(11264,75,1,1878,'<h1>Subwoofer Pros Studio Sub 18 Subwoofer</h1>\n<i>18\" active subwoofer with selectable 60/95Hz low-pass filter, 95Hz built-in high pass filter for mains output, and 700w of power to add low frequency extension to any studio monitors.</i><br /><br />\n\nThe Subwoofer Pros Studio Sub 18 is a self-powered subwoofer featuring a unique design that can enhance low frequency performance to ANY analog monitoring system. The Studio Sub 18 offers linear and accurate low frequency reproduction plus very low distortion all the way down to 8Hz! Sub Pros subs feature a front firing sealed cabinet design, an integrated 700w amplifier, and dynamic analog signal processing that extends response lower than traditional subs-without peaks from ports or passive radiators.\n<br /><br />\n<h3>Studio Sub 12 Features:</h3>\n<ul>\n	<li>18″ High Excursion EL-18R Driver</li>\n	<li>Switchable Low Pass Filter: 95Hz, 60Hz,</li>\n	<li>Low Frequency Limit: 8Hz</li>\n	<li>700w Max Continuous Amp Power</li>\n	<li>Max SPL: 114dB SPL @ 1 meter @ 40Hz</li>\n	<li>XLR Input with Level Control</li>\n	<li>Cabinet: 23.5″ x 21.25″ x 18.5″</li>\n	<li>Weight: 75lbs</li>\n	<li>Made in The USA</li>\n</ul>\n<br />\n<h3>Subwoofer Pros Design & Manufacturing</h3>\nMost pro sub manufacturers create subwoofers that are designed to work with a specific model or series of “main” speakers or satellites, with internal EQ or DSP processing making them unsuitable for other loudspeakers.  Subwoofer Pros’ subs are designed to be universal subs, tuned for accurate and even low frequency response below 100Hz.  Subwoofer Pros\' Studio Subs are optimized to be blended with mains, meaning they are best used with a full range feed to both the mains and subs.  The built in switchable low pass restricts its operation from 95Hz or 60Hz down to 8hz, using a 12dB per octave LP filter.  A fixed 95Hz built-in high pass filter for mains output is available with up to 5 distinct mains outputs on the input/output panel.  This 95Hz high pass is ideally suited to smaller nearfield monitors common in 5.1 rigs, or speakers that will perform at higher SPL’s with some low pass filtering.<br /><br />\n\nHow the user sets up a sub determines whether the sub + mains act like one system or two.   The entire Subwoofer Pros control panel is optimized to deliver a successful subwoofer/main integration process, because most sub /main combination systems are never set up optimally.  The complex and confusing control set of most subs is not well understood by most users.  By keeping variables to a minimum, we also keep mistakes in set up to minimum.<br /><br />\n\nThe Studio Sub series focuses on the frequency range of 95Hz to 8Hz only, as this is the area most likely to need support.  Most other subs go down to 32Hz at best and typically use ports or bass reflex designs to achieve this, producing distortion via these ports as listening levels increase.  The built-in Subwoofer Pros dynamic electronics provide uniform response at every frequency, regardless of level.  Reproducing fast and tight bass, each note with the same emphasis, is a unique experience Subwoofer Pros delivers.  With a scalable approach, we offer slave models that follow the main sub set up and can be daisy chained.  Using slaves, any SPL level of low end can be achieved.  Subwoofer Pros subs are 100% made in USA, with USA sourced parts, for ultimate quality and reliability even in extended listening sessions at high SPL.\n<br /><br />\n \n\n<h3>Sub 18 Application</h3>\nA single Studio Sub 12 will pair nicely with smaller nearfield/meter bridge style monitors while the Studio Sub 18 pairs well with larger mid/far field monitors.  Both the 12” and 18” sound very similar with the main difference being max SPL output.  A single Studio Sub 12 offers up to 108dB SPL max at 1 meter at 40Hz; a single Studio Sub 18 offers 114dB SPL max at 1 meter at 40Hz.  While it is recommended to run your mains in full range and blend in the sub, there may be cases where the built-in high-pass filter is needed.  When a user experiences breakup due to low frequency content in their mains, this is potential situation for introducing a high pass filter in the mains.   This applies mostly to those using smaller near-fields and needing bass heavy music/content at higher SPL’s.  By using the high-pass filter you can remove the overloading LF content, allowing more headroom to turn up your mains.\n<br /><br />\n \n\n<h3>Flexible input/output options:</h3>\n<ul>\n<li>Total of 6 inputs allow the combining of all bass information up to a 5.1 system</li>\n<li>“LFE” XLR input with its own level control</li>\n<li>5 input/output channels of analog bass management on board with a high-pass filter at 95Hz.  One can use any or all of the 5 channels of bass management as primary inputs.</li>\n<li>Switchable 60/95Hz low-pass, for adjustment depending on type of mains being used.</li>\n</ul><br />\nStudio Subs can be scaled in multiples to fit any SPL need or improve room behavior.  With a unique Slave output, dedicated Slave Subs can be daisy chained to create a larger system. Every time you double the amount of subs, you can get up to an additional 6 dB SPL.  All settings on the “main” sub will automatically apply to all connected Slave subs.<br /><br />'),(11265,85,0,1878,''),(11266,85,1,1878,''),(11267,76,0,1878,''),(11268,76,1,1878,''),(11269,75,0,1879,'<h1>Subwoofer Pros SubMUTE Footswitch</h1>\n<i>Simple on/off mono footswitch to quickly mute your subwoofer.</i><br /><br />\n\nThe Subwoofer Pros SubMUTE is a simple in-line mono on/off footswitch with XLR connectors that will work with your subwoofer. It is configured as a latching Push On; Push Off switch, meaning that the switch must be pushed and released to turn the signal on or off through the box.<br /><br />'),(11270,75,1,1879,'<h1>Subwoofer Pros SubMUTE Footswitch</h1>\n<i>Simple on/off mono footswitch to quickly mute your subwoofer.</i><br /><br />\n\nThe Subwoofer Pros SubMUTE is a simple in-line mono on/off footswitch with XLR connectors that will work with your subwoofer. It is configured as a latching Push On; Push Off switch, meaning that the switch must be pushed and released to turn the signal on or off through the box.<br /><br />'),(11271,85,0,1879,''),(11272,85,1,1879,''),(11273,76,0,1879,''),(11274,76,1,1879,''),(11275,75,0,1880,'<h1>Summit Audio EQP-200B Dual Program EQ</h1><i>\n\nDual Program Equalizer, passive filters with better phase coherence that active designs, and with inductors that offer a rich and smooth harmonic quality.</i><br /><br /><div>The Summit Audio EQP-200B Program Equalizer uses tube and solid state technologies <span style=\"background-color: initial;\">to produce the warm sounds associated with tubes while providing the reliability of solid </span><span style=\"background-color: initial;\">state devices. Based on a Pultec type design, the EQP-200B is a very musical sounding </span><span style=\"background-color: initial;\">passive equalizer followed by a vacuum tube amplifier to overcome any gain loss. </span><span style=\"background-color: initial;\">Connections are made by using three pin XLR connectors.<br /></span></div><h3>Features:</h3><ul><li>Two independent channels</li><li>Switch selectable frequencies</li><li>Passive I/O circuits</li><li>In/out/shelf switch</li><li>Extended frequencies and LF shelf</li><li>105 dB dynamic range</li><li>990 output stage (balanced or unbalanced)</li><li>Three year warranty</li><li>Transformerless signal path</li><li>Hand crafted in the USA</li></ul>'),(11276,75,1,1880,'<h1>Summit Audio EQP-200B Dual Program EQ</h1><i>\n\nDual Program Equalizer, passive filters with better phase coherence that active designs, and with inductors that offer a rich and smooth harmonic quality.</i><br /><br /><div>The Summit Audio EQP-200B Program Equalizer uses tube and solid state technologies <span style=\"background-color: initial;\">to produce the warm sounds associated with tubes while providing the reliability of solid </span><span style=\"background-color: initial;\">state devices. Based on a Pultec type design, the EQP-200B is a very musical sounding </span><span style=\"background-color: initial;\">passive equalizer followed by a vacuum tube amplifier to overcome any gain loss. </span><span style=\"background-color: initial;\">Connections are made by using three pin XLR connectors.<br /></span></div><h3>Features:</h3><ul><li>Two independent channels</li><li>Switch selectable frequencies</li><li>Passive I/O circuits</li><li>In/out/shelf switch</li><li>Extended frequencies and LF shelf</li><li>105 dB dynamic range</li><li>990 output stage (balanced or unbalanced)</li><li>Three year warranty</li><li>Transformerless signal path</li><li>Hand crafted in the USA</li></ul>'),(11277,85,0,1880,'Summit Audio EQP-200B Dual Program EQ'),(11278,85,1,1880,'Summit Audio EQP-200B Dual Program EQ'),(11279,76,0,1880,''),(11280,76,1,1880,''),(11281,75,0,1881,'<h2>Sunset Sound S1P Tutti – 500 Series Preamp</h2>\n<span style=\"font-size:16px; font-style:italic;\">A 500-series issue of the preamps found in the custom API consoles at Sunset Sound Studios. </span><br /><br />\nIf the name Sunset Sound S1P Tutti rings familiar, that’s because the Sunset Sound in question is none other than Hollywood’s famous Sunset Sound recording studio. And “Tutti” in this case does not mean full orchestra; rather it pays homage to Sunset’s founder, Tutti Camarata. The Sunset Sound S1P Tutti is a 500-series mic/instrument preamp that celebrates 50 years of recordings, including albums by The Doors, Van Halen, Sheryl Crow, Led Zeppelin, and the Wallflowers. Famous for its vocal-recording quality, the S1P is based on the preamp used in the massive API console in Studio A where so many famous vocalists have recorded. The Sunset Sound S1P uses dual Hardy 990 op amps and two custom-made Cinemag nickel transformers (in-out) built to the same specifications as the originals made by Ed Reichenbach, father of Cinemag’s Tom Reichenbach.  Before the release of the S1P preamp, the only way to get that custom API-De Medio preamp sound was to record at Sunset Sound. Thanks to the S1P’s modular 500-series format, Sunset Sound comes to you.  <br /><br />\n<h3>Sunset Sound S1P Tutti unique features:</h3>\n<ul>\n	<li>Same design used in the Sunset API/De Medio consoles</li>\n	<li>Dual Hardy 990 op-amps</li>\n	<li>Custom Cinemag nickel transformers</li>\n</ul>\n<br />\n<h3>Sunset Sound S1P Tutti key features:</h3>\n<ul>\n	<li>Greater than 60dB of Gain         </li>\n	<li>10Hz to 60kHz FLAT                </li>\n	<li>Distortion less than .02%         </li>\n	<li>Clips at +28dBu                   </li>\n	<li>Signal/overload Indicator         </li>\n	<li>Selectable input gain, 10dB steps </li>\n	<li>Adjustable gain trim, +/- 6dB     </li>\n	<li>Output fader control              </li>\n	<li>Front and Rear XLR Mic input      </li>\n	<li>Hi-Z/INST front-panel input       </li>\n	<li>Made in the USA                   </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 — Sunset Sound S1P Tutti Preamp</h3>\nIn the early days of Sunset Sound, there were no commercial consoles available. All recording studio consoles were custom made. Designers such as Dean Jensen, Frank De Medio, Eric Benton, and Bob Bushnell were kept pretty busy in LA designing custom consoles using Saul Walker’s API modules. Custom API consoles were built for recording facilities such as CBS in-house studios, Fox sound stages, Sunset Sound, Hollywood Sound Recorders, and Oceanway Studios, to name a few. Many of these consoles are still in use today, including the two custom API consoles designed by Frank De Medio, Eric Benton, and Deane Jensen at Sunset Sound. \n<br /><br />\nIt is from these consoles that spring the Sunset Sound S1P “Tutti” 50th  Anniversary preamp. The Sunset Sound S1P Tutti mic/line preamp is 100% discrete and draws less than 100ma, making it quite friendly with 500-series power racks. It features components such as the Hardy 990 discrete op-amp, considered to be the finest op-amp available for audio applications. The Hardy 990 is based on the original 990 designed by Deane Jensen of Jensen Transformers, for he was awarded a patent. The Hardy 990 offers several important changes and improvements over the original Jensen design. <br /><br />\nThe Sunset Sound S1P also features the same custom transformers built by Ed Reichenbach, whose son, Tom, founded Cinemag, the company that built the custom transformers currently found in the S1P. <br /><br />\n<h3>OUTSIDE THE BOX — Sunset Sound S1P Tutti Preamp</h3>\nThe sunset gold faceplate of the 500-series S1P “Tutti” mic/instrument preamp features the following controls, including Gain from 10-60dB, ±6dB trim; a fader-like rotary output that allows you to hit the preamp hard for a thicker, more aggressive sound and adjust output to prevent distorting ADAs; a front-panel XLR/1/4\" input for mic, line, or instrument; plus phase reverse and phantom power.  \n<br /><br />\n<h3>Who’s using Sunset Sound: </h3>\nPerhaps it would be more accurate to say, who’s recorded at Sunset Sound and used the console preamps:\n<br /><br />\n<strong>Studio 1:</strong> Van Halen, Paul McCartney, James Taylor, Macy Gray, Bee Gees, Doobie Bros., Whitney Houston, Barry Manilow, Oingo Boingo, Luis Miguel, Rolling Stones, Dave Grusin, Crosby, Stills, Nash, Lee Ritenour, Fourplay, Richard Thompson, Yes, Brian Wilson, Beach Boys, Annette Funicello, Carly Simon, Miles Davis, Louis Armstrong, Bangles, Fishbone, Randy Newman, Sly & Family Stone, “Fabulous Baker Boys”, Vonda Shepard, Tom Petty, “The Firm”, Sheena Easton, Patti Austin, Aaron Neville, “Mary Poppins”, Sam Cooke, The Turtles, “101 Dalmations”, Lovin» Spoonful, Buffalo Springfield, Janis Joplin, Genesis, Kenny Loggins, Jackson Browne, “My Best Friend»s Wedding”, Reel Big Fish, “Dr. Doolittle”, “The Truman Show”, and “Tootsie”<br /><br />\n<strong>Studio 2:</strong> Van Halen, Led Zeppelin IV, Sheryl Crow, Smashing Pumpkins, Matthew Sweet, Ringo Starr, Elton John, Celine Dion, Earl Klugh, Alanis Morrisette, Michael Jackson, Toto, Lita Ford, Robert Palmer, “Dick Tracy”, “Dune”, “Days Of Thunder”, “Rocky II & IV”, Ry Cooder, Richard Marx, Aretha Franklin, Tom Waits, Neil Young, Crowded House, Bob Dylan, Jennifer Holliday, Olivia Newton-John, Melissa Manchester, Barbra Streisand, Roberta Flack, \nRick James, “Major League”, “Great Balls Of Fire”, Michael Feinstein, “Wayne»s World”, “Wayne»s World II”, Alice Cooper (Muscle »73), Leo Sayer, “The Waterboy”, “The Big Lebowski”, “Pleasantville”, Doyle Bramhall, Weezer, “The Prince Of Egypt”, DDT, Poison, and Andy Williams\n<br /><br />\n<strong>Studio 3:</strong> The Surfers, Elliott Smith, Social Distortion, Sugar Ray, Mary Lou Lord, “Midnight In The Garden Of Good & Evil”, Earth Wind & Fire, Prince,\nDan Fogelberg, Hiroshima, Rancid, k d lang, The Wallflowers, Beck, Mr. Mister, Stevie Nicks, Belinda Carlisle, Kix, Desert Rose Band, Air Supply, Counting Crows, Deborah Harry, Jody Watley, Neil Diamond, Rita Coolidge, Lionel Ritchie, Sam Phillips, Fleetwood Mac, Tom Jones, Van Dyke Parks, Gillian Welch, The Refreshments, Dolly Parton, Kenny Rogers, Thisway, and Melissa Etheridge\n<br /><br />\nConvinced?