live panel mode, where the Prophet-5 switches to the current settings of its knobs and switches. What you see is exactly what you hear. Included are 200 permanent factory programs and 200 rewritable user programs, including the original 40-program sound set from 1978 that found its way onto countless recordings and film soundtracks back in the day and beyond.<br /><br />\n\n<h3>The Whole Package</h3>\nAll of this punchy, powerful, analog goodness is housed in a full, five-octave, semi-weighted Fatar keyboard with USB, MIDI, Gate and CV ins/outs, and a premium-quality, steel and hand-oiled, sustainable black walnut heartwood body that make it as satisfying to behold as it is to hear and play.<br /><br />'),(9926,75,1,1655,'<h1>Sequential Prophet-5 Keyboard Synthesizer</h1>\n<i>The Prophet-5 has returned! The Sequential Prophet-5 \"Rev 4\" combines the authentic, lush sound of the original with the reliability of a state-of-the-art modern instrument.</i><br /><br />\nThe Sequential Prophet-5 “Rev 4” is Dave Smith\'s return to the analog poly synth that changed the world. It’s “the best of all Prophet-5s” because it embodies all three revisions of the legendary synth—Rev1, Rev2, and Rev3—through the use of genuine Curtis analog VCOs and filters (as in the Rev3) as well as new 2140 low-pass filters designed by Dave Rossum, the modern equivalent of the 2040 filters he designed in the original Rev1 and Rev2. A Rev switch lets you choose between the two filter designs.<br /><br />\nThe result is as pure a renewal of an analog classic as you could wish for, with the authentic, muscular sound of the original and the roadworthiness of a state-of-the-art modern instrument.<br /><br />\nTo give even more authentic mojo to the new Prophet-5, Sequential created the Vintage knob. Use it to dial in as much old-school randomness as you’d like and it will loosen up the oscillators and envelopes just like they were in the good old days. It lets you dial in progressively more vintage character as you go from a stable 4 (as in Prophet-5 Rev4) all the way to 1 (as in Prophet-5 Rev1, the rarest and most temperamental of all Prophet-5s).<br /><br />\nThe Prophet-5 includes the original 40 Prophet-5 factory sounds.<br /><br />\n<h3>Sequential Prophet-5 Features:</h3>\n<ul>\n	<li>Authentic reimagining of the original Prophet-5 in look and sound</li>\n	<li>5 voices, with velocity and aftertouch, MIDI, and a premium Fatar keyboard</li>\n	<li>Authentic vintage CEM VCOs</li>\n	<li>Authentic vintage Doug Curtis and Dave Rossum-designed  filters (switchable)</li>\n</ul>\n<br />\n\n<h3>Vintage Sound, Vintage Knob</h3>\nIn addition to sourcing genuine Prophet-5 hardware components, Sequential did extensive research into exactly what made the original sound the way it did — warm, organic, and alive. They found that much of this desirable character was due to slight fluctuations and differences in the response times and frequencies of the individual VCOs, filters, envelopes, and amplifiers from voice to voice.<br /><br />\n\nTo give the same mojo to the new Prophet-5, Sequential created the Vintage knob. Use it to dial in as much old-school randomness as you’d like. Go from a very stable “4” — as in Prophet-5 Rev4, which is how we refer to the new version in house — all the way to “1,” as in Prophet-5 Rev1, the rarest and most temperamental of all Prophet-5s.<br /><br />\n\n<h3>Poly Mod and Enhanced Unison</h3>\nIn addition to the unmistakable tone of its oscillators and filters, much of the classic sound of Prophet-5 was the result of Poly Mod, which is faithfully present here as well. True to the original, modulation sources are Filter Envelope and Oscillator B. Destinations include Oscillator A frequency, Oscillator A pulse width, and low-pass filter. The range of sounds possible defy its simplicity. Another welcome reprise is Unison mode, which now features configurable voice count (1-5 voices) with variable detuning, and chord memory. And now Glide works both in and out of Unison.<br /><br />\n\n<h3>Velocity and Aftertouch</h3>\nThough Sequential\'s mission was to make the new Prophet-5 as accurate, authoritative, and true to the original as possible, they couldn’t resist adding a couple of modern enhancements to increase expressiveness: velocity sensitivity and aftertouch. These enable the new Prophet-5 to perform in ways the original never could by putting filter sweeps, LFO mod, and volume changes at your fingertips.<br /><br />\n\n<h3>Effortless to Program</h3>\nThe purity of the new Prophet’s sound is matched only by its simplicity to program. The knob-per-function front panel gives you instant gratification and immediate access to all sound-shaping controls. Toggling off the Preset button enables live panel mode, where the Prophet-5 switches to the current settings of its knobs and switches. What you see is exactly what you hear. Included are 200 permanent factory programs and 200 rewritable user programs, including the original 40-program sound set from 1978 that found its way onto countless recordings and film soundtracks back in the day and beyond.<br /><br />\n\n<h3>The Whole Package</h3>\nAll of this punchy, powerful, analog goodness is housed in a full, five-octave, semi-weighted Fatar keyboard with USB, MIDI, Gate and CV ins/outs, and a premium-quality, steel and hand-oiled, sustainable black walnut heartwood body that make it as satisfying to behold as it is to hear and play.<br /><br />'),(9927,85,0,1655,'Sequential Prophet-5 Keyboard Synthesizer'),(9928,85,1,1655,'Sequential Prophet-5 Keyboard Synthesizer'),(9929,76,0,1655,''),(9930,76,1,1655,''),(9931,75,0,1656,'<h1>Sequential Prophet-5 Desktop Module</h1>\n<i>The Prophet-5 has returned! The Sequential Prophet-5 Desktop Module is legendary 5-voice Analog Synth Module that combines the authentic, lush sound of the original with the reliability of a state-of-the-art modern instrument.</i><br /><span style=\"color: rgb(0, 0, 0);\"><br />\n\nThe Prophet-5 module puts the power of Sequential’s legendary analog poly synth on your desktop. Like the full keyboard version, it’s “the best of all Prophet-5s” because it embodies all three Prophet-5 revisions — Rev1, Rev2, and Rev3 — through the use of genuine Curtis analog VCOs and filters (as in the Rev3) as well as new 2140 low-pass filters designed by Dave Rossum, like the 2040 filters he designed in the original Rev1 and Rev2. A Rev switch lets you choose between the two filter designs. It also adjusts the Filter Envelope’s shape and response to match the original Prophet Rev 1/2 or Rev 3 respectively.<br /><br />\n\nThe result is as pure a renewal of an analog classic as you could wish for, with the authentic, muscular sound of the original and the roadworthiness of a state-of-the-art modern instrument.<br /><br />\n\nTo give even more authentic mojo to the new Prophet-5, Sequential created the Vintage knob. Use it to dial in as much old-school randomness as you’d like and it will loosen up the oscillators and envelopes just like they were in the good old days. It lets you dial in progressively more vintage character as you go from a stable 4 (as in Prophet-5 Rev4) all the way to 1 (as in Prophet-5 Rev1, the rarest and most temperamental of all Prophet-5s).<br /><br />\n\nThe Prophet-5 includes the original 40 Prophet-5 factory sounds.<br /><br />\n\n\n<h3>Vintage Sound, Vintage Knob</h3>\nIn addition to sourcing genuine Prophet-5 hardware components, we did\n extensive research into exactly what made the original sound the way it\n did — warm, organic, and alive. We found that much of this desirable \ncharacter was due to slight fluctuations and differences in the response\n times and frequencies of the individual VCOs, filters, envelopes, and \namplifiers from voice to voice.\n<br /><br />\nTo give the same mojo to the new Prophet-5, we created the <em>Vintage</em> knob. Use it to dial in as much old-school randomness as you’d like. Go from a very stable “4” — as in <em>Prophet-5 Rev4</em>, which is how we refer to the new version in house — all the way to “1,” as in <em>Prophet-5 Rev1</em>, the rarest and most temperamental of all Prophet-5s.\n<br /><br />\n\n<h3>Poly Mod and Enhanced Unison</h3>\nIn addition to the unmistakable tone of its oscillators and filters, \nmuch of the classic sound of Prophet-5 was the result of Poly Mod, which\n is faithfully present here as well. True to the original, modulation \nsources are Filter Envelope and Oscillator B. Destinations include \nOscillator A frequency, Oscillator A pulse width, and low-pass filter. \nThe range of sounds possible defy its simplicity. Another welcome \nreprise is Unison mode, which now features configurable voice count (1-5\n voices) with variable detuning, and chord memory. And now Glide works \nboth in and out of Unison.<br /><br />\n\n\n<h3>Velocity and Aftertouch</h3>\nWhile the new Prophet-5 is as accurate, authoritative, and true to \nthe original as possible, we couldn’t resist adding a couple of modern \nenhancements to increase expressiveness: velocity sensitivity and \naftertouch. These enable the new Prophet-5 to perform in ways the \noriginal never could by putting filter sweeps, LFO mod, and volume \nchanges at your fingertips.<br /><br />\n\n<h3>Effortless to Program</h3>\nThe purity of the new Prophet’s sound is matched only by its \nsimplicity to program. The knob-per-function front panel gives you \ninstant gratification and immediate access to all sound-shaping \ncontrols. Toggling off the Preset button enables live panel mode, where \nthe Prophet-5 switches to the current settings of its knobs and \nswitches. What you see is exactly what you hear. Included are 200 \npermanent factory programs and 200 rewritable user programs, including \nthe original 40-program sound set from 1978 that found its way onto \ncountless recordings and film soundtracks back in the day and beyond.