<br /><br />\n<h3>About Sunset Sound</h3>\n“Why would I want to own a studio,” Walt Disney responded to the suggestion of his company’s director of recording Tutti Camarata. “I’d rather be a client.” Was this gentle Walt’s way of asking his music man to seek employment elsewhere, or a subtle nudge to encourage entrepreneurship? Tutti presumed the latter, and so it began. It was a perfect little brick structure, once an automotive repair garage. The walls, ceiling, and floor all slanted toward one corner of the cavern where the excess automobile fluids trickled into a drain. Non-parallel surfaces are ideal for acoustic control—and ideal for a studio! Tutti kicked the tires a few times and declared, “I’ll take it!” Little did he know that the small step he took in 1958 on Sunset Boulevard in Hollywood would soon be joined by the stampede of giants.\n<br /><br />\n<h3>If you can’t go to Sunset Sound, let Sunset Sound come to your studio—put an S1P Tutti preamp or two in your 500-series rack. For more information, call or chat with an RSPE representative today.</h3>'),(11282,75,1,1881,'<h2>Sunset Sound S1P Tutti – 500 Series Preamp</h2>\n<span style=\"font-size:16px; font-style:italic;\">A 500-series issue of the preamps found in the custom API consoles at Sunset Sound Studios. </span><br /><br />\nIf the name Sunset Sound S1P Tutti rings familiar, that’s because the Sunset Sound in question is none other than Hollywood’s famous Sunset Sound recording studio. And “Tutti” in this case does not mean full orchestra; rather it pays homage to Sunset’s founder, Tutti Camarata. The Sunset Sound S1P Tutti is a 500-series mic/instrument preamp that celebrates 50 years of recordings, including albums by The Doors, Van Halen, Sheryl Crow, Led Zeppelin, and the Wallflowers. Famous for its vocal-recording quality, the S1P is based on the preamp used in the massive API console in Studio A where so many famous vocalists have recorded. The Sunset Sound S1P uses dual Hardy 990 op amps and two custom-made Cinemag nickel transformers (in-out) built to the same specifications as the originals made by Ed Reichenbach, father of Cinemag’s Tom Reichenbach.  Before the release of the S1P preamp, the only way to get that custom API-De Medio preamp sound was to record at Sunset Sound. Thanks to the S1P’s modular 500-series format, Sunset Sound comes to you.  <br /><br />\n<h3>Sunset Sound S1P Tutti unique features:</h3>\n<ul>\n	<li>Same design used in the Sunset API/De Medio consoles</li>\n	<li>Dual Hardy 990 op-amps</li>\n	<li>Custom Cinemag nickel transformers</li>\n</ul>\n<br />\n<h3>Sunset Sound S1P Tutti key features:</h3>\n<ul>\n	<li>Greater than 60dB of Gain         </li>\n	<li>10Hz to 60kHz FLAT                </li>\n	<li>Distortion less than .02%         </li>\n	<li>Clips at +28dBu                   </li>\n	<li>Signal/overload Indicator         </li>\n	<li>Selectable input gain, 10dB steps </li>\n	<li>Adjustable gain trim, +/- 6dB     </li>\n	<li>Output fader control              </li>\n	<li>Front and Rear XLR Mic input      </li>\n	<li>Hi-Z/INST front-panel input       </li>\n	<li>Made in the USA                   </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 — Sunset Sound S1P Tutti Preamp</h3>\nIn the early days of Sunset Sound, there were no commercial consoles available. All recording studio consoles were custom made. Designers such as Dean Jensen, Frank De Medio, Eric Benton, and Bob Bushnell were kept pretty busy in LA designing custom consoles using Saul Walker’s API modules. Custom API consoles were built for recording facilities such as CBS in-house studios, Fox sound stages, Sunset Sound, Hollywood Sound Recorders, and Oceanway Studios, to name a few. Many of these consoles are still in use today, including the two custom API consoles designed by Frank De Medio, Eric Benton, and Deane Jensen at Sunset Sound. \n<br /><br />\nIt is from these consoles that spring the Sunset Sound S1P “Tutti” 50th  Anniversary preamp. The Sunset Sound S1P Tutti mic/line preamp is 100% discrete and draws less than 100ma, making it quite friendly with 500-series power racks. It features components such as the Hardy 990 discrete op-amp, considered to be the finest op-amp available for audio applications. The Hardy 990 is based on the original 990 designed by Deane Jensen of Jensen Transformers, for he was awarded a patent. The Hardy 990 offers several important changes and improvements over the original Jensen design. <br /><br />\nThe Sunset Sound S1P also features the same custom transformers built by Ed Reichenbach, whose son, Tom, founded Cinemag, the company that built the custom transformers currently found in the S1P. <br /><br />\n<h3>OUTSIDE THE BOX — Sunset Sound S1P Tutti Preamp</h3>\nThe sunset gold faceplate of the 500-series S1P “Tutti” mic/instrument preamp features the following controls, including Gain from 10-60dB, ±6dB trim; a fader-like rotary output that allows you to hit the preamp hard for a thicker, more aggressive sound and adjust output to prevent distorting ADAs; a front-panel XLR/1/4\" input for mic, line, or instrument; plus phase reverse and phantom power.  \n<br /><br />\n<h3>Who’s using Sunset Sound: </h3>\nPerhaps it would be more accurate to say, who’s recorded at Sunset Sound and used the console preamps:\n<br /><br />\n<strong>Studio 1:</strong> Van Halen, Paul McCartney, James Taylor, Macy Gray, Bee Gees, Doobie Bros., Whitney Houston, Barry Manilow, Oingo Boingo, Luis Miguel, Rolling Stones, Dave Grusin, Crosby, Stills, Nash, Lee Ritenour, Fourplay, Richard Thompson, Yes, Brian Wilson, Beach Boys, Annette Funicello, Carly Simon, Miles Davis, Louis Armstrong, Bangles, Fishbone, Randy Newman, Sly & Family Stone, “Fabulous Baker Boys”, Vonda Shepard, Tom Petty, “The Firm”, Sheena Easton, Patti Austin, Aaron Neville, “Mary Poppins”, Sam Cooke, The Turtles, “101 Dalmations”, Lovin» Spoonful, Buffalo Springfield, Janis Joplin, Genesis, Kenny Loggins, Jackson Browne, “My Best Friend»s Wedding”, Reel Big Fish, “Dr. Doolittle”, “The Truman Show”, and “Tootsie”<br /><br />\n<strong>Studio 2:</strong> Van Halen, Led Zeppelin IV, Sheryl Crow, Smashing Pumpkins, Matthew Sweet, Ringo Starr, Elton John, Celine Dion, Earl Klugh, Alanis Morrisette, Michael Jackson, Toto, Lita Ford, Robert Palmer, “Dick Tracy”, “Dune”, “Days Of Thunder”, “Rocky II & IV”, Ry Cooder, Richard Marx, Aretha Franklin, Tom Waits, Neil Young, Crowded House, Bob Dylan, Jennifer Holliday, Olivia Newton-John, Melissa Manchester, Barbra Streisand, Roberta Flack, \nRick James, “Major League”, “Great Balls Of Fire”, Michael Feinstein, “Wayne»s World”, “Wayne»s World II”, Alice Cooper (Muscle »73), Leo Sayer, “The Waterboy”, “The Big Lebowski”, “Pleasantville”, Doyle Bramhall, Weezer, “The Prince Of Egypt”, DDT, Poison, and Andy Williams\n<br /><br />\n<strong>Studio 3:</strong> The Surfers, Elliott Smith, Social Distortion, Sugar Ray, Mary Lou Lord, “Midnight In The Garden Of Good & Evil”, Earth Wind & Fire, Prince,\nDan Fogelberg, Hiroshima, Rancid, k d lang, The Wallflowers, Beck, Mr. Mister, Stevie Nicks, Belinda Carlisle, Kix, Desert Rose Band, Air Supply, Counting Crows, Deborah Harry, Jody Watley, Neil Diamond, Rita Coolidge, Lionel Ritchie, Sam Phillips, Fleetwood Mac, Tom Jones, Van Dyke Parks, Gillian Welch, The Refreshments, Dolly Parton, Kenny Rogers, Thisway, and Melissa Etheridge\n<br /><br />\nConvinced?<br /><br />\n<h3>About Sunset Sound</h3>\n“Why would I want to own a studio,” Walt Disney responded to the suggestion of his company’s director of recording Tutti Camarata. “I’d rather be a client.” Was this gentle Walt’s way of asking his music man to seek employment elsewhere, or a subtle nudge to encourage entrepreneurship? Tutti presumed the latter, and so it began. It was a perfect little brick structure, once an automotive repair garage. The walls, ceiling, and floor all slanted toward one corner of the cavern where the excess automobile fluids trickled into a drain. Non-parallel surfaces are ideal for acoustic control—and ideal for a studio! Tutti kicked the tires a few times and declared, “I’ll take it!” Little did he know that the small step he took in 1958 on Sunset Boulevard in Hollywood would soon be joined by the stampede of giants.\n<br /><br />\n<h3>If you can’t go to Sunset Sound, let Sunset Sound come to your studio—put an S1P Tutti preamp or two in your 500-series rack. For more information, call or chat with an RSPE representative today.</h3>'),(11283,85,0,1881,'Sunset Sound S1P Tutti 500 Series Discrete Mic Pre'),(11284,85,1,1881,'Sunset Sound S1P Tutti 500 Series Discrete Mic Pre'),(11285,76,0,1881,''),(11286,76,1,1881,''),(11287,75,0,1882,'<h1>Minnetonka SurCode for Dolby Digital Plus Bundle</h1>\n<i>SurCode for Dolby Digital Plus Bundle encodes and decodes 5.1, 6.1 and 7.1 surround sound audio to and from Dolby Digital Plus (E-AC-3) or Dolby Digital (AC-3) formats.</i><br /><br />\n\nSurCode for Dolby Digital Plus offers complete Dolby Digital Plus and Dolby Digital supports up to 8 channels of audio. The product enables auditioning, encoding and decoding of audio, making it easy to produce discrete surround files in real time and, being file-based, at faster than real time speeds. SurCode for Dolby Digital Plus also decodes back to multichannel PCM audio, making it the perfect complement to your post-production needs for film, TV, mobile, gaming and VOD.<br /><br /><ul><li><span style=\"background-color: initial;\">Complete encoding, decoding, monitoring and QC in one unified environment</span></li><li>Encode & decode simultaneously in real time to easily optimize your metadata</li><li>Encoder includes a confidence monitor/decoder</li><li>Writes ac3, ec3 & WAVfiles</li><li>Supports Dolby Digital as well as Dolby DigitalPlus</li><li>Perfect complement to SurCode for Dolby EEncoder</li><li>Cross–platform AAX & AudioSuite, for Mac OS & Windows, all on iLok</li></ul><br />\n\n\n\n<h3>SurCode Encoder & Decoder</h3>\nSurCode for Dolby Digital Plus Encoder encodes 5.1, 6.1 and 7.1 surround sound audio to Dolby Digital Plus (E-AC-3) or Dolby Digital (AC-3) formats. The product accepts up to 8 channels of 44.1 or 48 kHz PCM audio at word lengths of 16, 24 or 32 bits per sample. SurCode for Dolby Digital Plus Encoder outputs frames through your favorite DAW or to an .ec3/.ac3 or WAV file and supports all standard metadata and pre-processing options.\n<br /><br />\nSurCode for Dolby Digital Plus Decoder decodes any Dolby Digital Plus (E-AC-3) or Dolby Digital (AC-3) content back to PCM, allowing for QC, adjustments to content, and reauthoring for other formats.<br /><br />\n<h3>SurCode – The Standard</h3>\nDolby Digital is the industry standard method of delivering discrete surround audio to consumers. As the most complete toolkit for Dolby Digital and Dolby Digital Plus production, SurCode for Dolby Digital Plus is the certified encoder and decoder that allows fast and easy processing and management of file-based linear PCM and Dolby Digital assets.\n<br /><br />'),(11288,75,1,1882,'<h1>Minnetonka SurCode for Dolby Digital Plus Bundle</h1>\n<i>SurCode for Dolby Digital Plus Bundle encodes and decodes 5.1, 6.1 and 7.1 surround sound audio to and from Dolby Digital Plus (E-AC-3) or Dolby Digital (AC-3) formats.</i><br /><br />\n\nSurCode for Dolby Digital Plus offers complete Dolby Digital Plus and Dolby Digital supports up to 8 channels of audio. The product enables auditioning, encoding and decoding of audio, making it easy to produce discrete surround files in real time and, being file-based, at faster than real time speeds. SurCode for Dolby Digital Plus also decodes back to multichannel PCM audio, making it the perfect complement to your post-production needs for film, TV, mobile, gaming and VOD.<br /><br /><ul><li><span style=\"background-color: initial;\">Complete encoding, decoding, monitoring and QC in one unified environment</span></li><li>Encode & decode simultaneously in real time to easily optimize your metadata</li><li>Encoder includes a confidence monitor/decoder</li><li>Writes ac3, ec3 & WAVfiles</li><li>Supports Dolby Digital as well as Dolby DigitalPlus</li><li>Perfect complement to SurCode for Dolby EEncoder</li><li>Cross–platform AAX & AudioSuite, for Mac OS & Windows, all on iLok</li></ul><br />\n\n\n\n<h3>SurCode Encoder & Decoder</h3>\nSurCode for Dolby Digital Plus Encoder encodes 5.1, 6.1 and 7.1 surround sound audio to Dolby Digital Plus (E-AC-3) or Dolby Digital (AC-3) formats. The product accepts up to 8 channels of 44.1 or 48 kHz PCM audio at word lengths of 16, 24 or 32 bits per sample. SurCode for Dolby Digital Plus Encoder outputs frames through your favorite DAW or to an .ec3/.ac3 or WAV file and supports all standard metadata and pre-processing options.\n<br /><br />\nSurCode for Dolby Digital Plus Decoder decodes any Dolby Digital Plus (E-AC-3) or Dolby Digital (AC-3) content back to PCM, allowing for QC, adjustments to content, and reauthoring for other formats.<br /><br />\n<h3>SurCode – The Standard</h3>\nDolby Digital is the industry standard method of delivering discrete surround audio to consumers. As the most complete toolkit for Dolby Digital and Dolby Digital Plus production, SurCode for Dolby Digital Plus is the certified encoder and decoder that allows fast and easy processing and management of file-based linear PCM and Dolby Digital assets.\n<br /><br />'),(11289,85,0,1882,'Minnetonka SurCode for Dolby Digital Plus Bundle'),(11290,85,1,1882,'Minnetonka SurCode for Dolby Digital Plus Bundle'),(11291,76,0,1882,''),(11292,76,1,1882,''),(11293,75,0,1883,'<h1>Minnetonka SurCode for Dolby Digital 5.1 V2</h1>\n<i>Fully certified and licensed Dolby Digital 5.1 AC-3 encoder and decoder. Standalone Windows</i><br /><br />\n	Certified by the leader in surround sound, MASI’s SurCode for Dolby Digital 5.1 Encoder creates fully compliant AC-3 files from multichannel WAV or AIFF sources. The Encoder includes all available options, providing complete control of all aspects of the finished product. Enhanced features include batch mode capability, a time code option which time stamps metadata in the encoded file header, editable file edit boxes, auto-generation of destination file names, command line encoding, and a status bar on the bottom of the Main dialog which indicates the progress of the encode job. The SurCode for Dolby Digital 5.1 Encoder also provides real-time decoding and mixdown so you’ll be sure your encoding parameters are correct prior to encoding.\n<br /><br />\n	Audio encoded by SurCode for Dolby Digital are fully compatible with all Dolby Digital-branded decoders, either in software or hardware. The Dolby Digital format is the most widely supported consumer standard for surround sound delivery. With SurCode for Dolby Digital 5.1 Encoder, you can surround listeners, worldwide!\n<br /><br />\n<h3>SurCode for Dolby Digital 5.1 Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Fully certified and licensed AC-3 encoder and decoder by Dolby Laboratories, Inc.</span></li><li>Encode surround (5.1) mixes into stereo files</li><li>Accepts up to six WAV or AIFF files as input</li><li>Stereo mixdown for auditioning Surround files prior to encoding</li><li>Supports all Dolby encoding options</li>\n</ul>'),(11294,75,1,1883,'<h1>Minnetonka SurCode for Dolby Digital 5.1 V2</h1>\n<i>Fully certified and licensed Dolby Digital 5.1 AC-3 encoder and decoder. Standalone Windows</i><br /><br />\n	Certified by the leader in surround sound, MASI’s SurCode for Dolby Digital 5.1 Encoder creates fully compliant AC-3 files from multichannel WAV or AIFF sources. The Encoder includes all available options, providing complete control of all aspects of the finished product. Enhanced features include batch mode capability, a time code option which time stamps metadata in the encoded file header, editable file edit boxes, auto-generation of destination file names, command line encoding, and a status bar on the bottom of the Main dialog which indicates the progress of the encode job. The SurCode for Dolby Digital 5.1 Encoder also provides real-time decoding and mixdown so you’ll be sure your encoding parameters are correct prior to encoding.\n<br /><br />\n	Audio encoded by SurCode for Dolby Digital are fully compatible with all Dolby Digital-branded decoders, either in software or hardware. The Dolby Digital format is the most widely supported consumer standard for surround sound delivery. With SurCode for Dolby Digital 5.1 Encoder, you can surround listeners, worldwide!\n<br /><br />\n<h3>SurCode for Dolby Digital 5.1 Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Fully certified and licensed AC-3 encoder and decoder by Dolby Laboratories, Inc.</span></li><li>Encode surround (5.1) mixes into stereo files</li><li>Accepts up to six WAV or AIFF files as input</li><li>Stereo mixdown for auditioning Surround files prior to encoding</li><li>Supports all Dolby encoding options</li>\n</ul>'),(11295,85,0,1883,'Minnetonka SurCode for Dolby Digital 5.1 V2'),(11296,85,1,1883,'Minnetonka SurCode for Dolby Digital 5.1 V2'),(11297,76,0,1883,''),(11298,76,1,1883,''),(11299,75,0,1884,'<h1>Minnetonka SurCode for Dolby E Master Suite</h1>\n<i>Fully licensed and certified file-based software plug-in encoder (SEEI) and file-based/real-time decoder (SEDI) for Dolby E on Pro Tools, Media Composer Family 6 or 7, Final Cut Pro Export Plug-in (Final Cut 6 or 7), VST and Adobe Creative Cloud. Includes Stream Player (SEPI), SurCode for Dolby Pro Logic II (SPLI), SurCode for Dolby Digital Plus (SDDP), and WavFileAnalyze (LWFA). iLok and iLok.com account required.</i><br/><br/>\nAs the first and most complete tool kit for Dolby E, SurCode for Dolby E is a certified Dolby E encoder and decoder suite that allows fast and easy processing and management of file-based Dolby E assets and metadata. <br/><br/>\n<ul>\n	<li>Structured workflow</li>\n	<li>Increased productivity</li>\n	<li>Flexible license handling</li>\n	<li>Encode, decode &monitor</li>\n	<li>Broad platform support – Avid, Adobe, Final Cut & VST</li>\n	<li>Interoperable with Dolby hardware</li>\n	<li>Lowest cost Dolby monitoring solution in the industry </li>\n</ul>\n<br/>\n<h3>Easy & Flexible Workflow</h3>\nSurCode for Dolby E provides a simple and flexible workflow tailored specifically to your platform and workstation. All platforms, including Pro Tools, MediaComposer,NewsCutter,Symphony,Adobe Premiere, VST and Final Cut are included on a single license.\n<br/><br/>\nSettings are conveniently embedded in your session for instant recall or rework\nSupports all Dolby metadata\nChoose the best way to integrate into your own workflow\n<h3>Complete  Metadata Management</h3>\nSurCode for Dolby E generates and preserves all Dolby metadata. This gives broadcast professionals the ability to control channel mode, downmix parameters, profiles, dialog level and other ancillary metadata. Browse or drag and drop DBMD to read existing metadata since SurCode for Dolby E imports and exports metadata as:\n<br/><br/>\n<ul>\n	<li>DBMD - add your Dolby metadata chunk into WAV headers</li>\n	<li>XML - universal format for AudioTools Server or any XML–aware application</li>\n	<li>Text - human–readable metadata for manualQC </li>\n</ul>\n<br/>\n<h3>SurCode for Dolby E Plugin</h3>\nSurCode for Dolby E includes encoder and decoder plug–ins for Pro Tools, Final Cut, Symphony, Media Composer, NewsCutter, and VST versions for qualified surround–capable workstations such as Adobe Premiere Pro CC, Nuendo, Pyramix, Sequoia and Fairlight.\n<br/><br/>'),(11300,75,1,1884,'<h1>Minnetonka SurCode for Dolby E Master Suite</h1>\n<i>Fully licensed and certified file-based software plug-in encoder (SEEI) and file-based/real-time decoder (SEDI) for Dolby E on Pro Tools, Media Composer Family 6 or 7, Final Cut Pro Export Plug-in (Final Cut 6 or 7), VST and Adobe Creative Cloud. Includes Stream Player (SEPI), SurCode for Dolby Pro Logic II (SPLI), SurCode for Dolby Digital Plus (SDDP), and WavFileAnalyze (LWFA). iLok and iLok.com account required.</i><br/><br/>\nAs the first and most complete tool kit for Dolby E, SurCode for Dolby E is a certified Dolby E encoder and decoder suite that allows fast and easy processing and management of file-based Dolby E assets and metadata. <br/><br/>\n<ul>\n	<li>Structured workflow</li>\n	<li>Increased productivity</li>\n	<li>Flexible license handling</li>\n	<li>Encode, decode &monitor</li>\n	<li>Broad platform support – Avid, Adobe, Final Cut & VST</li>\n	<li>Interoperable with Dolby hardware</li>\n	<li>Lowest cost Dolby monitoring solution in the industry </li>\n</ul>\n<br/>\n<h3>Easy & Flexible Workflow</h3>\nSurCode for Dolby E provides a simple and flexible workflow tailored specifically to your platform and workstation. All platforms, including Pro Tools, MediaComposer,NewsCutter,Symphony,Adobe Premiere, VST and Final Cut are included on a single license.\n<br/><br/>\nSettings are conveniently embedded in your session for instant recall or rework\nSupports all Dolby metadata\nChoose the best way to integrate into your own workflow\n<h3>Complete  Metadata Management</h3>\nSurCode for Dolby E generates and preserves all Dolby metadata. This gives broadcast professionals the ability to control channel mode, downmix parameters, profiles, dialog level and other ancillary metadata. Browse or drag and drop DBMD to read existing metadata since SurCode for Dolby E imports and exports metadata as:\n<br/><br/>\n<ul>\n	<li>DBMD - add your Dolby metadata chunk into WAV headers</li>\n	<li>XML - universal format for AudioTools Server or any XML–aware application</li>\n	<li>Text - human–readable metadata for manualQC </li>\n</ul>\n<br/>\n<h3>SurCode for Dolby E Plugin</h3>\nSurCode for Dolby E includes encoder and decoder plug–ins for Pro Tools, Final Cut, Symphony, Media Composer, NewsCutter, and VST versions for qualified surround–capable workstations such as Adobe Premiere Pro CC, Nuendo, Pyramix, Sequoia and Fairlight.\n<br/><br/>'),(11301,85,0,1884,'Minnetonka SurCode for Dolby E Master Suite'),(11302,85,1,1884,'Minnetonka SurCode for Dolby E Master Suite'),(11303,76,0,1884,''),(11304,76,1,1884,''),(11305,75,0,1885,'<h1>Minnetonka SurCode for Dolby Pro Logic II v3</h1>\n<i>SurCode for Dolby® Pro Logic II offers complete, Dolby–certified Dolby Pro Logic II encoding and Pro Logic II, Pro Logic IIx and Pro Logic IIz decoding of up to 8 channels of audio. The encoded LtRt can be monitored as a non–decoded stereo stream or decoded as a surround stream. Also integrated into the product is real-time loudness measurement technology. Cross-Platform: ProTools RTAS & AAX, VST & Standalone</i><br /><br />\n\n	SurCode for Dolby® Pro Logic II offers complete, Dolby–certified Dolby Pro Logic II encoding and Pro Logic II, Pro Logic IIx and Pro Logic IIz decoding of up to 8 channels of audio. SurCode for Dolby Pro Logic II allows an end–to–end, encode/decode cycle for direct control of your mix’s entire lifecycle. In addition to a reference grade LtRt encoder, SurCode for Dolby Pro Logic II also provides a facility for stereo or LoRo output as well. The encoded LtRt can be monitored as a non–decoded stereo stream or decoded as a surround stream.\n<br /><br />\n	SurCode for Dolby Pro Logic II enables engineers to use SurCode technology in your favorite Avid or VST workstation, making it a powerful, time-saving tool to efficiently mix directly in your DAW. Now the exact same phase and amplitude behavior of the Pro Logic II consumer decoding chain can be monitored and levels corrected if necessary, saving time and ensuring the highest quality output during the mixing process.\n<br /><br />\n	SurCode for Dolby Pro Logic II version 3 is AAX for use in Pro Tool 10’s 32 bit architecture or Pro Tools 11’s 64 bit environment. Also integrated into version 3 is Minnetonka Audio’s industry standard loudness measurement technology. Real-time loudness metrics are displayed for the source multichannel content, LoRo stream or the un–decoded stereo LtRt stem, insuring that all are CALM compliant. SurCode for Dolby Pro Logic II monitoring and loudness measurement tools and built-in encoding/decoding features enable mixes to be optimized for all playback situations, regardless of whether the LtRt is decoded into surround or remains in stereo mode as delivered. An iLok and iLok.com account is required.\n<br /><br />\n	Cross-Platform: ProTools RTAS & AAX, VST & Standalone - Minimum requirement Pro Tools 7.4, VST 2.4 host, Intel Mac OS 10.4 to 10.10 or Win XP/Vista/7\n<br /><br />\n<h3>SurCode for Dolby Prologic II provides</h3>\n<ul>\n	<li>Complete encoding, decoding, measuring, monitoring and QC for LtRt and LoRo in one unified environment</li>\n	<li>Encode & decode simultaneously in real time to easily optimize your input</li>\n	<li>Perfect complement to SurCode for Dolby E Encoder</li>\n	<li>v2.5 includes an RTAS plug-in running on Pro Tools 8, 9 HD, 10 or PT 8 LE with CompleteProduction Toolkit; 32 bit VST, and cross-platform Standalone support</li>\n	<li>V3.0 includes a 32bit AAX plug-in running on Pro Tools 10.3.6 or higher, a 64 bit AAX plug-in running on Pro Tools 11 & 12 and Media Composer 8.1 or higher; 64 bit VST for qualified 2.4 surround capable hosts.</li>\n	<li>Built–in loudness measurement for simplified workflows & EBU R 128 &CALM–compliant deliverables</li>\n</ul>'),(11306,75,1,1885,'<h1>Minnetonka SurCode for Dolby Pro Logic II v3</h1>\n<i>SurCode for Dolby® Pro Logic II offers complete, Dolby–certified Dolby Pro Logic II encoding and Pro Logic II, Pro Logic IIx and Pro Logic IIz decoding of up to 8 channels of audio. The encoded LtRt can be monitored as a non–decoded stereo stream or decoded as a surround stream. Also integrated into the product is real-time loudness measurement technology. Cross-Platform: ProTools RTAS & AAX, VST & Standalone</i><br /><br />\n\n	SurCode for Dolby® Pro Logic II offers complete, Dolby–certified Dolby Pro Logic II encoding and Pro Logic II, Pro Logic IIx and Pro Logic IIz decoding of up to 8 channels of audio. SurCode for Dolby Pro Logic II allows an end–to–end, encode/decode cycle for direct control of your mix’s entire lifecycle. In addition to a reference grade LtRt encoder, SurCode for Dolby Pro Logic II also provides a facility for stereo or LoRo output as well. The encoded LtRt can be monitored as a non–decoded stereo stream or decoded as a surround stream.\n<br /><br />\n	SurCode for Dolby Pro Logic II enables engineers to use SurCode technology in your favorite Avid or VST workstation, making it a powerful, time-saving tool to efficiently mix directly in your DAW. Now the exact same phase and amplitude behavior of the Pro Logic II consumer decoding chain can be monitored and levels corrected if necessary, saving time and ensuring the highest quality output during the mixing process.\n<br /><br />\n	SurCode for Dolby Pro Logic II version 3 is AAX for use in Pro Tool 10’s 32 bit architecture or Pro Tools 11’s 64 bit environment. Also integrated into version 3 is Minnetonka Audio’s industry standard loudness measurement technology. Real-time loudness metrics are displayed for the source multichannel content, LoRo stream or the un–decoded stereo LtRt stem, insuring that all are CALM compliant. SurCode for Dolby Pro Logic II monitoring and loudness measurement tools and built-in encoding/decoding features enable mixes to be optimized for all playback situations, regardless of whether the LtRt is decoded into surround or remains in stereo mode as delivered. An iLok and iLok.com account is required.\n<br /><br />\n	Cross-Platform: ProTools RTAS & AAX, VST & Standalone - Minimum requirement Pro Tools 7.4, VST 2.4 host, Intel Mac OS 10.4 to 10.10 or Win XP/Vista/7\n<br /><br />\n<h3>SurCode for Dolby Prologic II provides</h3>\n<ul>\n	<li>Complete encoding, decoding, measuring, monitoring and QC for LtRt and LoRo in one unified environment</li>\n	<li>Encode & decode simultaneously in real time to easily optimize your input</li>\n	<li>Perfect complement to SurCode for Dolby E Encoder</li>\n	<li>v2.5 includes an RTAS plug-in running on Pro Tools 8, 9 HD, 10 or PT 8 LE with CompleteProduction Toolkit; 32 bit VST, and cross-platform Standalone support</li>\n	<li>V3.0 includes a 32bit AAX plug-in running on Pro Tools 10.3.6 or higher, a 64 bit AAX plug-in running on Pro Tools 11 & 12 and Media Composer 8.1 or higher; 64 bit VST for qualified 2.4 surround capable hosts.</li>\n	<li>Built–in loudness measurement for simplified workflows & EBU R 128 &CALM–compliant deliverables</li>\n</ul>'),(11307,85,0,1885,'Minnetonka SurCode for Dolby Pro Logic II'),(11308,85,1,1885,'Minnetonka SurCode for Dolby Pro Logic II'),(11309,76,0,1885,''),(11310,76,1,1885,''),(11311,75,0,1886,'<h2>TAC System VMC-102 Studio Monitor Controller for Avid S6</h2>\nThe TacSystem VMC-102 is a powerful standalone monitor controller that fits perfectly into the S6 and is the same size as the knob and process module. (Can also be used as a desktop version)<br /><br />\nThe VMC-102 enables multi-stem mixing and monitoring for consoles and workstations with simple stereo (2.0) and 5.1 monitoring capability, but is also equally at home when working in the new immersive and object audio world of Dolby Atmos and MPEG-H.<br /><br />\nUsing the TAC VMC-102 in conjunction with one of the recommended AD/DA convertors, your S6 Monitor section becomes a fully capable film style monitor matrix.'),(11312,75,1,1886,'<h2>TAC System VMC-102 Studio Monitor Controller for Avid S6</h2>\nThe TacSystem VMC-102 is a powerful standalone monitor controller that fits perfectly into the S6 and is the same size as the knob and process module. (Can also be used as a desktop version)<br /><br />\nThe VMC-102 enables multi-stem mixing and monitoring for consoles and workstations with simple stereo (2.0) and 5.1 monitoring capability, but is also equally at home when working in the new immersive and object audio world of Dolby Atmos and MPEG-H.