\n<br /><br />\n\n<h3>The Whole Package</h3>\nAll of this punchy, powerful, analog goodness is housed in a compact \nsteel case with USB, MIDI, Gate and CV ins/outs, and premium-quality, \nhand-oiled, sustainable black walnut heartwood trim.\n				<br /><br />\n\n					The new Prophet-5 desktop module — history never sounded better.\n				<br /><br /></span>'),(9932,75,1,1656,'<h1>Sequential Prophet-5 Desktop Module</h1>\n<i>The Prophet-5 has returned! The Sequential Prophet-5 Desktop Module is legendary 5-voice Analog Synth Module that combines the authentic, lush sound of the original with the reliability of a state-of-the-art modern instrument.</i><br /><span style=\"color: rgb(0, 0, 0);\"><br />\n\nThe Prophet-5 module puts the power of Sequential’s legendary analog poly synth on your desktop. Like the full keyboard version, it’s “the best of all Prophet-5s” because it embodies all three Prophet-5 revisions — Rev1, Rev2, and Rev3 — through the use of genuine Curtis analog VCOs and filters (as in the Rev3) as well as new 2140 low-pass filters designed by Dave Rossum, like the 2040 filters he designed in the original Rev1 and Rev2. A Rev switch lets you choose between the two filter designs. It also adjusts the Filter Envelope’s shape and response to match the original Prophet Rev 1/2 or Rev 3 respectively.<br /><br />\n\nThe result is as pure a renewal of an analog classic as you could wish for, with the authentic, muscular sound of the original and the roadworthiness of a state-of-the-art modern instrument.<br /><br />\n\nTo give even more authentic mojo to the new Prophet-5, Sequential created the Vintage knob. Use it to dial in as much old-school randomness as you’d like and it will loosen up the oscillators and envelopes just like they were in the good old days. It lets you dial in progressively more vintage character as you go from a stable 4 (as in Prophet-5 Rev4) all the way to 1 (as in Prophet-5 Rev1, the rarest and most temperamental of all Prophet-5s).<br /><br />\n\nThe Prophet-5 includes the original 40 Prophet-5 factory sounds.<br /><br />\n\n\n<h3>Vintage Sound, Vintage Knob</h3>\nIn addition to sourcing genuine Prophet-5 hardware components, we did\n extensive research into exactly what made the original sound the way it\n did — warm, organic, and alive. We found that much of this desirable \ncharacter was due to slight fluctuations and differences in the response\n times and frequencies of the individual VCOs, filters, envelopes, and \namplifiers from voice to voice.\n<br /><br />\nTo give the same mojo to the new Prophet-5, we created the <em>Vintage</em> knob. Use it to dial in as much old-school randomness as you’d like. Go from a very stable “4” — as in <em>Prophet-5 Rev4</em>, which is how we refer to the new version in house — all the way to “1,” as in <em>Prophet-5 Rev1</em>, the rarest and most temperamental of all Prophet-5s.\n<br /><br />\n\n<h3>Poly Mod and Enhanced Unison</h3>\nIn addition to the unmistakable tone of its oscillators and filters, \nmuch of the classic sound of Prophet-5 was the result of Poly Mod, which\n is faithfully present here as well. True to the original, modulation \nsources are Filter Envelope and Oscillator B. Destinations include \nOscillator A frequency, Oscillator A pulse width, and low-pass filter. \nThe range of sounds possible defy its simplicity. Another welcome \nreprise is Unison mode, which now features configurable voice count (1-5\n voices) with variable detuning, and chord memory. And now Glide works \nboth in and out of Unison.<br /><br />\n\n\n<h3>Velocity and Aftertouch</h3>\nWhile the new Prophet-5 is as accurate, authoritative, and true to \nthe original as possible, we couldn’t resist adding a couple of modern \nenhancements to increase expressiveness: velocity sensitivity and \naftertouch. These enable the new Prophet-5 to perform in ways the \noriginal never could by putting filter sweeps, LFO mod, and volume \nchanges at your fingertips.<br /><br />\n\n<h3>Effortless to Program</h3>\nThe purity of the new Prophet’s sound is matched only by its \nsimplicity to program. The knob-per-function front panel gives you \ninstant gratification and immediate access to all sound-shaping \ncontrols. Toggling off the Preset button enables live panel mode, where \nthe Prophet-5 switches to the current settings of its knobs and \nswitches. What you see is exactly what you hear. Included are 200 \npermanent factory programs and 200 rewritable user programs, including \nthe original 40-program sound set from 1978 that found its way onto \ncountless recordings and film soundtracks back in the day and beyond.\n<br /><br />\n\n<h3>The Whole Package</h3>\nAll of this punchy, powerful, analog goodness is housed in a compact \nsteel case with USB, MIDI, Gate and CV ins/outs, and premium-quality, \nhand-oiled, sustainable black walnut heartwood trim.\n				<br /><br />\n\n					The new Prophet-5 desktop module — history never sounded better.\n				<br /><br /></span>'),(9933,85,0,1656,'Sequential Prophet-5 Desktop Module'),(9934,85,1,1656,'Sequential Prophet-5 Desktop Module'),(9935,76,0,1656,''),(9936,76,1,1656,''),(9937,75,0,1657,'<h2>Sequential Prophet-6 6-Voice Polyphonic Analog Synthesizer</h2><p style=\"color: #000000;\"><i>The Prophet-6 takes the best qualities of the original Prophet-5—true voltage-controlled oscillators, filters, and amplifiers—and adds enhancements such as studio-quality effects.</i></p><p>The Sequential Prophet-6 is Dave Smith’s tribute to the poly synth that started \nit all—the Sequential Prophet-5. But it’s not simply a reissue of a \nclassic. Rather, as Dave puts it, “It’s the result of our effort to \nbuild the most awesome-sounding, modern analog poly synth possible.”   </p>\n<h3>Classic Tone, Classic Vibe</h3>\n<p>Central to the warm, punchy sound of the Prophet-6 are its two \nnewly-designed, discrete voltage-controlled oscillators (plus \nsub-oscillator) per voice. Continuously variable waveshapes provide the \ntonal palette with triangle, sawtooth, and variable-width pulse waves. \nThere are two discrete filters per voice—a four-pole, resonant, low-pass\n inspired by the original Prophet-5 filter, and a two-pole, resonant, \nhigh-pass filter. Voltage-controlled amplifiers complete the all-analog \nsignal path.</p>\n<h3>Dual Effects</h3>\n<p>The dual effects section provides studio-quality reverbs, delays \n(standard and BBD), chorus and phase shifter. While the effects \nthemselves are digital, with 24-bit, 48 kHz resolution, a true \nbypass maintains a full analog signal path. There’s also an independent \nstereo distortion effect, which is 100% analog.</p>\n<h3>Poly Mod and Poly Step Sequencing</h3>\n<p>Also present from its classic predecessor is a Poly Mod section, with\n enhancements. True to the original, modulation sources are filter \nenvelope and oscillator 2 (both with bi-polar control). Destinations \ninclude oscillator 1 frequency, oscillator 1 shape, oscillator 1 pulse \nwidth, low-pass filter cutoff, and high-pass filter cutoff. Another \nwelcome reprise is Unison mode, which features configurable voice count \n(1-6 voices) and key modes. The polyphonic step sequencer allows up to \n64 steps and up to 6 notes per step. You can create sequences \npolyphonically, with rests, and sync to an external MIDI clock. \nThe full-featured arpeggiator can be synced to external MIDI clock as \nwell.</p>\n<h3>Easy to Program</h3>\n<p>The knob-per-function front panel offers instant access to virtually \nall Prophet-6 functions. Included are 500 permanent factory programs and\n 500 rewritable user programs. Toggling off the Preset button enables \nlive panel mode, in which the sound of the Prophet-6 switches to the \ncurrent settings of its knobs and switches. In this state, what you see \nis what you hear.</p>\n<h3>Easy to Play</h3>\n<p>All of this awe-inspiring sound is packed into a four octave, \nsemi-weighted keyboard with velocity and channel aftertouch that’s an \nideal combination of portability and power for the project studio or the\n gigging musician.</p><h3>Prophet 6 Analog Synthesizer Specifications</h3><h5><strong>OSCILLATORS</strong></h5>\n<ul><li>Two discrete VCOs per voice</li><li>Continuously variable wave shape (sawtooth and variable-width pulse, plus triangle on oscillator 2) per oscillator</li><li>Pulse width per oscillator</li><li>Hard sync: oscillator 1 syncs to oscillator 2</li><li>Square wave sub-octave generator (oscillator 1) per voice</li><li>Low frequency mode (oscillator 2)</li><li>Keyboard tracking on/off (oscillator 2)</li><li>Oscillator detune amount for increased tuning instability, from subtle to extreme</li></ul>\n<h5><strong>MIXER</strong></h5>\n<ul><li>Oscillator 1 amount</li><li>Oscillator 1 sub-octave amount</li><li>Oscillator 2 amount</li><li>White noise amount</li></ul>\n<h5><strong>STATE-VARIABLE FILTER</strong></h5>\n<ul><li>Two-pole, resonant, filter per voice with low-pass, high-pass, \nband-pass, and notch functionality inspired by the original Oberheim SEM\n filter</li><li>Bi-polar filter envelope amount</li><li>Velocity modulation of envelope amount</li><li>Keyboard tracking: off, half, full</li></ul>\n<h5><strong>FILTER ENVELOPE</strong></h5>\n<ul><li>Four-stage (ADSR) envelope generator</li><li>Velocity modulation of envelope amount</li></ul>\n<h5><strong>AMPLIFIER ENVELOPE</strong></h5>\n<ul><li>Four-stage (ADSR) envelope generator</li><li>Velocity modulation of envelope amount</li></ul>\n<h5><strong>LOW FREQUENCY OSCILLATOR</strong></h5>\n<ul><li>Five wave shapes: sine, sawtooth, reverse sawtooth, square, and random (sample and hold)</li><li>Clock sync (internal or external MIDI clock)</li><li>Initial amount</li><li>Mod destinations: oscillator 1 frequency, oscillator 2 frequency, \noscillator 1 and 2 pulse width, filter cutoff, filter mode, amp</li></ul>\n<h5><strong>X-MOD</strong></h5>\n<ul><li>Sources: filter envelope (bi-polar) and oscillator 2 (bi-polar)</li><li>Destinations: oscillator 1 frequency, oscillator 1 shape, oscillator\n 1 pulse width, filter cutoff, filter mode, normal to bandpass filter</li></ul>\n<h5><strong>AFTERTOUCH</strong></h5>\n<ul><li>Source: channel (mono) aftertouch with bi-polar amount</li><li>Destinations: oscillator 1 frequency, oscillator 2 frequency, LFO \namount, amplifier envelope amount, filter envelope amount, filter mode</li></ul>\n<h5><strong>CLOCK</strong></h5>\n<ul><li>Master clock with tap tempo</li><li>BPM control and display</li><li>MIDI clock sync</li></ul>\n<h5><strong>ARPEGGIATOR</strong></h5>\n<ul><li>Selectable note value: 16th note, 8th note triplet, 8th note, dotted 8th note, quarter note</li><li>One, two, or three octave range</li><li>Up, down, up/down, random, and assign modes</li></ul>\n<h5><strong>SEQUENCER</strong></h5>\n<ul><li>Polyphonic step sequencer with up to 64 steps and rests</li></ul>\n<h5><strong>EFFECTS</strong></h5>\n<ul><li>Stereo analog distortion</li><li>Dual, 24-bit, 48 kHz digital effects, including: reverb (room, hall,\n plate, spring), delay (full bandwidth digital delay and emulated bucket\n brigade), chorus, flanger, phase shifters, and ring modulator</li><li>Delay sync</li><li>True bypass maintains fully analog signal path when digital effects are off</li></ul>\n<h5><strong>PERFORMANCE CONTROLS</strong></h5>\n<ul><li>Full-sized, semi-weighted, 4-octave keyboard with velocity and aftertouch</li><li>Backlit pitch and mod wheels</li><li>Spring-loaded pitch wheel with selectable range per program (1 to 12 semitones up and down)</li><li>Transpose controls for an 8-octave range</li><li>Hold switch latches held notes on</li><li>Polyphonic portamento</li><li>Unison (monophonic) mode with configurable voice count, from one to all six voices, chord memory, and key modes</li><li>Manual switch: when on, the front panel is live; what you see is what you hear</li></ul>\n<h5><strong>PATCH MEMORY</strong></h5>\n<ul><li>500 user and 500 factory programs in 10 banks of 100 programs each</li><li>Direct program access, including single-button access to the current set of 10 programs</li></ul>\n<h5><strong>IN/OUT</strong></h5>\n<ul><li>Left/mono and right audio outputs (2 x 1/4” phone jack)</li><li>Headphone output (stereo, 1/4” phone jack)</li><li>MIDI in, out, and thru ports</li><li>USB for bidirectional MIDI communication</li><li>Filter cutoff expression pedal input</li><li>Volume expression pedal input</li><li>Sustain footswitch input</li><li>Sequencer start/stop footswitch input</li></ul>\n<h5><strong>POWER</strong></h5>\n<ul><li>IEC AC power inlet for internal power supply</li><li>Operates worldwide on voltages between 100 and 240 volts at 50 to 60 Hz; 30 watts maximum power consumption</li></ul>\n<h5><strong>PHYSICAL SPECS</strong></h5>\n<ul><li>31.8” L x 12.7” W x 4.6″ H (80.7 cm x 32.3 cm x 11.7 cm)</li><li>20 lbs (9.5 kg)</li><li>Walnut end panels</li></ul><span id=\"product_description\" itemprop=\"description\"><h3>Sequential Instruments products are used by an ever-growing roster of well-known musicians. Call or chat with\n a RSPE representative today for more information.</h3>\n</span>'),(9938,75,1,1657,'<h2>Sequential Prophet-6 6-Voice Polyphonic Analog Synthesizer</h2><p style=\"color: #000000;\"><i>The Prophet-6 takes the best qualities of the original Prophet-5—true voltage-controlled oscillators, filters, and amplifiers—and adds enhancements such as studio-quality effects.</i></p><p>The Sequential Prophet-6 is Dave Smith’s tribute to the poly synth that started \nit all—the Sequential Prophet-5. But it’s not simply a reissue of a \nclassic. Rather, as Dave puts it, “It’s the result of our effort to \nbuild the most awesome-sounding, modern analog poly synth possible.”   </p>\n<h3>Classic Tone, Classic Vibe</h3>\n<p>Central to the warm, punchy sound of the Prophet-6 are its two \nnewly-designed, discrete voltage-controlled oscillators (plus \nsub-oscillator) per voice. Continuously variable waveshapes provide the \ntonal palette with triangle, sawtooth, and variable-width pulse waves. \nThere are two discrete filters per voice—a four-pole, resonant, low-pass\n inspired by the original Prophet-5 filter, and a two-pole, resonant, \nhigh-pass filter. Voltage-controlled amplifiers complete the all-analog \nsignal path.</p>\n<h3>Dual Effects</h3>\n<p>The dual effects section provides studio-quality reverbs, delays \n(standard and BBD), chorus and phase shifter. While the effects \nthemselves are digital, with 24-bit, 48 kHz resolution, a true \nbypass maintains a full analog signal path. There’s also an independent \nstereo distortion effect, which is 100% analog.</p>\n<h3>Poly Mod and Poly Step Sequencing</h3>\n<p>Also present from its classic predecessor is a Poly Mod section, with\n enhancements. True to the original, modulation sources are filter \nenvelope and oscillator 2 (both with bi-polar control). Destinations \ninclude oscillator 1 frequency, oscillator 1 shape, oscillator 1 pulse \nwidth, low-pass filter cutoff, and high-pass filter cutoff. Another \nwelcome reprise is Unison mode, which features configurable voice count \n(1-6 voices) and key modes. The polyphonic step sequencer allows up to \n64 steps and up to 6 notes per step. You can create sequences \npolyphonically, with rests, and sync to an external MIDI clock. \nThe full-featured arpeggiator can be synced to external MIDI clock as \nwell.</p>\n<h3>Easy to Program</h3>\n<p>The knob-per-function front panel offers instant access to virtually \nall Prophet-6 functions. Included are 500 permanent factory programs and\n 500 rewritable user programs. Toggling off the Preset button enables \nlive panel mode, in which the sound of the Prophet-6 switches to the \ncurrent settings of its knobs and switches. In this state, what you see \nis what you hear.</p>\n<h3>Easy to Play</h3>\n<p>All of this awe-inspiring sound is packed into a four octave, \nsemi-weighted keyboard with velocity and channel aftertouch that’s an \nideal combination of portability and power for the project studio or the\n gigging musician.</p><h3>Prophet 6 Analog Synthesizer Specifications</h3><h5><strong>OSCILLATORS</strong></h5>\n<ul><li>Two discrete VCOs per voice</li><li>Continuously variable wave shape (sawtooth and variable-width pulse, plus triangle on oscillator 2) per oscillator</li><li>Pulse width per oscillator</li><li>Hard sync: oscillator 1 syncs to oscillator 2</li><li>Square wave sub-octave generator (oscillator 1) per voice</li><li>Low frequency mode (oscillator 2)</li><li>Keyboard tracking on/off (oscillator 2)</li><li>Oscillator detune amount for increased tuning instability, from subtle to extreme</li></ul>\n<h5><strong>MIXER</strong></h5>\n<ul><li>Oscillator 1 amount</li><li>Oscillator 1 sub-octave amount</li><li>Oscillator 2 amount</li><li>White noise amount</li></ul>\n<h5><strong>STATE-VARIABLE FILTER</strong></h5>\n<ul><li>Two-pole, resonant, filter per voice with low-pass, high-pass, \nband-pass, and notch functionality inspired by the original Oberheim SEM\n filter</li><li>Bi-polar filter envelope amount</li><li>Velocity modulation of envelope amount</li><li>Keyboard tracking: off, half, full</li></ul>\n<h5><strong>FILTER ENVELOPE</strong></h5>\n<ul><li>Four-stage (ADSR) envelope generator</li><li>Velocity modulation of envelope amount</li></ul>\n<h5><strong>AMPLIFIER ENVELOPE</strong></h5>\n<ul><li>Four-stage (ADSR) envelope generator</li><li>Velocity modulation of envelope amount</li></ul>\n<h5><strong>LOW FREQUENCY OSCILLATOR</strong></h5>\n<ul><li>Five wave shapes: sine, sawtooth, reverse sawtooth, square, and random (sample and hold)</li><li>Clock sync (internal or external MIDI clock)</li><li>Initial amount</li><li>Mod destinations: oscillator 1 frequency, oscillator 2 frequency, \noscillator 1 and 2 pulse width, filter cutoff, filter mode, amp</li></ul>\n<h5><strong>X-MOD</strong></h5>\n<ul><li>Sources: filter envelope (bi-polar) and oscillator 2 (bi-polar)</li><li>Destinations: oscillator 1 frequency, oscillator 1 shape, oscillator\n 1 pulse width, filter cutoff, filter mode, normal to bandpass filter</li></ul>\n<h5><strong>AFTERTOUCH</strong></h5>\n<ul><li>Source: channel (mono) aftertouch with bi-polar amount</li><li>Destinations: oscillator 1 frequency, oscillator 2 frequency, LFO \namount, amplifier envelope amount, filter envelope amount, filter mode</li></ul>\n<h5><strong>CLOCK</strong></h5>\n<ul><li>Master clock with tap tempo</li><li>BPM control and display</li><li>MIDI clock sync</li></ul>\n<h5><strong>ARPEGGIATOR</strong></h5>\n<ul><li>Selectable note value: 16th note, 8th note triplet, 8th note, dotted 8th note, quarter note</li><li>One, two, or three octave range</li><li>Up, down, up/down, random, and assign modes</li></ul>\n<h5><strong>SEQUENCER</strong></h5>\n<ul><li>Polyphonic step sequencer with up to 64 steps and rests</li></ul>\n<h5><strong>EFFECTS</strong></h5>\n<ul><li>Stereo analog distortion</li><li>Dual, 24-bit, 48 kHz digital effects, including: reverb (room, hall,\n plate, spring), delay (full bandwidth digital delay and emulated bucket\n brigade), chorus, flanger, phase shifters, and ring modulator</li><li>Delay sync</li><li>True bypass maintains fully analog signal path when digital effects are off</li></ul>\n<h5><strong>PERFORMANCE CONTROLS</strong></h5>\n<ul><li>Full-sized, semi-weighted, 4-octave keyboard with velocity and aftertouch</li><li>Backlit pitch and mod wheels</li><li>Spring-loaded pitch wheel with selectable range per program (1 to 12 semitones up and down)</li><li>Transpose controls for an 8-octave range</li><li>Hold switch latches held notes on</li><li>Polyphonic portamento</li><li>Unison (monophonic) mode with configurable voice count, from one to all six voices, chord memory, and key modes</li><li>Manual switch: when on, the front panel is live; what you see is what you hear</li></ul>\n<h5><strong>PATCH MEMORY</strong></h5>\n<ul><li>500 user and 500 factory programs in 10 banks of 100 programs each</li><li>Direct program access, including single-button access to the current set of 10 programs</li></ul>\n<h5><strong>IN/OUT</strong></h5>\n<ul><li>Left/mono and right audio outputs (2 x 1/4” phone jack)</li><li>Headphone output (stereo, 1/4” phone jack)</li><li>MIDI in, out, and thru ports</li><li>USB for bidirectional MIDI communication</li><li>Filter cutoff expression pedal input</li><li>Volume expression pedal input</li><li>Sustain footswitch input</li><li>Sequencer start/stop footswitch input</li></ul>\n<h5><strong>POWER</strong></h5>\n<ul><li>IEC AC power inlet for internal power supply</li><li>Operates worldwide on voltages between 100 and 240 volts at 50 to 60 Hz; 30 watts maximum power consumption</li></ul>\n<h5><strong>PHYSICAL SPECS</strong></h5>\n<ul><li>31.8” L x 12.7” W x 4.6″ H (80.7 cm x 32.3 cm x 11.7 cm)</li><li>20 lbs (9.5 kg)</li><li>Walnut end panels</li></ul><span id=\"product_description\" itemprop=\"description\"><h3>Sequential Instruments products are used by an ever-growing roster of well-known musicians. Call or chat with\n a RSPE representative today for more information.