<br /><br />\nUsing the TAC VMC-102 in conjunction with one of the recommended AD/DA convertors, your S6 Monitor section becomes a fully capable film style monitor matrix.'),(11313,85,0,1886,'TAC System VMC-102 Studio Monitor Controller for Avid S6'),(11314,85,1,1886,'TAC System VMC-102 Studio Monitor Controller for Avid S6'),(11315,76,0,1886,''),(11316,76,1,1886,''),(11317,75,0,1887,'<h1>Tascam DA-3000 - Stereo Master Recorder AD/DA Converter</h1>\n<i>A High Resolution Stereo Master Recorder and AD/DA Converter in a 1RU package</i><br /><br /><span style=\"background-color: initial;\">The TASCAM DA-3000 stereo recorder and AD/DA converter is designed for stereo PCM/DSD recordings at high sampling frequencies perfect for archival masters. This magnificent unit is capable of recording analog and digital signals up to 192kHz PCM or 5.6MHz DSD. The unit records to both SDHC cards and UDMA supported CF cards<br /></span><br />\n<h3>Tascam DA-3000 Features</h3>\n<ul>\n	<li>2-channel PCM recording at up to 192kHz/24-bit resolution</li>\n	<li>2-channel DSD recording at up to 5.6MHz</li>\n	<li>SD card slot (supports SDHC standard for 4GB–32GB cards)</li>\n	<li>CF card slot (supports UDMA)</li>\n	<li>USB device port (for USB flash drives) supports playback and copying to and from SD/CF cards</li>\n	<li>USB keyboard port allows a keyboard to be connected for text input and external control</li>\n	<li>24-dot level meters have excellent visibility and their brightness can be adjusted</li>\n	<li>128x64-dot OLED display with high visibility and a wide viewing angle</li>\n	<li>RC-10 wireless remote control included</li>\n	<li>Analog audio balanced and unbalanced connectors</li>\n	<li>PCM digital audio AES-EBU/SPDIF connectors</li>\n	<li>DSD digital audio SDIF-3/DSD-raw connectors</li>\n	<li>WORD IN/OUT/THRU supported (OUT/THRU set with dedicated switch)</li>\n	<li>ADDA DIRECT mode that enables use as a standalone AD/ DA converter</li>\n	<li>CASCADE function allows synchronized operation of multiple units (including clock and recording/playback timing synchronization)</li>\n	<li>Temperature-compensated crystal oscillator (TCXO) enables high frequency precision (1 ppm or less)</li>\n	<li>1U rackmount size</li>\n</ul>\n<br />\n<h2>High-Performance PCM/DSD Master Recorder</h2>\n<h3><span style=\"background-color: initial;\">Stereo Recording at High Sampling Frequencies Up to 192kHz PCM and 5.6MHz DSD</span></h3>\n<h3><span style=\"background-color: initial;\">Variety of Inputs and Outputs to Handle Diverse Recording Situations</span></h3>\n	The variety of inputs and outputs enable connection with all types of studio equipment, including audio interfaces and mic preamps. The analog inputs and outputs include both XLR and RCA jacks. The digital connections include S/PDIF RCA coaxial and XLR jacks to support AES/EBU. The BNC SDIF-3 inputs and outputs support DSD digital connections.\n<br /><br />\n<h3>Upgraded User Interface\n</h3>\n	With the goal of making a high-quality audio recorder and ADDA converter easy to use, we designed the front panel with all of the necessary external controls and included long, brightly lit meters and display. The 128 × 64 OEL display allows you to check necessary information quickly, and the 24-dot level meters allows you to confidently monitor levels at all times.\n<br /><br />\n<h3>\nSimultaneous Multitrack Recording and Playback with Multiple Cascaded Units</h3>\nYou can synchronize the operation of multiple DA-3000 units by interconnecting their digital inputs and outputs. Files that have been recorded in sync will have sample-level synchronization as well. In addition to stereo DSD recording of Jazz and classical music, this also makes simple DSD multitrack recording of bands possible.\n<br /><br />\n<h2><span style=\"background-color: initial;\">High-Quality Audio Circuits Enable Use of the DA-3000 as an ADDA Converter</span></h2>\n\n<h3>Dual Mono Circuits Eliminate Interference Between Left and Right Channels</h3>\nUse of a dual mono structure for the output circuit eliminates interference between the left and right channels and achieves high audio quality by maximizing the performance of the components. Two high-quality mono circuits are built into the unit. The left/right channels each use one highly-acclaimed BurrBrown PCM1795 D/A converter chip. The TASCAM DA-45HR, which is still used in many studios, uses a dual mono structure with NE5532 ope amps and BurrBrown D/A converters. By using an equivalent output circuit structure including DA converters of even higher quality that support DSD, the DA-3000 provides a portable high-quality monitoring system.\n<br /><br />\n<h3>Low Noise with Fully-Balanced Circuitry and High-Quality AD Converters</h3>\n	The internal circuit uses a fully-balanced structure that is completely resistant to noise from the inputs and outputs. This has a great effect on the output and input stage impacting the recorded audio. The input audio is digitalized by the BurrBrown PCM4202 ADC after it passes through the analog input circuit.\n<br /><br />\n<h3>Numerous High-Quality Parts Selected After Month of Evaluation Tests</h3>\nOperational amplifiers have a great impact on audio quality, so we carefully selected the NJM2114 and NE5532. In addition, we selected low-impedance capacitors featuring low resistance, low noise and high precision to emphasize audio quality.\n<br /><br />\n<h3>Power Supply Section and High-Precision TCXO Support High-Audio Quality</h3>\n	In order to assure high-quality audio input and output, a stable power supply is indispensable. The EI core transformer incorporated into this unit has separate coils – one for the digital circuits and control panels and one for the analog circuits – making it possible to capture even higher-quality signals by suppressing noise. In addition, for the clock generator, we have used a temperature-compensated crystal oscillator (TCXO) that boasts 1-ppm precision.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Fanless Design Eliminates Unwanted Noise</span></h3>\n	Cooling fans inside equipment generate noise and can cause loss of accuracy when monitoring at low volume levels. With the DA-3000, we have achieved high performance in a fanless design, allowing you to maintain a comfortable monitoring environment that is free of fan noise.\n<br /><br />\n<h3>The Tascam DA-3000 recording quality at high sampling frequencies makes it perfect for archival masters. Call or Chat RSPE Audio for more information.</h3>\n<br />');
INSERT INTO `catalog_product_entity_text` VALUES (11318,75,1,1887,'<h1>Tascam DA-3000 - Stereo Master Recorder AD/DA Converter</h1>\n<i>A High Resolution Stereo Master Recorder and AD/DA Converter in a 1RU package</i><br /><br /><span style=\"background-color: initial;\">The TASCAM DA-3000 stereo recorder and AD/DA converter is designed for stereo PCM/DSD recordings at high sampling frequencies perfect for archival masters. This magnificent unit is capable of recording analog and digital signals up to 192kHz PCM or 5.6MHz DSD. The unit records to both SDHC cards and UDMA supported CF cards<br /></span><br />\n<h3>Tascam DA-3000 Features</h3>\n<ul>\n	<li>2-channel PCM recording at up to 192kHz/24-bit resolution</li>\n	<li>2-channel DSD recording at up to 5.6MHz</li>\n	<li>SD card slot (supports SDHC standard for 4GB–32GB cards)</li>\n	<li>CF card slot (supports UDMA)</li>\n	<li>USB device port (for USB flash drives) supports playback and copying to and from SD/CF cards</li>\n	<li>USB keyboard port allows a keyboard to be connected for text input and external control</li>\n	<li>24-dot level meters have excellent visibility and their brightness can be adjusted</li>\n	<li>128x64-dot OLED display with high visibility and a wide viewing angle</li>\n	<li>RC-10 wireless remote control included</li>\n	<li>Analog audio balanced and unbalanced connectors</li>\n	<li>PCM digital audio AES-EBU/SPDIF connectors</li>\n	<li>DSD digital audio SDIF-3/DSD-raw connectors</li>\n	<li>WORD IN/OUT/THRU supported (OUT/THRU set with dedicated switch)</li>\n	<li>ADDA DIRECT mode that enables use as a standalone AD/ DA converter</li>\n	<li>CASCADE function allows synchronized operation of multiple units (including clock and recording/playback timing synchronization)</li>\n	<li>Temperature-compensated crystal oscillator (TCXO) enables high frequency precision (1 ppm or less)</li>\n	<li>1U rackmount size</li>\n</ul>\n<br />\n<h2>High-Performance PCM/DSD Master Recorder</h2>\n<h3><span style=\"background-color: initial;\">Stereo Recording at High Sampling Frequencies Up to 192kHz PCM and 5.6MHz DSD</span></h3>\n<h3><span style=\"background-color: initial;\">Variety of Inputs and Outputs to Handle Diverse Recording Situations</span></h3>\n	The variety of inputs and outputs enable connection with all types of studio equipment, including audio interfaces and mic preamps. The analog inputs and outputs include both XLR and RCA jacks. The digital connections include S/PDIF RCA coaxial and XLR jacks to support AES/EBU. The BNC SDIF-3 inputs and outputs support DSD digital connections.\n<br /><br />\n<h3>Upgraded User Interface\n</h3>\n	With the goal of making a high-quality audio recorder and ADDA converter easy to use, we designed the front panel with all of the necessary external controls and included long, brightly lit meters and display. The 128 × 64 OEL display allows you to check necessary information quickly, and the 24-dot level meters allows you to confidently monitor levels at all times.\n<br /><br />\n<h3>\nSimultaneous Multitrack Recording and Playback with Multiple Cascaded Units</h3>\nYou can synchronize the operation of multiple DA-3000 units by interconnecting their digital inputs and outputs. Files that have been recorded in sync will have sample-level synchronization as well. In addition to stereo DSD recording of Jazz and classical music, this also makes simple DSD multitrack recording of bands possible.\n<br /><br />\n<h2><span style=\"background-color: initial;\">High-Quality Audio Circuits Enable Use of the DA-3000 as an ADDA Converter</span></h2>\n\n<h3>Dual Mono Circuits Eliminate Interference Between Left and Right Channels</h3>\nUse of a dual mono structure for the output circuit eliminates interference between the left and right channels and achieves high audio quality by maximizing the performance of the components. Two high-quality mono circuits are built into the unit. The left/right channels each use one highly-acclaimed BurrBrown PCM1795 D/A converter chip. The TASCAM DA-45HR, which is still used in many studios, uses a dual mono structure with NE5532 ope amps and BurrBrown D/A converters. By using an equivalent output circuit structure including DA converters of even higher quality that support DSD, the DA-3000 provides a portable high-quality monitoring system.\n<br /><br />\n<h3>Low Noise with Fully-Balanced Circuitry and High-Quality AD Converters</h3>\n	The internal circuit uses a fully-balanced structure that is completely resistant to noise from the inputs and outputs. This has a great effect on the output and input stage impacting the recorded audio. The input audio is digitalized by the BurrBrown PCM4202 ADC after it passes through the analog input circuit.\n<br /><br />\n<h3>Numerous High-Quality Parts Selected After Month of Evaluation Tests</h3>\nOperational amplifiers have a great impact on audio quality, so we carefully selected the NJM2114 and NE5532. In addition, we selected low-impedance capacitors featuring low resistance, low noise and high precision to emphasize audio quality.\n<br /><br />\n<h3>Power Supply Section and High-Precision TCXO Support High-Audio Quality</h3>\n	In order to assure high-quality audio input and output, a stable power supply is indispensable. The EI core transformer incorporated into this unit has separate coils – one for the digital circuits and control panels and one for the analog circuits – making it possible to capture even higher-quality signals by suppressing noise. In addition, for the clock generator, we have used a temperature-compensated crystal oscillator (TCXO) that boasts 1-ppm precision.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Fanless Design Eliminates Unwanted Noise</span></h3>\n	Cooling fans inside equipment generate noise and can cause loss of accuracy when monitoring at low volume levels. With the DA-3000, we have achieved high performance in a fanless design, allowing you to maintain a comfortable monitoring environment that is free of fan noise.\n<br /><br />\n<h3>The Tascam DA-3000 recording quality at high sampling frequencies makes it perfect for archival masters. Call or Chat RSPE Audio for more information.</h3>\n<br />'),(11319,85,0,1887,'Tascam DA-3000 - Stereo Master Recorder AD/DA Converter'),(11320,85,1,1887,'Tascam DA-3000 - Stereo Master Recorder AD/DA Converter'),(11321,76,0,1887,''),(11322,76,1,1887,''),(11323,75,0,1888,'<h1>Tascam DR-100MKIII Linear PCM Recorder</h1>\n<div>\n	<i style=\"background-color: initial;\">Studio-quality, portable Linear PCM Recorder capable of recording up to 1</i><i>92kHz/24-bit </i>\n</div>\n<br /><span style=\"background-color: initial;\">The TASCAM </span>DR-100mkIII is <span style=\"background-color: initial;\">TASCAM’s top-of-the-line Handheld Digital Recorder, and boasts a signal-to-noise ratio exceeding 100dB, delivering the best audio performance in the history of TASCAM portable stereo recorders. Designed to meet the needs of the most demanding audio designers and engineers, this new model combines robust reliability, an updated user interface and studio quality sonic performance to deliver a truly breathtaking audio experience.<br /></span><br />\n<h3>Tascam DR-100MKIII Features</h3>\n<ul>\n	<li>Linear PCM recorder that supports 192kHz/24-bit resolution</li>\n	<li>Uses SD/SDHC/SDXC cards as recording media</li>\n	<li>Two types of stereo microphones—directional and omnidirectional—allow high-quality stereo recording</li>\n	<li>Various input jacks support diverse applications</li>\n	<li>XLR/TRS combo jacks that support +4dBu line level and +48V phantom power enable the connection of external mics and devices</li>\n	<li>20dB headroom for both mic and line inputs</li>\n	<li>Dual ADC function improves signal-to-noise performance using two AD converters</li>\n	<li>Power-on recording function can start recording immediately after starting up.</li>\n	<li>Dual level recording function allows two files to be recorded at different levels</li>\n	<li>Dual format recording function allows recording with two different formats</li>\n	<li>Continuous operation for extended times is possible by using the built-in battery and AA batteries together</li>\n</ul>\n<br />\n\n\n<h2>World class audio performance</h2>\n\n<h3>AKM AK4558 converters with VELVET SOUND architecture deliver a S/N ratio of 102dB</h3>\nUsed in a variety of combinations, depending upon the selected function, the DR-100mkIII features dual AKM AK4558 converters with VELVET SOUND architecture, providing both high sound quality and low power consumption, achieving a signal-to-noise ratio of 102dB.\n<br /><br />\n<h3>Dual ADC mode, using two AK4558 converters in parallel operation, provides a S/N ratio of 109dB</h3>\nThe dual ADC mode uses two AK4558 AD converters in parallel operation. Signal-to-noise ratio is maximized and audio fidelity is improved, delivering a 109dB S/N ratio as compared to the (already excellent) 102dB S/N ratio achieved when recording in standard mode.