</h3>\n</span>'),(9939,85,0,1657,'Sequential Prophet-6 - 6-Voice Polyphonic Analog Synthesizer'),(9940,85,1,1657,'Sequential Prophet-6 - 6-Voice Polyphonic Analog Synthesizer'),(9941,76,0,1657,''),(9942,76,1,1657,''),(9943,75,0,1658,'<h2>Sequential Prophet 6 Desktop Synthesizer Module</h2><p style=\"\"><i><font color=\"#000000\">The Sequential Prophet 6 is a 6-Voice Polyphonic Analog Synthesizer with 24-bit, 48 kHz resolution, with a true \nbypass that maintains a full analog signal path.</font></i></p><p>The Sequential Prophet-6 desktop module is every bit as powerful and easy to use\n as its counterpart, the Prophet-6 Keyboard. The module has all of the \nsame controls as the keyboard version and provides the same immediacy \nand ease of use — with absolutely no menu diving. As with the Prophet-6 \nKeyboard, all parameters are at your fingertips, with full-sized knobs \nand switches and a comfortable, intuitive layout.</p>\n<p>How does it sound? Awesome — just like the keyboard, because on the \ninside, it’s exactly the same. The same analog signal path with discrete\n VCOs and VCFs. The same high-quality digital effects. The same classic \nsound that has been earning raves from customers and reviewers alike.</p>\n<p>We’ve also added a poly chain feature so that any two Prophet-6s can be paired for twelve-voice polyphony!</p>\n<h3>Vintage with a Modern Twist</h3>\n<p>Both the Prophet-6 desktop module and keyboard are Dave Smith’s \ntribute to the poly synth that started it all—the Sequential Prophet-5. \nBut it’s not simply a reissue of a classic. Rather, as Dave puts it, \n“It’s the result of our effort to build the most awesome-sounding, \nmodern analog poly synth possible.” The Prophet-6 takes the best \nqualities of the original Prophet-5—true voltage-controlled oscillators,\n filters, and amplifiers—and adds enhancements such as studio-quality \neffects, a polyphonic step sequencer, an arpeggiator, and more. The \nresult is pure, unadulterated analog tone with the stability and \nreliability of a state-of-the-art modern synth.</p>\n<h3>Classic Tone, Classic Vibe</h3>\n<p>Central to the warm, punchy sound of the Prophet-6 are its two \nnewly-designed, discrete voltage-controlled oscillators (plus \nsub-oscillator) per voice. Continuously variable waveshapes provide the \ntonal palette with triangle, sawtooth, and variable-width pulse waves. \nThere are two discrete filters per voice—a four-pole, resonant, low-pass\n inspired by the original Prophet-5 filter, and a two-pole, resonant, \nhigh-pass filter. Voltage-controlled amplifiers complete the all-analog \nsignal path.</p>\n<h3>Dual Effects</h3>\n<p>The dual effects section provides studio-quality reverbs, delays \n(standard and BBD), chorus and phase shifter. While the effects \nthemselves are digital, with 24-bit, 48 kHz resolution, a true \nbypass maintains a full analog signal path. There’s also an independent \nstereo distortion effect, which is 100% analog.</p>\n<h3>Poly Mod and Poly Step Sequencing</h3>\n<p>Also present from its classic predecessor is a Poly Mod section, with\n enhancements. True to the original, modulation sources are filter \nenvelope and oscillator 2 (both with bi-polar control). Destinations \ninclude oscillator 1 frequency, oscillator 1 shape, oscillator 1 pulse \nwidth, low-pass filter cutoff, and high-pass filter cutoff. Another \nwelcome reprise is Unison mode, which features configurable voice count \n(1-6 voices) and key modes. The polyphonic step sequencer allows up to \n64 steps and up to 6 notes per step. You can create sequences \npolyphonically, with rests, and sync to an external MIDI clock. \nThe full-featured arpeggiator can be synced to external MIDI clock as \nwell.</p>\n<h3>Easy to Program</h3>\n<p>The knob-per-function front panel offers instant access to virtually \nall Prophet-6 functions. Included are 500 permanent factory programs and\n 500 rewritable user programs. Toggling off the Preset button enables \nlive panel mode, in which the sound of the Prophet-6 switches to the \ncurrent settings of its knobs and switches. In this state, what you see \nis what you hear.</p>\n<h3>Easy to Play</h3>\n<p>All of this awe-inspiring sound is packed into a desktop module \nthat’s small enough to fit in a backpack. It’s an ideal combination of \nportability and power for the project studio or the gigging musician.</p><br /><h3>Prophet 6 Desktop Module Specifications</h3><h5><strong>Oscillators</strong></h5>\n<ul><li>Two newly designed, discrete VCOs per voice</li><li>Continuously variable wave shape (triangle, sawtooth, pulse, square) per oscillator</li><li>Pulse width per oscillator</li><li>Hard sync: oscillator 1 syncs to oscillator 2</li><li>Triangle sub-octave generator (oscillator 1) per voice</li><li>Low frequency mode (oscillator 2)</li><li>Keyboard tracking on/off (oscillator 2)</li><li>Oscillator slop amount for increased tuning instability, from subtle to extreme</li></ul>\n<h5><strong>Mixer</strong></h5>\n<ul><li>Oscillator 1 amount</li><li>Oscillator 1 sub-octave amount</li><li>Oscillator 2 amount</li><li>White noise amount</li></ul>\n<h5><strong>High-Pass Filter</strong></h5>\n<ul><li>Two-pole, resonant, high-pass filter per voice</li><li>Bi-polar filter envelope amount</li><li>Velocity modulation of envelope amount</li><li>Keyboard tracking: off, half, full</li></ul>\n<h5><strong>Low-Pass Filter</strong></h5>\n<ul><li>Four-pole, resonant, low-pass filter per voice, inspired by the original Prophet 5 filter</li><li>Filter can be driven into self-oscillation with the Resonance control</li><li>Bi-polar filter envelope amount</li><li>Velocity modulation of envelope amount</li><li>Keyboard tracking: off, half, full</li></ul>\n<h5><strong>Filter Envelope</strong></h5>\n<ul><li>Four-stage (ADSR) envelope generator</li></ul>\n<h5><strong>AMPLIFIER ENVELOPE</strong></h5>\n<ul><li>Four-stage (ADSR) envelope generator</li><li>Velocity modulation of envelope amount</li></ul>\n<h5><strong>LOW FREQUENCY OSCILLATOR</strong></h5>\n<ul><li>Five wave shapes: triangle, sawtooth, reverse sawtooth, square, and random (sample and hold)</li><li>Clock sync (internal or external MIDI clock)</li><li>Initial amount</li><li>Mod destinations: oscillator 1 frequency, oscillator 2 frequency, \noscillator 1 and 2 pulse width, low-pass filter cutoff, high-pass filter\n cutoff</li></ul>\n<h5><strong>POLY MOD</strong></h5>\n<ul><li>Sources: filter envelope (bi-polar) and oscillator 2 (bi-polar)</li><li>Destinations: oscillator 1 frequency, oscillator 1 shape, oscillator\n 1 pulse width, low-pass filter cutoff, high-pass filter cutoff</li></ul>\n<h5><strong>AFTERTOUCH</strong></h5>\n<ul><li>Source: channel (mono) aftertouch with bi-polar amount</li><li>Destinations: oscillator 1 frequency, oscillator 2 frequency, LFO \namount, amplifier envelope amount, low-pass filter envelope amount, \nhigh-pass filter envelope amount</li></ul>\n<h5><strong>CLOCK</strong></h5>\n<ul><li>Master clock with tap tempo</li><li>BPM control and display</li><li>MIDI clock sync</li></ul>\n<h5><strong>ARPEGGIATOR</strong></h5>\n<ul><li>Selectable note value: 16th note, 8th note triplet, 8th note, dotted 8th note, quarter note</li><li>One, two, or three octave range</li><li>Up, down, up/down, random, and assign modes</li></ul>\n<h5><strong>SEQUENCER</strong></h5>\n<ul><li>Polyphonic step sequencer with up to 64 steps and rests</li></ul>\n<h5><strong>EFFECTS</strong></h5>\n<ul><li>Stereo analog distortion</li><li>Dual, 24-bit, 48 kHz digital effects, including: reverb (room, hall,\n plate, spring), delay (full bandwidth digital delay and emulated bucket\n brigade), chorus, flanger, phase shifters, and ring modulator</li><li>Delay sync</li><li>True bypass maintains fully analog signal path when digital effects are off</li></ul>\n<h5><strong>PERFORMANCE CONTROLS</strong></h5>\n<ul><li>Polyphonic glide (portamento)</li><li>Hold switch latches held notes on</li><li>Unison (monophonic) mode with configurable voice count, from one to all six voices, and key modes</li><li>Preset switch: when off, the front panel is live; what you see is what you hear</li></ul>\n<h5><strong>PATCH MEMORY</strong></h5>\n<ul><li>500 user and 500 factory programs in 10 banks of 100 programs each</li><li>Direct program access, including Prophet 5-style single-button access to the current set of 10 programs</li></ul>\n<h5><strong>IN/OUT</strong></h5>\n<ul><li>Left and right audio outputs (2 x 1/4” phone jack)</li><li>Headphone output (stereo, 1/4” phone jack)</li><li>MIDI in, out, and thru ports</li><li>USB for bidirectional MIDI communication</li><li>Low-pass filter cutoff expression pedal input</li><li>Volume expression pedal input</li><li>Sustain footswitch input</li><li>Sequencer start/stop footswitch input</li></ul>\n<h5><strong>POWER</strong></h5>\n<ul><li>IEC AC power inlet for internal power supply</li><li>Operates worldwide on voltages between 100 and 240 volts at 50 to 60 Hz; 30 watts maximum power consumption</li></ul>\n<h5><strong>PHYSICAL SPECS</strong></h5>\n<ul><li>21.25” L x 7.43” W x 4.4″ H (54.0 cm x 18.9 cm x 11.2 cm)</li><li>13.0 lbs (5.9 kg)</li><li>Walnut end panels and trim</li></ul><span id=\"product_description\" itemprop=\"description\"><h3>Sequential Instruments products are used by an ever-growing roster of well-known musicians. Call or chat with\n a RSPE representative today for more information.</h3>\n</span>'),(9944,75,1,1658,'<h2>Sequential Prophet 6 Desktop Synthesizer Module</h2><p style=\"\"><i><font color=\"#000000\">The Sequential Prophet 6 is a 6-Voice Polyphonic Analog Synthesizer with 24-bit, 48 kHz resolution, with a true \nbypass that maintains a full analog signal path.</font></i></p><p>The Sequential Prophet-6 desktop module is every bit as powerful and easy to use\n as its counterpart, the Prophet-6 Keyboard. The module has all of the \nsame controls as the keyboard version and provides the same immediacy \nand ease of use — with absolutely no menu diving. As with the Prophet-6 \nKeyboard, all parameters are at your fingertips, with full-sized knobs \nand switches and a comfortable, intuitive layout.</p>\n<p>How does it sound? Awesome — just like the keyboard, because on the \ninside, it’s exactly the same. The same analog signal path with discrete\n VCOs and VCFs. The same high-quality digital effects. The same classic \nsound that has been earning raves from customers and reviewers alike.</p>\n<p>We’ve also added a poly chain feature so that any two Prophet-6s can be paired for twelve-voice polyphony!</p>\n<h3>Vintage with a Modern Twist</h3>\n<p>Both the Prophet-6 desktop module and keyboard are Dave Smith’s \ntribute to the poly synth that started it all—the Sequential Prophet-5. \nBut it’s not simply a reissue of a classic. Rather, as Dave puts it, \n“It’s the result of our effort to build the most awesome-sounding, \nmodern analog poly synth possible.” The Prophet-6 takes the best \nqualities of the original Prophet-5—true voltage-controlled oscillators,\n filters, and amplifiers—and adds enhancements such as studio-quality \neffects, a polyphonic step sequencer, an arpeggiator, and more. The \nresult is pure, unadulterated analog tone with the stability and \nreliability of a state-of-the-art modern synth.</p>\n<h3>Classic Tone, Classic Vibe</h3>\n<p>Central to the warm, punchy sound of the Prophet-6 are its two \nnewly-designed, discrete voltage-controlled oscillators (plus \nsub-oscillator) per voice. Continuously variable waveshapes provide the \ntonal palette with triangle, sawtooth, and variable-width pulse waves. \nThere are two discrete filters per voice—a four-pole, resonant, low-pass\n inspired by the original Prophet-5 filter, and a two-pole, resonant, \nhigh-pass filter. Voltage-controlled amplifiers complete the all-analog \nsignal path.</p>\n<h3>Dual Effects</h3>\n<p>The dual effects section provides studio-quality reverbs, delays \n(standard and BBD), chorus and phase shifter. While the effects \nthemselves are digital, with 24-bit, 48 kHz resolution, a true \nbypass maintains a full analog signal path. There’s also an independent \nstereo distortion effect, which is 100% analog.</p>\n<h3>Poly Mod and Poly Step Sequencing</h3>\n<p>Also present from its classic predecessor is a Poly Mod section, with\n enhancements. True to the original, modulation sources are filter \nenvelope and oscillator 2 (both with bi-polar control). Destinations \ninclude oscillator 1 frequency, oscillator 1 shape, oscillator 1 pulse \nwidth, low-pass filter cutoff, and high-pass filter cutoff. Another \nwelcome reprise is Unison mode, which features configurable voice count \n(1-6 voices) and key modes. The polyphonic step sequencer allows up to \n64 steps and up to 6 notes per step. You can create sequences \npolyphonically, with rests, and sync to an external MIDI clock. \nThe full-featured arpeggiator can be synced to external MIDI clock as \nwell.</p>\n<h3>Easy to Program</h3>\n<p>The knob-per-function front panel offers instant access to virtually \nall Prophet-6 functions. Included are 500 permanent factory programs and\n 500 rewritable user programs. Toggling off the Preset button enables \nlive panel mode, in which the sound of the Prophet-6 switches to the \ncurrent settings of its knobs and switches. In this state, what you see \nis what you hear.</p>\n<h3>Easy to Play</h3>\n<p>All of this awe-inspiring sound is packed into a desktop module \nthat’s small enough to fit in a backpack. It’s an ideal combination of \nportability and power for the project studio or the gigging musician.</p><br /><h3>Prophet 6 Desktop Module Specifications</h3><h5><strong>Oscillators</strong></h5>\n<ul><li>Two newly designed, discrete VCOs per voice</li><li>Continuously variable wave shape (triangle, sawtooth, pulse, square) per oscillator</li><li>Pulse width per oscillator</li><li>Hard sync: oscillator 1 syncs to oscillator 2</li><li>Triangle sub-octave generator (oscillator 1) per voice</li><li>Low frequency mode (oscillator 2)</li><li>Keyboard tracking on/off (oscillator 2)</li><li>Oscillator slop amount for increased tuning instability, from subtle to extreme</li></ul>\n<h5><strong>Mixer</strong></h5>\n<ul><li>Oscillator 1 amount</li><li>Oscillator 1 sub-octave amount</li><li>Oscillator 2 amount</li><li>White noise amount</li></ul>\n<h5><strong>High-Pass Filter</strong></h5>\n<ul><li>Two-pole, resonant, high-pass filter per voice</li><li>Bi-polar filter envelope amount</li><li>Velocity modulation of envelope amount</li><li>Keyboard tracking: off, half, full</li></ul>\n<h5><strong>Low-Pass Filter</strong></h5>\n<ul><li>Four-pole, resonant, low-pass filter per voice, inspired by the original Prophet 5 filter</li><li>Filter can be driven into self-oscillation with the Resonance control</li><li>Bi-polar filter envelope amount</li><li>Velocity modulation of envelope amount</li><li>Keyboard tracking: off, half, full</li></ul>\n<h5><strong>Filter Envelope</strong></h5>\n<ul><li>Four-stage (ADSR) envelope generator</li></ul>\n<h5><strong>AMPLIFIER ENVELOPE</strong></h5>\n<ul><li>Four-stage (ADSR) envelope generator</li><li>Velocity modulation of envelope amount</li></ul>\n<h5><strong>LOW FREQUENCY OSCILLATOR</strong></h5>\n<ul><li>Five wave shapes: triangle, sawtooth, reverse sawtooth, square, and random (sample and hold)</li><li>Clock sync (internal or external MIDI clock)</li><li>Initial amount</li><li>Mod destinations: oscillator 1 frequency, oscillator 2 frequency, \noscillator 1 and 2 pulse width, low-pass filter cutoff, high-pass filter\n cutoff</li></ul>\n<h5><strong>POLY MOD</strong></h5>\n<ul><li>Sources: filter envelope (bi-polar) and oscillator 2 (bi-polar)</li><li>Destinations: oscillator 1 frequency, oscillator 1 shape, oscillator\n 1 pulse width, low-pass filter cutoff, high-pass filter cutoff</li></ul>\n<h5><strong>AFTERTOUCH</strong></h5>\n<ul><li>Source: channel (mono) aftertouch with bi-polar amount</li><li>Destinations: oscillator 1 frequency, oscillator 2 frequency, LFO \namount, amplifier envelope amount, low-pass filter envelope amount, \nhigh-pass filter envelope amount</li></ul>\n<h5><strong>CLOCK</strong></h5>\n<ul><li>Master clock with tap tempo</li><li>BPM control and display</li><li>MIDI clock sync</li></ul>\n<h5><strong>ARPEGGIATOR</strong></h5>\n<ul><li>Selectable note value: 16th note, 8th note triplet, 8th note, dotted 8th note, quarter note</li><li>One, two, or three octave range</li><li>Up, down, up/down, random, and assign modes</li></ul>\n<h5><strong>SEQUENCER</strong></h5>\n<ul><li>Polyphonic step sequencer with up to 64 steps and rests</li></ul>\n<h5><strong>EFFECTS</strong></h5>\n<ul><li>Stereo analog distortion</li><li>Dual, 24-bit, 48 kHz digital effects, including: reverb (room, hall,\n plate, spring), delay (full bandwidth digital delay and emulated bucket\n brigade), chorus, flanger, phase shifters, and ring modulator</li><li>Delay sync</li><li>True bypass maintains fully analog signal path when digital effects are off</li></ul>\n<h5><strong>PERFORMANCE CONTROLS</strong></h5>\n<ul><li>Polyphonic glide (portamento)</li><li>Hold switch latches held notes on</li><li>Unison (monophonic) mode with configurable voice count, from one to all six voices, and key modes</li><li>Preset switch: when off, the front panel is live; what you see is what you hear</li></ul>\n<h5><strong>PATCH MEMORY</strong></h5>\n<ul><li>500 user and 500 factory programs in 10 banks of 100 programs each</li><li>Direct program access, including Prophet 5-style single-button access to the current set of 10 programs</li></ul>\n<h5><strong>IN/OUT</strong></h5>\n<ul><li>Left and right audio outputs (2 x 1/4” phone jack)</li><li>Headphone output (stereo, 1/4” phone jack)</li><li>MIDI in, out, and thru ports</li><li>USB for bidirectional MIDI communication</li><li>Low-pass filter cutoff expression pedal input</li><li>Volume expression pedal input</li><li>Sustain footswitch input</li><li>Sequencer start/stop footswitch input</li></ul>\n<h5><strong>POWER</strong></h5>\n<ul><li>IEC AC power inlet for internal power supply</li><li>Operates worldwide on voltages between 100 and 240 volts at 50 to 60 Hz; 30 watts maximum power consumption</li></ul>\n<h5><strong>PHYSICAL SPECS</strong></h5>\n<ul><li>21.25” L x 7.43” W x 4.4″ H (54.0 cm x 18.9 cm x 11.2 cm)</li><li>13.0 lbs (5.9 kg)</li><li>Walnut end panels and trim</li></ul><span id=\"product_description\" itemprop=\"description\"><h3>Sequential Instruments products are used by an ever-growing roster of well-known musicians. Call or chat with\n a RSPE representative today for more information.