\n<br /><br />\nNote: As the S/N ratio when recording exceeds the S/N ratio of the entire circuit, data recorded in dual ADC mode will be limited to a 102dB S/N ratio when played back on the DR-100mkIII. This does not affect the S/N ratio of the actual file, which is maintained at 109dB S/N\n<br /><br />\n<h3>External microphones supported with XLR/TRS inputs and built-in low-noise HDDA mic preampsDR-100MKIII</h3>\nThe XLR/TRS inputs, used to connect external mics, deliver the highest sound quality and lowest noise of any TASCAM Handheld Digital Recorder. HDDA (High Definition Discrete Architecture) mic preamps are also included to maintain a pristine audio signal path throughout.DR-100MKIII\n<br /><br />\n<h3>Onboard dual (directional/omnidirectional) stereo microphones with integrated shockmounts deliver flexible recording options while retaining professional quality audio performance</h3>\nA newly designed microphone housing for the directional mics is based on exhaustive research of previous TASCAM hand held recorders and achieves the perfect marriage of protection and performance. Similarly, the omnidirectional stereo microphone setup features sound pressure level tolerance of 125 dB SPL – able to withstand virtually any audio environment.\n<br /><br />\n\n<h3>Supports up to 192kHz/24-bit recordingDR-100MKIII</h3>\nThe TASCAM DR-100mkIII supports high definition recording at both 96kHz/24-bit and 192kHz/24-bit, ensuring that remote recordings achieve the same sonic fidelity as their studio-born counterparts.\n<br /><br />\n<h3>Shock mount structure</h3>\nAn integrated shock mount structure for the directional stereo microphone suppresses unwanted vibration and handling noise.\n<br /><br />\n\n<h2>TASCAM reliability and features designed for professionals in the field</h2>\n<h3>Dual battery structure allows the built-in high-capacity lithium-ion battery to be used along with 2 AA batteries</h3>\nWith a dual battery structure that allows the built-in high-capacity lithium-ion battery to be used with in concert with AA batteries, operation is possible for extended periods of time ensuring that the DR-100mkIII is ready to go when you are. Additionally, the DR-100mkIII can be rapidly charged by connecting an AC adapter and even support USB Bus power from an external battery pack commonly used to charge mobile phones and tablets.\n<br /><br />\n\n<h3>TASCAM’s unique Dual Level recording function allows simultaneous recording of a backup file at a lower gain level</h3>\nTASCAM\'s exclusive Dual Level Recording function simultaneously records a secondary backup file at a lower gain level than the primary recording. This safety file, recorded at a 12db lower level protects your recording session from unexpected volume spikes and accidental overload.\n<br /><br />\n\n<h3>Locking XLR/TRS combo jacks made by Amphenol</h3>\nLocking XLR/TRS combo jacks made by Amphenol ensure high reliability in the field and protect against unwanted connectivity issues.\n<br /><br />\n\n<h3>Tough aluminum body to deliver years of reliable use</h3>\nMarrying light weight with long-term reliability, the TASCAM DR-100mkIII’s tough aluminum body ensures many years of trouble-free use.\n<br /><br /><h3>High-precision clock featuring a temperature-compensated crystal oscillator (TCXO)</h3>\nThe precision of the built-in clock is crucial when digital recordings made on what device are to be used in conjunction with materials recorded on other devices, such as when combining digital audio and video assets. To ensure stability, the DR-100mkIII utilizes the same Temperature-Compensated Crystal Oscillator (TCXO) used in professional studio master recorders. Moreover, the TCXO is not affected by the temperature of the environment, critical for a portable device which must maintain its precision in support of high-quality recording.<br /><br />\n\n\n\n\n\n<h3>The Tascam DR-100MKIII is a studio-quality portable recorder that\'s small, lightweight yet rugged enough to take anywhere. Call or Chat RSPE Audio for more information.</h3>\n<br /><br />'),(11324,75,1,1888,'<h1>Tascam DR-100MKIII Linear PCM Recorder</h1>\n<div>\n	<i style=\"background-color: initial;\">Studio-quality, portable Linear PCM Recorder capable of recording up to 1</i><i>92kHz/24-bit </i>\n</div>\n<br /><span style=\"background-color: initial;\">The TASCAM </span>DR-100mkIII is <span style=\"background-color: initial;\">TASCAM’s top-of-the-line Handheld Digital Recorder, and boasts a signal-to-noise ratio exceeding 100dB, delivering the best audio performance in the history of TASCAM portable stereo recorders. Designed to meet the needs of the most demanding audio designers and engineers, this new model combines robust reliability, an updated user interface and studio quality sonic performance to deliver a truly breathtaking audio experience.<br /></span><br />\n<h3>Tascam DR-100MKIII Features</h3>\n<ul>\n	<li>Linear PCM recorder that supports 192kHz/24-bit resolution</li>\n	<li>Uses SD/SDHC/SDXC cards as recording media</li>\n	<li>Two types of stereo microphones—directional and omnidirectional—allow high-quality stereo recording</li>\n	<li>Various input jacks support diverse applications</li>\n	<li>XLR/TRS combo jacks that support +4dBu line level and +48V phantom power enable the connection of external mics and devices</li>\n	<li>20dB headroom for both mic and line inputs</li>\n	<li>Dual ADC function improves signal-to-noise performance using two AD converters</li>\n	<li>Power-on recording function can start recording immediately after starting up.</li>\n	<li>Dual level recording function allows two files to be recorded at different levels</li>\n	<li>Dual format recording function allows recording with two different formats</li>\n	<li>Continuous operation for extended times is possible by using the built-in battery and AA batteries together</li>\n</ul>\n<br />\n\n\n<h2>World class audio performance</h2>\n\n<h3>AKM AK4558 converters with VELVET SOUND architecture deliver a S/N ratio of 102dB</h3>\nUsed in a variety of combinations, depending upon the selected function, the DR-100mkIII features dual AKM AK4558 converters with VELVET SOUND architecture, providing both high sound quality and low power consumption, achieving a signal-to-noise ratio of 102dB.\n<br /><br />\n<h3>Dual ADC mode, using two AK4558 converters in parallel operation, provides a S/N ratio of 109dB</h3>\nThe dual ADC mode uses two AK4558 AD converters in parallel operation. Signal-to-noise ratio is maximized and audio fidelity is improved, delivering a 109dB S/N ratio as compared to the (already excellent) 102dB S/N ratio achieved when recording in standard mode.\n<br /><br />\nNote: As the S/N ratio when recording exceeds the S/N ratio of the entire circuit, data recorded in dual ADC mode will be limited to a 102dB S/N ratio when played back on the DR-100mkIII. This does not affect the S/N ratio of the actual file, which is maintained at 109dB S/N\n<br /><br />\n<h3>External microphones supported with XLR/TRS inputs and built-in low-noise HDDA mic preampsDR-100MKIII</h3>\nThe XLR/TRS inputs, used to connect external mics, deliver the highest sound quality and lowest noise of any TASCAM Handheld Digital Recorder. HDDA (High Definition Discrete Architecture) mic preamps are also included to maintain a pristine audio signal path throughout.DR-100MKIII\n<br /><br />\n<h3>Onboard dual (directional/omnidirectional) stereo microphones with integrated shockmounts deliver flexible recording options while retaining professional quality audio performance</h3>\nA newly designed microphone housing for the directional mics is based on exhaustive research of previous TASCAM hand held recorders and achieves the perfect marriage of protection and performance. Similarly, the omnidirectional stereo microphone setup features sound pressure level tolerance of 125 dB SPL – able to withstand virtually any audio environment.\n<br /><br />\n\n<h3>Supports up to 192kHz/24-bit recordingDR-100MKIII</h3>\nThe TASCAM DR-100mkIII supports high definition recording at both 96kHz/24-bit and 192kHz/24-bit, ensuring that remote recordings achieve the same sonic fidelity as their studio-born counterparts.\n<br /><br />\n<h3>Shock mount structure</h3>\nAn integrated shock mount structure for the directional stereo microphone suppresses unwanted vibration and handling noise.\n<br /><br />\n\n<h2>TASCAM reliability and features designed for professionals in the field</h2>\n<h3>Dual battery structure allows the built-in high-capacity lithium-ion battery to be used along with 2 AA batteries</h3>\nWith a dual battery structure that allows the built-in high-capacity lithium-ion battery to be used with in concert with AA batteries, operation is possible for extended periods of time ensuring that the DR-100mkIII is ready to go when you are. Additionally, the DR-100mkIII can be rapidly charged by connecting an AC adapter and even support USB Bus power from an external battery pack commonly used to charge mobile phones and tablets.\n<br /><br />\n\n<h3>TASCAM’s unique Dual Level recording function allows simultaneous recording of a backup file at a lower gain level</h3>\nTASCAM\'s exclusive Dual Level Recording function simultaneously records a secondary backup file at a lower gain level than the primary recording. This safety file, recorded at a 12db lower level protects your recording session from unexpected volume spikes and accidental overload.\n<br /><br />\n\n<h3>Locking XLR/TRS combo jacks made by Amphenol</h3>\nLocking XLR/TRS combo jacks made by Amphenol ensure high reliability in the field and protect against unwanted connectivity issues.\n<br /><br />\n\n<h3>Tough aluminum body to deliver years of reliable use</h3>\nMarrying light weight with long-term reliability, the TASCAM DR-100mkIII’s tough aluminum body ensures many years of trouble-free use.\n<br /><br /><h3>High-precision clock featuring a temperature-compensated crystal oscillator (TCXO)</h3>\nThe precision of the built-in clock is crucial when digital recordings made on what device are to be used in conjunction with materials recorded on other devices, such as when combining digital audio and video assets. To ensure stability, the DR-100mkIII utilizes the same Temperature-Compensated Crystal Oscillator (TCXO) used in professional studio master recorders. Moreover, the TCXO is not affected by the temperature of the environment, critical for a portable device which must maintain its precision in support of high-quality recording.<br /><br />\n\n\n\n\n\n<h3>The Tascam DR-100MKIII is a studio-quality portable recorder that\'s small, lightweight yet rugged enough to take anywhere. Call or Chat RSPE Audio for more information.</h3>\n<br /><br />'),(11325,85,0,1888,'Tascam DR-100MKIII Linear PCM Recorder'),(11326,85,1,1888,'Tascam DR-100MKIII Linear PCM Recorder'),(11327,76,0,1888,''),(11328,76,1,1888,''),(11329,75,0,1889,'<h1>Tascam Model 24 - Multitrack Recorder / Mixer / Interface</h1>\n<i>24 Channel Multitrack Recorder & Analog Mixer with 16 Mic Preamps and Integrated USB Audio Interface</i><br /><br />\nThe Tascam Model 24<span style=\"background-color: initial;\"> is a truly modern take on a classic design. Building on over 40 years of home recording technology, the model 24 is an intuitive, stylish and powerful 24 channel mulititrack recorder and mixer with integrated USB audio interface. Model 24 was developed for easy and immediate operation, with everything you need placed right at your fingertips. 100mm faders allow for precise control over volume. A full set of familiar EQ and Auxiliary knobs remove the need to menu diving, and all input/output connections are all on the surface for quick and easy access.<br /></span><br />\n<h3>Tascam Model 24 Features</h3>\n<ul>\n	<li>All-in-One, Multitrack Recorder with 22 channel Mixer and USB Audio Interface</li>\n	<li>WAV 48kHz/24-bit, 24 channel multitrack recording to SD, SDHC and SDXC cards</li>\n	<li>Built-in USB Audio Interface to send/receive audio data to/from DAW</li>\n	<li>22 Inputs (20 Balanced, 12 Monaural, and 4 Stereo)</li>\n	<li>16 TASCAM Microphone Preamps</li>\n	<li>Input Mode switch on every input channel</li>\n	<li>TASCAM Ultra-HDDA Mic Pre-amp (Channels 1 to 12)</li>\n	<li>Preamp Gain Controller with Overload indicator (Channels 1 to 12)</li>\n	<li>3-band EQ with a sweepable mid-range frequency (Channels 1 to 12)</li>\n	<li>100kHz Low-cut Filter (Channels 1 to 12)</li>\n	<li>7-band Graphic EQ</li>\n	<li>16 Pre-set Effects</li>\n	<li>100mm Long-throw Faders for precise adjustment</li>\n	<li>Mute, Main/Sub, PLF switches on every input channel</li>\n	<li>Bluetooth® input supporting both AAC and SBC codecs</li>\n	<li>SUB Outputs via XLR Balanced and RCA Unbalanced connectors</li>\n	<li>LINE Inputs via RCA Pin and ⅛\" Stereo Mini jacks</li>\n	<li>3 AUX Outputs (Monitor 1, Monitor 2, FX)</li>\n	<li>1 Stereo Output for Control Room</li>\n	<li>Phantom Power (+48V)</li>\n	<li>¼\" Stereo Headphone Output</li>\n	<li>Backlit buttons for key operations such as REC and Play</li>\n	<li>Multi Jog-dial for quick menu operation</li>\n	<li>12-segment LED Output Level Meters</li>\n</ul>\n<br />\n<h3>TASCAM’s Revolutionary Recording Technology</h3>\nFeaturing 16 high-grade TASCAM mic preamps in addition to multiple sets of stereo line inputs, the Model 24 delivers studio quality audio performance right from the start. When it’s time to record The TASCAM Model 24 allows musicians and engineers to capture up to 24 tracks simultaneously (at 24bit/48kHz resolution) directly to the SD card, with the ability to support punch in/out 8 tracks at the same time. And once the take is done, the Model 24 can easily playback any or all of the recorded tracks through the console for immediate mixdown.\n<br /><br />\n<h3>Flexible Connectivity</h3>\nIn addition to the studio quality mic preamps and powerful EQ and routing options the Model 24 features a dedicated stereo channel 1/8”, dual RCA Bluetooth™ connectivity. This allows users to easily integrate mobiles devices into the mix for rehearsal playback, walk-in music and more. Finally, the TASCAM Model 24 can also act as a powerful audio interface and will connect directly to your PC or Mac for easy integration with your DAW of choice.\n<br /><br />\n<h3>Durable and Reliable</h3>\nDesigned to be both lightweight and rugged, the Model 24 can easily be carried from studio to stage with the confidence that TASCAM’s legendary reliability will keep the music going.\n<br /><br />\n<h3>The Tascam Model 24 is an all-in-one live sound mixing and recording solution that features a built-in audio interface to make it perfectly suited to the studio as well. Call or Chat RSPE Audio for more information.</h3>'),(11330,75,1,1889,'<h1>Tascam Model 24 - Multitrack Recorder / Mixer / Interface</h1>\n<i>24 Channel Multitrack Recorder & Analog Mixer with 16 Mic Preamps and Integrated USB Audio Interface</i><br /><br />\nThe Tascam Model 24<span style=\"background-color: initial;\"> is a truly modern take on a classic design. Building on over 40 years of home recording technology, the model 24 is an intuitive, stylish and powerful 24 channel mulititrack recorder and mixer with integrated USB audio interface. Model 24 was developed for easy and immediate operation, with everything you need placed right at your fingertips. 