</h3>\n</span>'),(9945,85,0,1658,'Sequential Prophet-6 Desktop Synthesizer Module'),(9946,85,1,1658,'Sequential Prophet-6 Desktop Synthesizer Module'),(9947,76,0,1658,''),(9948,76,1,1658,''),(9949,75,0,1659,'<h2>Sequential Prophet Rev2 16-Voice Polyphonic Analog Synthesizer</h2><i>16-Voice Polyphonic Analog 61-Key Synthesizer featuring <span style=\"background-color: initial;\">waveshape modulation, digital effects, an expanded modulation matrix, a polyphonic step </span></i><span style=\"background-color: initial; font-style: italic;\">sequencer (in addition to its original gated step sequencer), a more intuitive user interface, USB connectivity, and more</span><p><br />The Sequential <span style=\"letter-spacing: 0px;\">Prophet Rev2 is Dave Smith’s reimagining of his Prophet ’08 poly \nsynth — a modern classic that has appeared on countless recordings and \nstages since its debut in 2007. As Dave puts it, “The Prophet Rev2 is \nthe realization of our effort to enhance and improve everything we could\n about the original design — all at a more accessible price.”</span></p>\n\n<p>Best of all, you can download any of the many existing libraries of \nProphet ’08 sounds and they will not only sound identical, but can be \nenhanced with the new features.</p>\n<h3>16-Voice Polyphony</h3>\n<p>With 16 voices to play with, you have the freedom to allocate them as\n you wish. Play two-fisted chords, stack two 8-voice sounds for massive,\n complex textures, or split the keyboard into two completely separate \n8-voice instruments.</p>\n<h3>Bold Sound</h3>\n<p>The Prophet Rev2 gets its bold, punchy sound from its 2/4 pole, \nlow-pass, resonant Curtis filters per voice. These are the same filters \nused not only in the Prophet ’08, but in many classic instruments of the\n 70’s and 80’s. A separate Audio Mod control adds additional harmonic \ncomplexity and movement.</p>\n<h3>Waveshape Modulation</h3>\n<p>A powerful new feature unique to the Prophet Rev2 is waveshape \nmodulation. You can now vary the “pulse width” of any of the four \nwaveforms (sawtooth, saw+tri, triangle, square). Using the Shape Mod \ncontrol, you can manually dial in a desired waveshape width or use an \nLFO or other mod source for continuously shifting timbre. Even \nsingle-oscillator sounds take on new depth and dimension. The tonal \npossibilities are vast.</p>\n<h3>Effects Per Layer</h3>\n<p>The effects section provides reverb, delays (standard and BBD), \nchorus, phase shifter, ring modulation, and distortion. In stacked or \nsplit voice mode, you can apply a different effect to each layer. \nEffects parameters can be modulated through the Mod Matrix.</p>\n<h3>Extended Mod Matrix</h3>\n<p>Also present from its predecessor is an easy-to-assign Mod Matrix, \nnow twice as big, with 8 individual slots and many more \nsources/destinations. It’s a veritable sound designer’s playground.</p>\n<h3>Poly Step Sequencing</h3>\n<p>The polyphonic step sequencer allows up to 64 steps and up to 6 notes\n per step. You can create a different sequence for each layer when you \nare working in stacked or split voice mode, making it a powerful tool \nfor composition or performance. The sequencer also functions as a \nmodulation source in gated mode, allowing you to create up to 4 \ndifferent 16-step sequences for complex modulation. Sequences allow ties\n and rests, and can sync to an external MIDI clock. The arpeggiator \nfeatures note repeats, re-latching, and can be synced to external MIDI \nclock, as well.</p>\n<h3>Per-Knob Programmability</h3>\n<p>The knob-per-function front panel offers instant access to Prophet \nRev2 functions. Included are 512 permanent factory programs and 512 \nrewritable user programs.</p>\n<h3>Eminently Playable</h3>\n<p>All of this polyphonic power is packed into a five-octave, \npremium-quality, semi-weighted keyboard with velocity and channel \naftertouch. Other road-worthy features include an integrated power \nsupply, USB support, and a crisp OLED display, making the Prophet Rev2 \nan ideal instrument for gigging or recording, and an analog powerhouse \nlike no other.</p><div style=\"display: block;\" class=\"panel entry-content wc-tab\" id=\"tab-specs_tab\"><div class=\"interior-content\" id=\"tab-specs_tab-specs\"><div class=\"model-interior-details\"><br /></div>\n</div>\n					</div><span id=\"product_description\" itemprop=\"description\"><h3>Sequential Instruments products are used by an ever-growing roster of well-known musicians. Call or chat with\n a RSPE representative today for more information.</h3>\n</span>'),(9950,75,1,1659,'<h2>Sequential Prophet Rev2 16-Voice Polyphonic Analog Synthesizer</h2><i>16-Voice Polyphonic Analog 61-Key Synthesizer featuring <span style=\"background-color: initial;\">waveshape modulation, digital effects, an expanded modulation matrix, a polyphonic step </span></i><span style=\"background-color: initial; font-style: italic;\">sequencer (in addition to its original gated step sequencer), a more intuitive user interface, USB connectivity, and more</span><p><br />The Sequential <span style=\"letter-spacing: 0px;\">Prophet Rev2 is Dave Smith’s reimagining of his Prophet ’08 poly \nsynth — a modern classic that has appeared on countless recordings and \nstages since its debut in 2007. As Dave puts it, “The Prophet Rev2 is \nthe realization of our effort to enhance and improve everything we could\n about the original design — all at a more accessible price.”</span></p>\n\n<p>Best of all, you can download any of the many existing libraries of \nProphet ’08 sounds and they will not only sound identical, but can be \nenhanced with the new features.</p>\n<h3>16-Voice Polyphony</h3>\n<p>With 16 voices to play with, you have the freedom to allocate them as\n you wish. Play two-fisted chords, stack two 8-voice sounds for massive,\n complex textures, or split the keyboard into two completely separate \n8-voice instruments.</p>\n<h3>Bold Sound</h3>\n<p>The Prophet Rev2 gets its bold, punchy sound from its 2/4 pole, \nlow-pass, resonant Curtis filters per voice. These are the same filters \nused not only in the Prophet ’08, but in many classic instruments of the\n 70’s and 80’s. A separate Audio Mod control adds additional harmonic \ncomplexity and movement.</p>\n<h3>Waveshape Modulation</h3>\n<p>A powerful new feature unique to the Prophet Rev2 is waveshape \nmodulation. You can now vary the “pulse width” of any of the four \nwaveforms (sawtooth, saw+tri, triangle, square). Using the Shape Mod \ncontrol, you can manually dial in a desired waveshape width or use an \nLFO or other mod source for continuously shifting timbre. Even \nsingle-oscillator sounds take on new depth and dimension. The tonal \npossibilities are vast.</p>\n<h3>Effects Per Layer</h3>\n<p>The effects section provides reverb, delays (standard and BBD), \nchorus, phase shifter, ring modulation, and distortion. In stacked or \nsplit voice mode, you can apply a different effect to each layer. \nEffects parameters can be modulated through the Mod Matrix.</p>\n<h3>Extended Mod Matrix</h3>\n<p>Also present from its predecessor is an easy-to-assign Mod Matrix, \nnow twice as big, with 8 individual slots and many more \nsources/destinations. It’s a veritable sound designer’s playground.</p>\n<h3>Poly Step Sequencing</h3>\n<p>The polyphonic step sequencer allows up to 64 steps and up to 6 notes\n per step. You can create a different sequence for each layer when you \nare working in stacked or split voice mode, making it a powerful tool \nfor composition or performance. The sequencer also functions as a \nmodulation source in gated mode, allowing you to create up to 4 \ndifferent 16-step sequences for complex modulation. Sequences allow ties\n and rests, and can sync to an external MIDI clock. The arpeggiator \nfeatures note repeats, re-latching, and can be synced to external MIDI \nclock, as well.</p>\n<h3>Per-Knob Programmability</h3>\n<p>The knob-per-function front panel offers instant access to Prophet \nRev2 functions. Included are 512 permanent factory programs and 512 \nrewritable user programs.</p>\n<h3>Eminently Playable</h3>\n<p>All of this polyphonic power is packed into a five-octave, \npremium-quality, semi-weighted keyboard with velocity and channel \naftertouch. Other road-worthy features include an integrated power \nsupply, USB support, and a crisp OLED display, making the Prophet Rev2 \nan ideal instrument for gigging or recording, and an analog powerhouse \nlike no other.</p><div style=\"display: block;\" class=\"panel entry-content wc-tab\" id=\"tab-specs_tab\"><div class=\"interior-content\" id=\"tab-specs_tab-specs\"><div class=\"model-interior-details\"><br /></div>\n</div>\n					</div><span id=\"product_description\" itemprop=\"description\"><h3>Sequential Instruments products are used by an ever-growing roster of well-known musicians. Call or chat with\n a RSPE representative today for more information.</h3>\n</span>'),(9951,85,0,1659,'Sequential Instruments - Prophet Rev2 16-Voice Polyphonic Analog Synthesizer'),(9952,85,1,1659,'Sequential Instruments - Prophet Rev2 16-Voice Polyphonic Analog Synthesizer'),(9953,76,0,1659,''),(9954,76,1,1659,''),(9955,75,0,1660,'<h1>Sequential Prophet X Synthesizer</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Samples-Plus-Synthesis Hybrid Synthesizer that\'s super versatile, it has the power to modulate both samples and synth parameters. Great for traditional instruments such as piano, electric piano, organ, drums, strings, guitar, and also complex pads, effects, and evolving textures. Nearly endless sonic possibilities</span><br /><br />\nThe Sequential Prophet X is a bi-timbral, 8-voice-stereo (16-voice mono) synthesizer that combines the infinite possibilities of high-fidelity stereo samples with the awesome sound and synthesis capabilities you’ve come to expect from Dave Smith’s Prophet series.