100mm faders allow for precise control over volume. A full set of familiar EQ and Auxiliary knobs remove the need to menu diving, and all input/output connections are all on the surface for quick and easy access.<br /></span><br />\n<h3>Tascam Model 24 Features</h3>\n<ul>\n	<li>All-in-One, Multitrack Recorder with 22 channel Mixer and USB Audio Interface</li>\n	<li>WAV 48kHz/24-bit, 24 channel multitrack recording to SD, SDHC and SDXC cards</li>\n	<li>Built-in USB Audio Interface to send/receive audio data to/from DAW</li>\n	<li>22 Inputs (20 Balanced, 12 Monaural, and 4 Stereo)</li>\n	<li>16 TASCAM Microphone Preamps</li>\n	<li>Input Mode switch on every input channel</li>\n	<li>TASCAM Ultra-HDDA Mic Pre-amp (Channels 1 to 12)</li>\n	<li>Preamp Gain Controller with Overload indicator (Channels 1 to 12)</li>\n	<li>3-band EQ with a sweepable mid-range frequency (Channels 1 to 12)</li>\n	<li>100kHz Low-cut Filter (Channels 1 to 12)</li>\n	<li>7-band Graphic EQ</li>\n	<li>16 Pre-set Effects</li>\n	<li>100mm Long-throw Faders for precise adjustment</li>\n	<li>Mute, Main/Sub, PLF switches on every input channel</li>\n	<li>Bluetooth® input supporting both AAC and SBC codecs</li>\n	<li>SUB Outputs via XLR Balanced and RCA Unbalanced connectors</li>\n	<li>LINE Inputs via RCA Pin and ⅛\" Stereo Mini jacks</li>\n	<li>3 AUX Outputs (Monitor 1, Monitor 2, FX)</li>\n	<li>1 Stereo Output for Control Room</li>\n	<li>Phantom Power (+48V)</li>\n	<li>¼\" Stereo Headphone Output</li>\n	<li>Backlit buttons for key operations such as REC and Play</li>\n	<li>Multi Jog-dial for quick menu operation</li>\n	<li>12-segment LED Output Level Meters</li>\n</ul>\n<br />\n<h3>TASCAM’s Revolutionary Recording Technology</h3>\nFeaturing 16 high-grade TASCAM mic preamps in addition to multiple sets of stereo line inputs, the Model 24 delivers studio quality audio performance right from the start. When it’s time to record The TASCAM Model 24 allows musicians and engineers to capture up to 24 tracks simultaneously (at 24bit/48kHz resolution) directly to the SD card, with the ability to support punch in/out 8 tracks at the same time. And once the take is done, the Model 24 can easily playback any or all of the recorded tracks through the console for immediate mixdown.\n<br /><br />\n<h3>Flexible Connectivity</h3>\nIn addition to the studio quality mic preamps and powerful EQ and routing options the Model 24 features a dedicated stereo channel 1/8”, dual RCA Bluetooth™ connectivity. This allows users to easily integrate mobiles devices into the mix for rehearsal playback, walk-in music and more. Finally, the TASCAM Model 24 can also act as a powerful audio interface and will connect directly to your PC or Mac for easy integration with your DAW of choice.\n<br /><br />\n<h3>Durable and Reliable</h3>\nDesigned to be both lightweight and rugged, the Model 24 can easily be carried from studio to stage with the confidence that TASCAM’s legendary reliability will keep the music going.\n<br /><br />\n<h3>The Tascam Model 24 is an all-in-one live sound mixing and recording solution that features a built-in audio interface to make it perfectly suited to the studio as well. Call or Chat RSPE Audio for more information.</h3>'),(11331,85,0,1889,'Tascam Model 24 - Multitrack Recorder / Mixer / Interface'),(11332,85,1,1889,'Tascam Model 24 - Multitrack Recorder / Mixer / Interface'),(11333,76,0,1889,''),(11334,76,1,1889,''),(11335,75,0,1890,'<h1>Tascam TA-1VP - Antares Auto Tune Vocal Processor</h1>\n<i>The only hardware processor with Auto-Tune real-time pitch correction for flawless vocals in the studio or live.</i><br /><br /><span style=\"background-color: initial;\">The TASCAM TA-1VP vocal processor is a hardware effects processor co-developed with Antares to bring you authentic Auto-Tune pitch correction, microphone modeling, and everything you need for a polished, modern vocal sound, in the studio or live. The rackmount processor includes a microphone preamp, compression, de-essing, microphone & tube modeling and Antares’ world-famous Auto-Tune™ pitch correction. Whether you want gentle, transparent pitch correction or the full-strength effect that\'s required for pop or hip hop vocals, the TA-1VP delivers this sound for you on stage. Perfect for live performance, house of worship or studio use, the TA-1VP brings your vocal sound into the 21st century.<br /></span><br />\n<h3>Tascam TA-1VP Features</h3>\n<ul>\n	<li>Antares Auto-Tune Evo real-time pitch correction with enhanced tracking and correction capabilities</li>\n	<li>Antares Microphone Modeling simulates a variety of high-end studio microphones with variable proximity effect</li>\n	<li>Analog tube modeling effect</li>\n	<li>Variable-knee compression</li>\n	<li>Downward-expanding gate processor</li>\n	<li>Variable frequency de-esser</li>\n	<li>Flexible 2-band parametric EQ</li>\n	<li>Automatic mono or stereo doubletracking</li>\n	<li>User-programmable settings</li>\n	<li>Dynamic MIDI control</li>\n	<li>XLR microphone input with phantom power</li>\n	<li>1/4” balanced line input and output</li>\n	<li>S/PDIF digital output</li>\n	<li>1/4\" footswitch input</li>\n</ul>\n<br />\n<h3>Equipped with Antares Auto-Tune Evo real-time pitch correction</h3>\n	The TA-1VP can output the perfect pitch of entered audio by first correcting it using the installed Antares’ Auto-Tune Evo, autotune software widely used in recording.\n<br /><br />\n	Another feature is the widely-praised TEC Awards-winning Antares’ microphone modeler. In addition, sound inputted into a dynamic microphone can be changed to match the acoustic characteristics of a condenser microphone.\n<br /><br />\n	Furthermore, the tube modeling gives the option of adding warmth characteristics to a vacuum tube.\n<br /><br />\n<h3>Simple-to-use interface and key layout</h3>\n	<span style=\"background-color: initial;\">A high-quality XLR microphone input is provided on the TA-1VP front panel, with phantom power for condenser Mics. Processing is laid out in simple-to-use blocks on the front panel, each with dedicated buttons and meters to show you exactly what’s being done to the signal. Antares’ microphone and tube modeling takes the input signal and gives it the character of another microphone, with a library of classics to choose from.</span>\n<br /><br />\n	The De-essing module removes sibilance from your signal before variable-knee compression and gating. A great-sounding digital EQ is last in the chain before output.<br /><br />\n<span style=\"background-color: initial;\">The Auto-Tune module can be set for any level of pitch correction, in a varitey of user-selectable scales. All settings can be recalled through presets on the front panel or through MIDI.</span>\n<br /><br />\n	Balanced TRS input and outputs are located on the rear panel, including a Double Track out for simulating doubled vocals. A S/PDIF digital output is also provided.\n<br /><br />\n<h3>High-quality microphone amplifier and diverse effectors for professional sounds</h3>\n	<span style=\"background-color: initial;\">The microphone amplifier circuit is at an equivalent level to the TASCAM professional digital mixing console, the DM-4800/3200. In addition, the TA-1VP is equipped with a bypass filter, compressor, gate, de-esser, and equalizer, that all prove to be helpful during vocal processing.</span>\n<br /><br />\n	The simple operation of setting parameters for each device and turning dials allows users to create professional-level sounds.\n<br /><br />\n	The TA-1VP is a must-have processor for vocalists, as it can be applied to a wide range of applications from vocal processing during live concerts and as a microphone amplifier when recording at one’s home.\n<br /><br />\n<h3>The Tascam TA-1VP gives you real-time Auto-Tune pitch correction in a hardware processor perfectly suited for the studio or the stage. Call or Chat RSPE Audio for more information.</h3><br />'),(11336,75,1,1890,'<h1>Tascam TA-1VP - Antares Auto Tune Vocal Processor</h1>\n<i>The only hardware processor with Auto-Tune real-time pitch correction for flawless vocals in the studio or live.</i><br /><br /><span style=\"background-color: initial;\">The TASCAM TA-1VP vocal processor is a hardware effects processor co-developed with Antares to bring you authentic Auto-Tune pitch correction, microphone modeling, and everything you need for a polished, modern vocal sound, in the studio or live. The rackmount processor includes a microphone preamp, compression, de-essing, microphone & tube modeling and Antares’ world-famous Auto-Tune™ pitch correction. Whether you want gentle, transparent pitch correction or the full-strength effect that\'s required for pop or hip hop vocals, the TA-1VP delivers this sound for you on stage. Perfect for live performance, house of worship or studio use, the TA-1VP brings your vocal sound into the 21st century.<br /></span><br />\n<h3>Tascam TA-1VP Features</h3>\n<ul>\n	<li>Antares Auto-Tune Evo real-time pitch correction with enhanced tracking and correction capabilities</li>\n	<li>Antares Microphone Modeling simulates a variety of high-end studio microphones with variable proximity effect</li>\n	<li>Analog tube modeling effect</li>\n	<li>Variable-knee compression</li>\n	<li>Downward-expanding gate processor</li>\n	<li>Variable frequency de-esser</li>\n	<li>Flexible 2-band parametric EQ</li>\n	<li>Automatic mono or stereo doubletracking</li>\n	<li>User-programmable settings</li>\n	<li>Dynamic MIDI control</li>\n	<li>XLR microphone input with phantom power</li>\n	<li>1/4” balanced line input and output</li>\n	<li>S/PDIF digital output</li>\n	<li>1/4\" footswitch input</li>\n</ul>\n<br />\n<h3>Equipped with Antares Auto-Tune Evo real-time pitch correction</h3>\n	The TA-1VP can output the perfect pitch of entered audio by first correcting it using the installed Antares’ Auto-Tune Evo, autotune software widely used in recording.\n<br /><br />\n	Another feature is the widely-praised TEC Awards-winning Antares’ microphone modeler. In addition, sound inputted into a dynamic microphone can be changed to match the acoustic characteristics of a condenser microphone.\n<br /><br />\n	Furthermore, the tube modeling gives the option of adding warmth characteristics to a vacuum tube.\n<br /><br />\n<h3>Simple-to-use interface and key layout</h3>\n	<span style=\"background-color: initial;\">A high-quality XLR microphone input is provided on the TA-1VP front panel, with phantom power for condenser Mics. Processing is laid out in simple-to-use blocks on the front panel, each with dedicated buttons and meters to show you exactly what’s being done to the signal. Antares’ microphone and tube modeling takes the input signal and gives it the character of another microphone, with a library of classics to choose from.</span>\n<br /><br />\n	The De-essing module removes sibilance from your signal before variable-knee compression and gating. A great-sounding digital EQ is last in the chain before output.<br /><br />\n<span style=\"background-color: initial;\">The Auto-Tune module can be set for any level of pitch correction, in a varitey of user-selectable scales. All settings can be recalled through presets on the front panel or through MIDI.</span>\n<br /><br />\n	Balanced TRS input and outputs are located on the rear panel, including a Double Track out for simulating doubled vocals. A S/PDIF digital output is also provided.\n<br /><br />\n<h3>High-quality microphone amplifier and diverse effectors for professional sounds</h3>\n	<span style=\"background-color: initial;\">The microphone amplifier circuit is at an equivalent level to the TASCAM professional digital mixing console, the DM-4800/3200. In addition, the TA-1VP is equipped with a bypass filter, compressor, gate, de-esser, and equalizer, that all prove to be helpful during vocal processing.</span>\n<br /><br />\n	The simple operation of setting parameters for each device and turning dials allows users to create professional-level sounds.\n<br /><br />\n	The TA-1VP is a must-have processor for vocalists, as it can be applied to a wide range of applications from vocal processing during live concerts and as a microphone amplifier when recording at one’s home.\n<br /><br />\n<h3>The Tascam TA-1VP gives you real-time Auto-Tune pitch correction in a hardware processor perfectly suited for the studio or the stage. Call or Chat RSPE Audio for more information.</h3><br />'),(11337,85,0,1890,'Tascam TA-1VP - Antares Auto Tune Vocal Processor'),(11338,85,1,1890,'Tascam TA-1VP - Antares Auto Tune Vocal Processor'),(11339,76,0,1890,''),(11340,76,1,1890,''),(11341,75,0,1891,'<h1>Tascam TH-07 - Studio Monitoring Headphones </h1>\n<i>Closed-back, over ear headphones with high definition sound for mixing, monitoring or just listening to tunes.</i><br /><br />\nThe Tascam <span style=\"background-color: initial;\">TH-07 High Definition Headphone Monitors are premium over-ear studio monitor headphones designed to deliver excellent sound and maximum comfort. Ideal for mixing, monitoring or simply enjoying your favorite albums, TASCAM TH-07 headphones provide a truly inspiring listening experience</span><span style=\"background-color: initial;\">\n<br /><br />\nFeaturing a closed-back design for accurate bass response and excellent bleed rejection, TASCAM TH-07 headphones are the perfect solution for tracking, mixing or any other critical listening duty in the studio. Soft, comfortable earcups and a padded headband ensure a comfortable fit for extended periods - even for those who wear eyeglasses while the unique driver design provides an intimate high-fidelity listening experience.\n<br /><br />\n<h3>Tascam TH-07 Features</h3>\n<ul>\n	<li>10Hz to 30kHz frequency response</li>\n	<li>Sensitivity of 100 +3dB </li>\n	<li>50mm drivers housed in circumaural ear cups deliver a high resolution, comfortable listening experience and excellent sound isolation</li>\n	<li>Ear cups pivot and angle for versatile fit and comfort, and one-ear monitoring</li>\n	<li>Folding design and included carry bag make the TH-07 ideal for both field work and studio duty</li>\n	<li>Includes two detachable cables; short coiled design for close proximity and long straight cable for maximum proximity to audio device</li>\n	<li>Multi-connection 1/8” or 1/4” jack on straight cable; 1/8” connector on coiled cable</li>\n	<li>Soft and pliable leatherette ear cups and head band for maximum comfort: even for long sessions</li>\n	<li>Gold plated connectors</li>\n</ul>\n<br />\n<h3>Design Quality and Specification</h3>\n\nTH-07 has excellent specifications with a frequency response of 10Hz to 30kHz and sensitivity of 100 +3dB.  The custom made 50mm drivers are designed to cover the ear for an intimate listening experience and to replicate every detail of the source material.  The result is headphones which duplicate the audio quality of premium near field monitors but as a personal on-ear listening experience.  The cups are made of soft pliable leatherette to avoid ear fatigue and provide comfort for extended periods.  Each circumaural driver can rotate and be angled for physical flexibility and one-ear monitoring. The padded headband is also designed for comfort and durability.\n<br /><br />\n<h3>Removable Multi-connection Cables</h3>\n\nThe TH-07 comes with two removable cables, both with gold-plated connectors.  One is coiled and shorter in length for connection to close proximity audio devices to avoid “cable dangle”, but with the flexibility to stretch and return if you need to temporarily move away and back.  The other cable is a straight cable (approximately 8.5’) for longer cable run applications. The straight cable has a multi-connector which will accommodate both 1/8” and 1/4” connectors.  The coiled cable has a single 1/8” connector.  \n<br /><br />\n<h3>Accessories Included</h3>\n\nA leatherette carrying bag with a pull-tie closure is also included to protect the TH-07 when not in use and for transporting.\n<br /><br />\n<h3>Whether you\'re mixing, monitoring or just listening to enjoy, the Tascam TH-07 is a comfortable and great sounding headphone that\'s sure to suit your needs. Call or Chat RSPE Audio for more information.</h3>\n</span>'),(11342,75,1,1891,'<h1>Tascam TH-07 - Studio Monitoring Headphones </h1>\n<i>Closed-back, over ear headphones with high definition sound for mixing, monitoring or just listening to tunes.</i><br /><br />\nThe Tascam <span style=\"background-color: initial;\">TH-07 High Definition Headphone Monitors are premium over-ear studio monitor headphones designed to deliver excellent sound and maximum comfort. Ideal for mixing, monitoring or simply enjoying your favorite albums, TASCAM TH-07 headphones provide a truly inspiring listening experience</span><span style=\"background-color: initial;\">\n<br /><br />\nFeaturing a closed-back design for accurate bass response and excellent bleed rejection, TASCAM TH-07 headphones are the perfect solution for tracking, mixing or any other critical listening duty in the studio. Soft, comfortable earcups and a padded headband ensure a comfortable fit for extended periods - even for those who wear eyeglasses while the unique driver design provides an intimate high-fidelity listening experience.\n<br /><br />\n<h3>Tascam TH-07 Features</h3>\n<ul>\n	<li>10Hz to 30kHz frequency response</li>\n	<li>Sensitivity of 100 +3dB </li>\n	<li>50mm drivers housed in circumaural ear cups deliver a high resolution, comfortable listening experience and excellent sound isolation</li>\n	<li>Ear cups pivot and angle for versatile fit and comfort, and one-ear monitoring</li>\n	<li>Folding design and included carry bag make the TH-07 ideal for both field work and studio duty</li>\n	<li>Includes two detachable cables; short coiled design for close proximity and long straight cable for maximum proximity to audio device</li>\n	<li>Multi-connection 1/8” or 1/4” jack on straight cable; 1/8” connector on coiled cable</li>\n	<li>Soft and pliable leatherette ear cups and head band for maximum comfort: even for long sessions</li>\n	<li>Gold plated connectors</li>\n</ul>\n<br />\n<h3>Design Quality and Specification</h3>\n\nTH-07 has excellent specifications with a frequency response of 10Hz to 30kHz and sensitivity of 100 +3dB.  The custom made 50mm drivers are designed to cover the ear for an intimate listening experience and to replicate every detail of the source material.  The result is headphones which duplicate the audio quality of premium near field monitors but as a personal on-ear listening experience.  The cups are made of soft pliable leatherette to avoid ear fatigue and provide comfort for extended periods.  Each circumaural driver can rotate and be angled for physical flexibility and one-ear monitoring. The padded headband is also designed for comfort and durability.\n<br /><br />\n<h3>Removable Multi-connection Cables</h3>\n\nThe TH-07 comes with two removable cables, both with gold-plated connectors.  One is coiled and shorter in length for connection to close proximity audio devices to avoid “cable dangle”, but with the flexibility to stretch and return if you need to temporarily move away and back.  The other cable is a straight cable (approximately 8.5’) for longer cable run applications. The straight cable has a multi-connector which will accommodate both 1/8” and 1/4” connectors.  The coiled cable has a single 1/8” connector.  \n<br /><br />\n<h3>Accessories Included</h3>\n\nA leatherette carrying bag with a pull-tie closure is also included to protect the TH-07 when not in use and for transporting.\n<br /><br />\n<h3>Whether you\'re mixing, monitoring or just listening to enjoy, the Tascam TH-07 is a comfortable and great sounding headphone that\'s sure to suit your needs. Call or Chat RSPE Audio for more information.</h3>\n</span>'),(11343,85,0,1891,'Tascam TH-07 - High Definition Monitor Headphones'),(11344,85,1,1891,'Tascam TH-07 - High Definition Monitor Headphones'),(11345,76,0,1891,''),(11346,76,1,1891,''),(11347,75,0,1892,'<h1>TC Electronic Clarity M V2 - Stereo and 5.1 Audio Loudness Meter</h1>\n<i>Second generation of the Clarity M, with new features in addition to the Stereo and 5.1 Audio Loudness Metering with 7\" High Resolution Display and USB Connection for Plug-In Metering</i><br /><br />\nThe TC Electronic Clarity M Desktop Audio Loudness Meter is the perfect audio toolbox for music creation and sound for picture that helps you make those crucial mix and mastering decisions. Clarity M is an affordable Stereo and 5.1 Audio Meter for Mixing, Mastering and Post Production that features a high resolution 7\" Display and USB Connection for seamless and precise Audio Metering. \n<br /><br />\nThe Clarity M provides a comprehensive set of precision tools essential to the success of any audio producer. Ideally suited to stereo and 5.1 mixing, mastering and post-production, CLARITY M’s 7\" high-resolution LCD display provides a wealth of monitoring information at-a-glance via a single screen. Metering options include; the legendary LM6 Loudness Radar Meter; a state-of-the-art true peak meter; downmix compliance; stereo/surround correlation meters; and a RTA (Real Time Analyzer).\n<br /><br />\nSource inputs come in a vast array of options including: USB for hassle-free VST*, Audio Units* and AAX* plug-in metering; 6 channels of unbalanced AES3 digital audio on 75 Ohm BNC connectors for broadcast-grade 5.1 metering; and stereo optical for maximum flexibility. CLARITY M is fully compliant with all major broadcast standards including ITU BS.1770-4, ATSC A/85, EBU R128, TR-B32 and OP-59, and is recommended for all studio environments.\n<br /><br />\n<h3>Clarity M Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Professional stereo and 5.1 audio meter for mixing, mastering and post production</span></li>\n	<li>7” high resolution LCD display for precision metering in all studio environments</li>\n	<li>USB connection for hassle-free VST*, Audio Units and AAX* plug-in metering</li>\n	<li>Compliant with all major broadcast standards including ITU BS.1770-4, ATSC A/85, EBU R128, TR-B32 and OP-59</li>\n	<li>6 input channels of unbalanced AES3 digital audio on 75 Ohm BNC connectors for broadcast-grade 5.1 metering</li>\n	<li>Legendary LM6 Loudness Radar Meter provides all essential loudness monitoring information on a single screen</li>\n	<li>State-of-the-art true peak meter identifies clipping in DACs, CODECs and downstream filters</li>\n	<li>Downmix compliance meter based on TC Electronic\'s industry-standard loudness measurement algorithms</li>\n	<li>Precision stereo/surround correlation meters </li>\n	<li>High accuracy real time analyzer with 1/3 octave resolution</li>\n	<li>Detailed statistics overview for all key loudness measuring parameters</li>\n	<li>Provision for custom logo on LCD display</li>\n	<li>RAM-mount compatible for wall or ceiling mounting (not included) </li>\n	<li>Stereo Optical Input for TOSLink* source</li>\n	<li>General purpose input (GPI) for meter reset</li>\n	<li>10-Year Warranty Program*</li>\n	<li>Designed and engineered in Denmark</li>\n</ul>\n<br />\n<h3><span style=\"background-color: initial;\">What\'s new in 2.0</span></h3>\n<span style=\"background-color: initial;\"></span>\n<div>\n	This new v2.0 software update is highly music oriented and adds a string of requests from the user community, including:\n</div>\n<ul>\n	<li>Super precise vector scope</li>\n	<li>Support for 96 kHz digital stereo input</li>\n	<li>Innovative stereo mid/side Balance-O-Meter</li>\n	<li>Lightning fast offline plug-in mode</li>\n	<li>Massive increase to the number of PPM meter scales</li>\n	<li>Color scheme tweaks to improve readability - especially in low-light scenarios</li>\n	<li>Highly improved flexibility to display layout</li>\n	<li>A wealth of new application specific presets</li>\n	<li>General improvements to usability</li>\n</ul>\n<br />\n<h3>Audio Toolbox</h3>\n	CLARITY M provides a veritable toolbox of meter types to help you make the right mix and mastering decisions for truly professional recordings.\n<br />\n<br />\n<h4>Vector scope (New in v2.0)</h4>\nBy tracing the left and right audio waveforms into a cloud-like shape, the high precision vector scope coming to Clarity M will help you identify important stereo balance and phase issues in your mix.\n<br />\n<br />\nThe vector scope will automatically scale to the input levels, and you can of course customize the scope color any way you like.\n<br />\n<br />\n<h4>Balance-O-Meter (New in v2.0)</h4>\nThe Balance-O-Meter is an innovative new meter type that allows you to quickly check the Left-Right and Mid-Side balances of your mix.\n<br />\n<br />\n\n<h4>Offline Plug-in Mode</h4>\nGet instant overview of your song by measuring it faster-than-realtime from within your VST, AU or AAX compatible DAW.\n<br />\n<br />\n	\n<h4>New PPM meter scales</h4>\nHighly configurable, full height PPM meter for all sorts of broadcast and music production purposes.\n<br />\n<br />\nThe new scales in Clarity M 2.0 cover a multitude of integration and return times, different Permitted Maximum and Alignment Levels as well as various methods for handling transients in the signal.\n<br />\n<br />\n\n<h4>RTA</h4>\n	The high accuracy RTA with 1/3 octave resolution and individual band zoom provides a great overview of the spectral distribution of your mix.\n<br />\n<br />\n<h4>True-Peak</h4>\n	Based on TC ELECTRONIC’s highly acclaimed True-Peak Technology, the CLARITY M is your guard against otherwise unpredictable clipping.\n<br />\n<br />\n<h4>Loudness Radar</h4>\n	The Loudness Radar is essential when it comes to monitoring the loudness of your mix. With the loudness history overview on the scope, the radar helps get the levels just right, while the momentary loudness in the outer ring keeps an eye on your instant loudness level.\n<br /><br />\n<h4>Loudness Measures</h4>\n	Loudness statistics not only keep you compliant with loudness standards, they also provide crucial information on other important aspects of your mix, such as micro dynamics and macro dynamics.\n<br /><br />\n<h4>Downmix Deviation</h4>\n	The Deviation meter is a fundamental tool to ensure your mix sounds great whether played back in 5.1, stereo or mono. This downmix compatibility meter is based on TC ELECTRONIC’s Loudness Technology, and provides the best means for determining the status of your mix fold down.\n<br /><br />\n<h4>Correlation</h4>\n	Whether you mix in 5.1 surround or stereo, the correlation meter helps identify phasing issues and other anomalies that are easy to miss when relying solely on your ears.\n<br /><br />\n<h3>Multiple Connectivity Options</h3>\n<div>\n	CLARITY M provides a wealth of digital connectivity. Unbalanced AES3 (coaxial) and S/P DIF are available right out of the box, and optional adapters enable you to connect standard AES/EBU with ease. Additionally, you can use the TOSLink* port for optical input and the USB connection to work seamlessly with your favorite DAW.\n</div>\n<br />\n<h3>Seamless Integration with Any DAW</h3>\n<div>\n	While CLARITY M is an exceptional hardware stand-alone desktop meter, it also interacts seamlessly with your DAW workfl ow via plug-in metering – which is available for Pro Tools, Apple Logic Pro, Nuendo, and all other major VST*, AU* or AAX* compatible DAWs. CLARITY M is quite simply the ideal integration of two worlds.\n</div>\n<br />\nThe Clarity M supports plug-in metering via all modern plug-in standards, giving you the freedom to work with any DAW you prefer.\n<ul>\n	<li>Pro Tools (AAX Native)</li>\n	<li>Cubase, Nuendo, Wavelab, Premiere and more (VST)</li>\n	<li>Logic Pro, Final Cut Pro (Audio Units)</li>\n</ul>\n<br /><br />'),(11348,75,1,1892,'<h1>TC Electronic Clarity M V2 - Stereo and 5.1 Audio Loudness Meter</h1>\n<i>Second generation of the Clarity M, with new features in addition to the Stereo and 5.1 Audio Loudness Metering with 7\" High Resolution Display and USB Connection for Plug-In Metering</i><br /><br />\nThe TC Electronic Clarity M Desktop Audio Loudness Meter is the perfect audio toolbox for music creation and sound for picture that helps you make those crucial mix and mastering decisions. Clarity M is an affordable Stereo and 5.1 Audio Meter for Mixing, Mastering and Post Production that features a high resolution 7\" Display and USB Connection for seamless and precise Audio Metering. \n<br /><br />\nThe Clarity M provides a comprehensive set of precision tools essential to the success of any audio producer. Ideally suited to stereo and 5.1 mixing, mastering and post-production, CLARITY M’s 7\" high-resolution LCD display provides a wealth of monitoring information at-a-glance via a single screen. Metering options include; the legendary LM6 Loudness Radar Meter; a state-of-the-art true peak meter; downmix compliance; stereo/surround correlation meters; and a RTA (Real Time Analyzer).\n<br /><br />\nSource inputs come in a vast array of options including: USB for hassle-free VST*, Audio Units* and AAX* plug-in metering; 6 channels of unbalanced AES3 digital audio on 75 Ohm BNC connectors for broadcast-grade 5.1 metering; and stereo optical for maximum flexibility. CLARITY M is fully compliant with all major broadcast standards including ITU BS.1770-4, ATSC A/85, EBU R128, TR-B32 and OP-59, and is recommended for all studio environments.