<br /><br />\nAt the heart of the Prophet X is a new sound engine that powers two simultaneous 16-bit, 48kHz sample-based instruments plus two high-resolution digital oscillators with waveshape modulation — all processed through stereo analog filters.<br /><br />\nThe 150 GB sample library was created by acclaimed sound developers 8Dio, and includes acoustic and electronic instruments as well as ambient and cinematic effects. You can shape the samples through loop manipulation, sample stretching, and the Prophet X’s many sound-sculpting functions, including 4 envelope generators, 4 LFOs, a deep modulation matrix, and other tools.<br /><br />\nThe Prophet X also provides 50 gigabytes of internal storage for importing additional samples. Several sample libraries will be available from 8Dio at launch. Support for user created sample content is planned for December, 2018.<br /><br />\nThe Prophet X features a premium-quality, five-octave, semi-weighted keyboard with velocity and channel after touch, an integrated power supply, USB support, and three OLED displays.<br /><br />\nBecause it covers so much ground musically and sonically, the Prophet X will appeal to a broad range of customers: from live and studio keyboardists who need everything from pianos and organs to strings and leads; to sound designers for film, TV, and gaming; to home enthusiasts looking for a super flexible, awesome-sounding synth for their home setups.<br /><br />\n<h3>Sample Engine</h3>\nOn the sample side of things, the Prophet X provides two independent, stereo, digitally sampled instruments per voice (4 in Stack or Split mode). The 150 GB of internal sample content was created by 8Dio, known for pioneering “deep sampling.” You’ll find a diverse collection of acoustic and electronic instruments as well as plenty of edgy ambient and cinematic effects. You can shape the samples through loop manipulation, sample stretching, and the Prophet X’s sound-sculpting modulation functions. Each sample instrument has its own Tone control for high-pass or low-pass filtering. Fifty gigabytes of additional internal storage is dedicated to importing external sample libraries. Support for user-created samples is planned for December 2018. Add-on sample packs are available from 8Dio on product release.\n<br /><br />\n<h3>Synth Engine</h3>\nOn the synth side, the Prophet X gives you the power of a classic Prophet, with two high-resolution digital oscillators that feature both classic waveshapes and a supersaw for more timbral possibilities. Using the Shape Mod control, you can manually dial in a desired waveshape width for any of the classic sine, sawtooth, or pulse waves, or use an LFO or other mod source for continuously shifting timbre. You can shape the raw sounds with all of the classic synthesis functions you’d expect, including 4 syncable LFOs with slew and phase offset, 4 loopable five-stage envelope generators, and a 16-slot mod matrix with dozens of modulation sources and destinations.\n<br /><br />\n<h3>Stereo Filters for Depth and Impact</h3>\nAt the heart of the Prophet X’s powerful sound are its new, 24 dB-per-octave resonant low-pass filters, which are based on a vintage design. There are separate filters in the left and right channels for a true stereo signal path. These add exceptional presence and fullness to both the samples and the oscillators. For additional polyphony, you can switch the Prophet X from 8-voice stereo mode to 16-voice mono mode, which is useful for stacks and splits.\n<br /><br />\nPoly Step Sequencing\nThe polyphonic step sequencer provides up to 64 steps and up to 6 notes per step. You can create a different sequence for each layer if working in stacked or split voice mode, making it a powerful tool for composition or performance. Sequences can have ties and rests, and can sync to an external MIDI clock. The arpeggiator features note repeats, re-latching, and can be synced to external MIDI clock, as well.\n<br /><br />\n<h3>Two Effects per Layer</h3>\nA dual effects engine provides multiple reverbs, 2 delays (standard and BBD), chorus, phase shifter, flanger, vintage rotating speaker, high-pass filter, and distortion. In stacked or split voice mode, you can apply two different effects to each layer. Effects parameters can be modulated through the mod matrix.\n<br /><br />\n<h3>Road-worthy and Studio-ready</h3>\nWith loads of sonic firepower and personality, a five-octave, premium-quality, semi-weighted keyboard with velocity and channel aftertouch, an integrated power supply, MIDI USB support, and three crisp OLED displays, the Prophet X fits into any music rig or gig — in the studio or on the road.\n<br /><br />\n<h3>Sequential Instruments products are used by an ever-growing roster of well-known musicians. Call or chat with\n a RSPE representative today for more information.</h3>'),(9956,75,1,1660,'<h1>Sequential Prophet X Synthesizer</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Samples-Plus-Synthesis Hybrid Synthesizer that\'s super versatile, it has the power to modulate both samples and synth parameters. Great for traditional instruments such as piano, electric piano, organ, drums, strings, guitar, and also complex pads, effects, and evolving textures. Nearly endless sonic possibilities</span><br /><br />\nThe Sequential Prophet X is a bi-timbral, 8-voice-stereo (16-voice mono) synthesizer that combines the infinite possibilities of high-fidelity stereo samples with the awesome sound and synthesis capabilities you’ve come to expect from Dave Smith’s Prophet series.<br /><br />\nAt the heart of the Prophet X is a new sound engine that powers two simultaneous 16-bit, 48kHz sample-based instruments plus two high-resolution digital oscillators with waveshape modulation — all processed through stereo analog filters.<br /><br />\nThe 150 GB sample library was created by acclaimed sound developers 8Dio, and includes acoustic and electronic instruments as well as ambient and cinematic effects. You can shape the samples through loop manipulation, sample stretching, and the Prophet X’s many sound-sculpting functions, including 4 envelope generators, 4 LFOs, a deep modulation matrix, and other tools.<br /><br />\nThe Prophet X also provides 50 gigabytes of internal storage for importing additional samples. Several sample libraries will be available from 8Dio at launch. Support for user created sample content is planned for December, 2018.<br /><br />\nThe Prophet X features a premium-quality, five-octave, semi-weighted keyboard with velocity and channel after touch, an integrated power supply, USB support, and three OLED displays.<br /><br />\nBecause it covers so much ground musically and sonically, the Prophet X will appeal to a broad range of customers: from live and studio keyboardists who need everything from pianos and organs to strings and leads; to sound designers for film, TV, and gaming; to home enthusiasts looking for a super flexible, awesome-sounding synth for their home setups.<br /><br />\n<h3>Sample Engine</h3>\nOn the sample side of things, the Prophet X provides two independent, stereo, digitally sampled instruments per voice (4 in Stack or Split mode). The 150 GB of internal sample content was created by 8Dio, known for pioneering “deep sampling.” You’ll find a diverse collection of acoustic and electronic instruments as well as plenty of edgy ambient and cinematic effects. You can shape the samples through loop manipulation, sample stretching, and the Prophet X’s sound-sculpting modulation functions. Each sample instrument has its own Tone control for high-pass or low-pass filtering. Fifty gigabytes of additional internal storage is dedicated to importing external sample libraries. Support for user-created samples is planned for December 2018. Add-on sample packs are available from 8Dio on product release.\n<br /><br />\n<h3>Synth Engine</h3>\nOn the synth side, the Prophet X gives you the power of a classic Prophet, with two high-resolution digital oscillators that feature both classic waveshapes and a supersaw for more timbral possibilities. Using the Shape Mod control, you can manually dial in a desired waveshape width for any of the classic sine, sawtooth, or pulse waves, or use an LFO or other mod source for continuously shifting timbre. You can shape the raw sounds with all of the classic synthesis functions you’d expect, including 4 syncable LFOs with slew and phase offset, 4 loopable five-stage envelope generators, and a 16-slot mod matrix with dozens of modulation sources and destinations.\n<br /><br />\n<h3>Stereo Filters for Depth and Impact</h3>\nAt the heart of the Prophet X’s powerful sound are its new, 24 dB-per-octave resonant low-pass filters, which are based on a vintage design. There are separate filters in the left and right channels for a true stereo signal path. These add exceptional presence and fullness to both the samples and the oscillators. For additional polyphony, you can switch the Prophet X from 8-voice stereo mode to 16-voice mono mode, which is useful for stacks and splits.\n<br /><br />\nPoly Step Sequencing\nThe polyphonic step sequencer provides up to 64 steps and up to 6 notes per step. You can create a different sequence for each layer if working in stacked or split voice mode, making it a powerful tool for composition or performance. Sequences can have ties and rests, and can sync to an external MIDI clock. The arpeggiator features note repeats, re-latching, and can be synced to external MIDI clock, as well.\n<br /><br />\n<h3>Two Effects per Layer</h3>\nA dual effects engine provides multiple reverbs, 2 delays (standard and BBD), chorus, phase shifter, flanger, vintage rotating speaker, high-pass filter, and distortion. In stacked or split voice mode, you can apply two different effects to each layer. Effects parameters can be modulated through the mod matrix.\n<br /><br />\n<h3>Road-worthy and Studio-ready</h3>\nWith loads of sonic firepower and personality, a five-octave, premium-quality, semi-weighted keyboard with velocity and channel aftertouch, an integrated power supply, MIDI USB support, and three crisp OLED displays, the Prophet X fits into any music rig or gig — in the studio or on the road.\n<br /><br />\n<h3>Sequential Instruments products are used by an ever-growing roster of well-known musicians. Call or chat with\n a RSPE representative today for more information.</h3>'),(9957,85,0,1660,'Sequential Prophet X Synthesizer'),(9958,85,1,1660,'Sequential Prophet X Synthesizer'),(9959,76,0,1660,''),(9960,76,1,1660,''),(9961,75,0,1661,'<h1>Sequential Prophet XL Synthesizer</h1>\n<i>76-key Samples-Plus-Synthesis Hybrid Synth, it has the power to modulate both samples and synth parameters. Great for traditional instruments such as piano, electric piano, organ, drums, strings, guitar, and also complex pads, effects, and evolving textures. Nearly endless sonic possibilities</i><br /><br />\nThe Sequential Prophet XL is a 76-key version of the acclaimed Prophet X — a potent fusion of samples-plus-synthesis and the most ground-breaking evolution of the Prophet yet. At its heart, it’s a bi-timbral, 8-voice-stereo, 16-voice mono, 32-voice paraphonic synth with a newly developed sound engine that powers two simultaneous 16-bit, 48kHz sample-based instruments plus two high-resolution digital oscillators — all processed through analog filters. With 150 GB of internal samples from acclaimed sound developers 8Dio, and all of the powerful synthesis tools you’ve come to expect from Sequential, the Prophet X and Prophet XL have a musical voice uniquely their own.\n<br /><br />\n<h3>Sample Engine</h3>\nOn the sample side of things, in 8- and 16-voice mode, the Prophet XL provides two independent, stereo, digitally sampled instruments per voice (4 in Stack or Split mode). The 150 GB of internal sample content was created by 8Dio, known for pioneering “deep sampling.” You’ll find a diverse collection of acoustic and electronic instruments as well as plenty of edgy ambient and cinematic effects. You can shape the samples through loop manipulation, sample stretching, and the Prophet XL’s sound-sculpting modulation functions. Each sample instrument has its own Tone control for high-pass or low-pass filtering. Fifty gigabytes of additional internal storage is dedicated to importing external sample libraries. Support for user-created samples is planned for December 2018. Add-on sample packs are available from 8Dio on product release.\n<br /><br />\n<h3>Synth Engine</h3>\nOn the synth side, the Prophet XL gives you the power of a classic Prophet, with two high-resolution digital oscillators that feature both classic waveshapes and a supersaw for more timbral possibilities. Using the Shape Mod control, you can manually dial in a desired waveshape width for any of the classic sine, sawtooth, or pulse waves, or use an LFO or other mod source for continuously shifting timbre. You can shape the raw sounds with all of the classic synthesis functions you’d expect, including 4 syncable LFOs with slew and phase offset, 4 loopable five-stage envelope generators, and a 16-slot mod matrix with dozens of modulation sources and destinations.\n<br /><br />\n<h3>Stereo Filters for Depth and Impact</h3>\nAt the heart of the Prophet XL’s powerful sound are its new, 24 dB-per-octave resonant low-pass filters, which are based on a vintage design. In 8-voice mode, there are separate filters in the left and right channels for a true stereo signal path. These add exceptional presence and fullness to both the samples and the oscillators. For additional polyphony, you can switch the Prophet XL from 8-voice stereo mode to 16-voice mono mode, which is useful for stacks and splits, or 32-voice paraphonic performance mode when using a single sampled instrument (and oscillator).\n<br /><br />\n<h3>Poly Step Sequencing</h3>\nThe polyphonic step sequencer provides up to 64 steps and up to 6 notes per step. You can create a different sequence for each layer if working in stacked or split voice mode, making it a powerful tool for composition or performance. Sequences can have ties and rests, and can sync to an external MIDI clock. The arpeggiator features note repeats, re-latching, and can be synced to external MIDI clock, as well.\n<br /><br />\n<h3>Two Effects per Layer</h3>\nA dual effects engine provides multiple reverbs, 2 delays (standard and BBD), chorus, phase shifter, flanger, vintage rotating speaker, high-pass filter, and distortion. In stacked or split voice mode, you can apply two different effects to each layer. Effects parameters can be modulated through the mod matrix.\nRoad-worthy and Studio-ready\n<br /><br />\nWith loads of sonic firepower and personality, a 76-key, semi-weighted, premium-quality, semi-weighted keyboard with velocity and channel aftertouch, an integrated power supply, MIDI USB support, and three crisp OLED displays, the Prophet XL fits into any music rig or gig — in the studio or on the road.\n<br /><br />\n<h3>Get the power of the Sequential Prophet X, with an upgrade to 76 keys with the Prophet XL. Call or chat with\n a RSPE representative today for more information.\n</h3>'),(9962,75,1,1661,'<h1>Sequential Prophet XL Synthesizer</h1>\n<i>76-key Samples-Plus-Synthesis Hybrid Synth, it has the power to modulate both samples and synth parameters. Great for traditional instruments such as piano, electric piano, organ, drums, strings, guitar, and also complex pads, effects, and evolving textures. Nearly endless sonic possibilities</i><br /><br />\nThe Sequential Prophet XL is a 76-key version of the acclaimed Prophet X — a potent fusion of samples-plus-synthesis and the most ground-breaking evolution of the Prophet yet. At its heart, it’s a bi-timbral, 8-voice-stereo, 16-voice mono, 32-voice paraphonic synth with a newly developed sound engine that powers two simultaneous 16-bit, 48kHz sample-based instruments plus two high-resolution digital oscillators — all processed through analog filters. With 150 GB of internal samples from acclaimed sound developers 8Dio, and all of the powerful synthesis tools you’ve come to expect from Sequential, the Prophet X and Prophet XL have a musical voice uniquely their own.\n<br /><br />\n<h3>Sample Engine</h3>\nOn the sample side of things, in 8- and 16-voice mode, the Prophet XL provides two independent, stereo, digitally sampled instruments per voice (4 in Stack or Split mode). The 150 GB of internal sample content was created by 8Dio, known for pioneering “deep sampling.” You’ll find a diverse collection of acoustic and electronic instruments as well as plenty of edgy ambient and cinematic effects. You can shape the samples through loop manipulation, sample stretching, and the Prophet XL’s sound-sculpting modulation functions. Each sample instrument has its own Tone control for high-pass or low-pass filtering. Fifty gigabytes of additional internal storage is dedicated to importing external sample libraries. Support for user-created samples is planned for December 2018. Add-on sample packs are available from 8Dio on product release.\n<br /><br />\n<h3>Synth Engine</h3>\nOn the synth side, the Prophet XL gives you the power of a classic Prophet, with two high-resolution digital oscillators that feature both classic waveshapes and a supersaw for more timbral possibilities. Using the Shape Mod control, you can manually dial in a desired waveshape width for any of the classic sine, sawtooth, or pulse waves, or use an LFO or other mod source for continuously shifting timbre. You can shape the raw sounds with all of the classic synthesis functions you’d expect, including 4 syncable LFOs with slew and phase offset, 4 loopable five-stage envelope generators, and a 16-slot mod matrix with dozens of modulation sources and destinations.\n<br /><br />\n<h3>Stereo Filters for Depth and Impact</h3>\nAt the heart of the Prophet XL’s powerful sound are its new, 24 dB-per-octave resonant low-pass filters, which are based on a vintage design. In 8-voice mode, there are separate filters in the left and right channels for a true stereo signal path. These add exceptional presence and fullness to both the samples and the oscillators. For additional polyphony, you can switch the Prophet XL from 8-voice stereo mode to 16-voice mono mode, which is useful for stacks and splits, or 32-voice paraphonic performance mode when using a single sampled instrument (and oscillator).\n<br /><br />\n<h3>Poly Step Sequencing</h3>\nThe polyphonic step sequencer provides up to 64 steps and up to 6 notes per step. You can create a different sequence for each layer if working in stacked or split voice mode, making it a powerful tool for composition or performance. Sequences can have ties and rests, and can sync to an external MIDI clock. The arpeggiator features note repeats, re-latching, and can be synced to external MIDI clock, as well.\n<br /><br />\n<h3>Two Effects per Layer</h3>\nA dual effects engine provides multiple reverbs, 2 delays (standard and BBD), chorus, phase shifter, flanger, vintage rotating speaker, high-pass filter, and distortion. In stacked or split voice mode, you can apply two different effects to each layer. Effects parameters can be modulated through the mod matrix.\nRoad-worthy and Studio-ready\n<br /><br />\nWith loads of sonic firepower and personality, a 76-key, semi-weighted, premium-quality, semi-weighted keyboard with velocity and channel aftertouch, an integrated power supply, MIDI USB support, and three crisp OLED displays, the Prophet XL fits into any music rig or gig — in the studio or on the road.\n<br /><br />\n<h3>Get the power of the Sequential Prophet X, with an upgrade to 76 keys with the Prophet XL. Call or chat with\n a RSPE representative today for more information.\n</h3>'),(9963,85,0,1661,'Sequential Prophet XL Synthesizer'),(9964,85,1,1661,'Sequential Prophet XL Synthesizer'),(9965,76,0,1661,''),(9966,76,1,1661,''),