\n<br /><br />\n<h3>Clarity M Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Professional stereo and 5.1 audio meter for mixing, mastering and post production</span></li>\n	<li>7” high resolution LCD display for precision metering in all studio environments</li>\n	<li>USB connection for hassle-free VST*, Audio Units and AAX* plug-in metering</li>\n	<li>Compliant with all major broadcast standards including ITU BS.1770-4, ATSC A/85, EBU R128, TR-B32 and OP-59</li>\n	<li>6 input channels of unbalanced AES3 digital audio on 75 Ohm BNC connectors for broadcast-grade 5.1 metering</li>\n	<li>Legendary LM6 Loudness Radar Meter provides all essential loudness monitoring information on a single screen</li>\n	<li>State-of-the-art true peak meter identifies clipping in DACs, CODECs and downstream filters</li>\n	<li>Downmix compliance meter based on TC Electronic\'s industry-standard loudness measurement algorithms</li>\n	<li>Precision stereo/surround correlation meters </li>\n	<li>High accuracy real time analyzer with 1/3 octave resolution</li>\n	<li>Detailed statistics overview for all key loudness measuring parameters</li>\n	<li>Provision for custom logo on LCD display</li>\n	<li>RAM-mount compatible for wall or ceiling mounting (not included) </li>\n	<li>Stereo Optical Input for TOSLink* source</li>\n	<li>General purpose input (GPI) for meter reset</li>\n	<li>10-Year Warranty Program*</li>\n	<li>Designed and engineered in Denmark</li>\n</ul>\n<br />\n<h3><span style=\"background-color: initial;\">What\'s new in 2.0</span></h3>\n<span style=\"background-color: initial;\"></span>\n<div>\n	This new v2.0 software update is highly music oriented and adds a string of requests from the user community, including:\n</div>\n<ul>\n	<li>Super precise vector scope</li>\n	<li>Support for 96 kHz digital stereo input</li>\n	<li>Innovative stereo mid/side Balance-O-Meter</li>\n	<li>Lightning fast offline plug-in mode</li>\n	<li>Massive increase to the number of PPM meter scales</li>\n	<li>Color scheme tweaks to improve readability - especially in low-light scenarios</li>\n	<li>Highly improved flexibility to display layout</li>\n	<li>A wealth of new application specific presets</li>\n	<li>General improvements to usability</li>\n</ul>\n<br />\n<h3>Audio Toolbox</h3>\n	CLARITY M provides a veritable toolbox of meter types to help you make the right mix and mastering decisions for truly professional recordings.\n<br />\n<br />\n<h4>Vector scope (New in v2.0)</h4>\nBy tracing the left and right audio waveforms into a cloud-like shape, the high precision vector scope coming to Clarity M will help you identify important stereo balance and phase issues in your mix.\n<br />\n<br />\nThe vector scope will automatically scale to the input levels, and you can of course customize the scope color any way you like.\n<br />\n<br />\n<h4>Balance-O-Meter (New in v2.0)</h4>\nThe Balance-O-Meter is an innovative new meter type that allows you to quickly check the Left-Right and Mid-Side balances of your mix.\n<br />\n<br />\n\n<h4>Offline Plug-in Mode</h4>\nGet instant overview of your song by measuring it faster-than-realtime from within your VST, AU or AAX compatible DAW.\n<br />\n<br />\n	\n<h4>New PPM meter scales</h4>\nHighly configurable, full height PPM meter for all sorts of broadcast and music production purposes.\n<br />\n<br />\nThe new scales in Clarity M 2.0 cover a multitude of integration and return times, different Permitted Maximum and Alignment Levels as well as various methods for handling transients in the signal.\n<br />\n<br />\n\n<h4>RTA</h4>\n	The high accuracy RTA with 1/3 octave resolution and individual band zoom provides a great overview of the spectral distribution of your mix.\n<br />\n<br />\n<h4>True-Peak</h4>\n	Based on TC ELECTRONIC’s highly acclaimed True-Peak Technology, the CLARITY M is your guard against otherwise unpredictable clipping.\n<br />\n<br />\n<h4>Loudness Radar</h4>\n	The Loudness Radar is essential when it comes to monitoring the loudness of your mix. With the loudness history overview on the scope, the radar helps get the levels just right, while the momentary loudness in the outer ring keeps an eye on your instant loudness level.\n<br /><br />\n<h4>Loudness Measures</h4>\n	Loudness statistics not only keep you compliant with loudness standards, they also provide crucial information on other important aspects of your mix, such as micro dynamics and macro dynamics.\n<br /><br />\n<h4>Downmix Deviation</h4>\n	The Deviation meter is a fundamental tool to ensure your mix sounds great whether played back in 5.1, stereo or mono. This downmix compatibility meter is based on TC ELECTRONIC’s Loudness Technology, and provides the best means for determining the status of your mix fold down.\n<br /><br />\n<h4>Correlation</h4>\n	Whether you mix in 5.1 surround or stereo, the correlation meter helps identify phasing issues and other anomalies that are easy to miss when relying solely on your ears.\n<br /><br />\n<h3>Multiple Connectivity Options</h3>\n<div>\n	CLARITY M provides a wealth of digital connectivity. Unbalanced AES3 (coaxial) and S/P DIF are available right out of the box, and optional adapters enable you to connect standard AES/EBU with ease. Additionally, you can use the TOSLink* port for optical input and the USB connection to work seamlessly with your favorite DAW.\n</div>\n<br />\n<h3>Seamless Integration with Any DAW</h3>\n<div>\n	While CLARITY M is an exceptional hardware stand-alone desktop meter, it also interacts seamlessly with your DAW workfl ow via plug-in metering – which is available for Pro Tools, Apple Logic Pro, Nuendo, and all other major VST*, AU* or AAX* compatible DAWs. CLARITY M is quite simply the ideal integration of two worlds.\n</div>\n<br />\nThe Clarity M supports plug-in metering via all modern plug-in standards, giving you the freedom to work with any DAW you prefer.\n<ul>\n	<li>Pro Tools (AAX Native)</li>\n	<li>Cubase, Nuendo, Wavelab, Premiere and more (VST)</li>\n	<li>Logic Pro, Final Cut Pro (Audio Units)</li>\n</ul>\n<br /><br />'),(11349,85,0,1892,'TC Electronic Clarity M - Desktop Audio Loudness Meter'),(11350,85,1,1892,'TC Electronic Clarity M - Desktop Audio Loudness Meter'),(11351,76,0,1892,''),(11352,76,1,1892,''),(11353,75,0,1893,'Noise Reduction Algorithm'),(11354,75,1,1893,'Noise Reduction Algorithm'),(11355,85,0,1893,'TC Electronic Backdrop Noise Reduction'),(11356,85,1,1893,'TC Electronic Backdrop Noise Reduction'),(11357,76,0,1893,''),(11358,76,1,1893,''),(11359,75,0,1894,'<h2>TC Electronic Broadcast 6000 MKII</h2><div>We have tailored a special version of System 6000 MKII that is optimized for production with broadcast in mind. It comes fully equipped and gives you a wealth of pristine algorithms. Broadcast 6000 also facilitates live program mixing, making it the ideal solution for sports, gameshows or concerts. Ultimately, during live transmission, Broadcast 6000 becomes your number one toolbox as well as your safety net. Also, by adding more speakers you can upgrade any conventional OB van or stereo editing suite to a full-blown 5.1 studio with loudness meters and calibrated listening.</div><br />\n\n<h3>Tailored for Broadcast</h3><div>Broadcast 6000 is tailormade for broadcast production - post or live alike. Starting in the 80\'s, we pioneered the field of digital audio and later we did the same regarding perceived loudness. Since then, we have provided the pro audio and broadcast markets with state-of-the-art tools. With Broadcast 6000 we have collected all of the tools we know broadcasters use with System 6000. Plus we added our AM6 Annoyance Meter to top off the package. In other words, it has become even easier for you to find the right combination of tools for this legendary platform. We have simply gathered and pre-installed the full package so the system is ready to perform right out of the box. </div><br />\n\n\n<h3>Complete Toolbox</h3><div>Broadcast 6000 includes our legendary LM6 Loudness Radar Meter for a complete loudness overview at a glance, while ALC6 corrects loudness transparently in real time. UnWrap HD lets you upconvert a stereo signal into a convincing 5.1 surround version. Plus you get Dmix to go the other way around - from 5.1 to stereo. For cinema production - such as movie trailers - you get the AM6 Annoyance Meter that complies with the TASA standard. On top of that, you also get a wide variety of tools such as multiband dynamics, EQ, precision summing mixer and 5.1 monitor control.</div><br />\n\n<h3>Proven Platform</h3>\nThe hardware platform of Broadcast 6000 has been tested intensively in the most demanding production environments since 1999. You will find System 6000 in literally thousands of world-leading recording, film, post and mastering studios all over the world, and in quite a few OB vans and broadcast production studios as well. The platform has won no less than three of the prestigious TEC Awards over the years. In 2000 for the original System 6000, in 2005 for Mastering 6000 and in 2010 for System 6000 MKII.'),(11360,75,1,1894,'<h2>TC Electronic Broadcast 6000 MKII</h2><div>We have tailored a special version of System 6000 MKII that is optimized for production with broadcast in mind. It comes fully equipped and gives you a wealth of pristine algorithms. Broadcast 6000 also facilitates live program mixing, making it the ideal solution for sports, gameshows or concerts. Ultimately, during live transmission, Broadcast 6000 becomes your number one toolbox as well as your safety net. Also, by adding more speakers you can upgrade any conventional OB van or stereo editing suite to a full-blown 5.1 studio with loudness meters and calibrated listening.</div><br />\n\n<h3>Tailored for Broadcast</h3><div>Broadcast 6000 is tailormade for broadcast production - post or live alike. Starting in the 80\'s, we pioneered the field of digital audio and later we did the same regarding perceived loudness. Since then, we have provided the pro audio and broadcast markets with state-of-the-art tools. With Broadcast 6000 we have collected all of the tools we know broadcasters use with System 6000. Plus we added our AM6 Annoyance Meter to top off the package. In other words, it has become even easier for you to find the right combination of tools for this legendary platform. We have simply gathered and pre-installed the full package so the system is ready to perform right out of the box. </div><br />\n\n\n<h3>Complete Toolbox</h3><div>Broadcast 6000 includes our legendary LM6 Loudness Radar Meter for a complete loudness overview at a glance, while ALC6 corrects loudness transparently in real time. UnWrap HD lets you upconvert a stereo signal into a convincing 5.1 surround version. Plus you get Dmix to go the other way around - from 5.1 to stereo. For cinema production - such as movie trailers - you get the AM6 Annoyance Meter that complies with the TASA standard. On top of that, you also get a wide variety of tools such as multiband dynamics, EQ, precision summing mixer and 5.1 monitor control.</div><br />\n\n<h3>Proven Platform</h3>\nThe hardware platform of Broadcast 6000 has been tested intensively in the most demanding production environments since 1999. You will find System 6000 in literally thousands of world-leading recording, film, post and mastering studios all over the world, and in quite a few OB vans and broadcast production studios as well. The platform has won no less than three of the prestigious TEC Awards over the years. In 2000 for the original System 6000, in 2005 for Mastering 6000 and in 2010 for System 6000 MKII.'),(11361,85,0,1894,'TC Electronic Broadcast 6000 MKII'),(11362,85,1,1894,'TC Electronic Broadcast 6000 MKII'),(11363,76,0,1894,''),(11364,76,1,1894,''),(11365,75,0,1895,'<h2>TC Electronic Broadcast 6000 MKII with Icon MKII</h2><div>We have tailored a special version of System 6000 MKII that is optimized for production with broadcast in mind. It comes fully equipped and gives you a wealth of pristine algorithms. Broadcast 6000 also facilitates live program mixing, making it the ideal solution for sports, gameshows or concerts. Ultimately, during live transmission, Broadcast 6000 becomes your number one toolbox as well as your safety net. Also, by adding more speakers you can upgrade any conventional OB van or stereo editing suite to a full-blown 5.1 studio with loudness meters and calibrated listening.</div><br />\n\n<h3>Tailored for Broadcast</h3><div>Broadcast 6000 is tailormade for broadcast production - post or live alike. Starting in the 80\'s, we pioneered the field of digital audio and later we did the same regarding perceived loudness. Since then, we have provided the pro audio and broadcast markets with state-of-the-art tools. With Broadcast 6000 we have collected all of the tools we know broadcasters use with System 6000. Plus we added our AM6 Annoyance Meter to top off the package. In other words, it has become even easier for you to find the right combination of tools for this legendary platform. We have simply gathered and pre-installed the full package so the system is ready to perform right out of the box. </div><br />\n\n\n<h3>Complete Toolbox</h3><div>Broadcast 6000 includes our legendary LM6 Loudness Radar Meter for a complete loudness overview at a glance, while ALC6 corrects loudness transparently in real time. UnWrap HD lets you upconvert a stereo signal into a convincing 5.1 surround version. Plus you get Dmix to go the other way around - from 5.1 to stereo. For cinema production - such as movie trailers - you get the AM6 Annoyance Meter that complies with the TASA standard. On top of that, you also get a wide variety of tools such as multiband dynamics, EQ, precision summing mixer and 5.1 monitor control.</div><br />\n\n<h3>Proven Platform</h3>\nThe hardware platform of Broadcast 6000 has been tested intensively in the most demanding production environments since 1999. You will find System 6000 in literally thousands of world-leading recording, film, post and mastering studios all over the world, and in quite a few OB vans and broadcast production studios as well. The platform has won no less than three of the prestigious TEC Awards over the years. In 2000 for the original System 6000, in 2005 for Mastering 6000 and in 2010 for System 6000 MKII.<br /><br /><h3>Total Control with the TC ICON Remote</h3>We know you\'ll love working with our intuitive and innovative TC ICON Remote. We\'ve even included the remote as software so you can also run it on your Mac or PC.<br /><br /><ul><li>Incredibly Fast Touch Screen and Faders Response</li><li>Intuitive and User-friendly Interface</li><li>Controls Even More TC Studio and Broadcast Units with Dual Ethernet and Dual USB Ports</li><li>Integrate Multiple Mainframes and TC ICONS/Editors Into Your Network</li></ul>'),(11366,75,1,1895,'<h2>TC Electronic Broadcast 6000 MKII with Icon MKII</h2><div>We have tailored a special version of System 6000 MKII that is optimized for production with broadcast in mind. It comes fully equipped and gives you a wealth of pristine algorithms. Broadcast 6000 also facilitates live program mixing, making it the ideal solution for sports, gameshows or concerts. Ultimately, during live transmission, Broadcast 6000 becomes your number one toolbox as well as your safety net. Also, by adding more speakers you can upgrade any conventional OB van or stereo editing suite to a full-blown 5.1 studio with loudness meters and calibrated listening.</div><br />\n\n<h3>Tailored for Broadcast</h3><div>Broadcast 6000 is tailormade for broadcast production - post or live alike. Starting in the 80\'s, we pioneered the field of digital audio and later we did the same regarding perceived loudness. Since then, we have provided the pro audio and broadcast markets with state-of-the-art tools. With Broadcast 6000 we have collected all of the tools we know broadcasters use with System 6000. Plus we added our AM6 Annoyance Meter to top off the package. In other words, it has become even easier for you to find the right combination of tools for this legendary platform. We have simply gathered and pre-installed the full package so the system is ready to perform right out of the box. </div><br />\n\n\n<h3>Complete Toolbox</h3><div>Broadcast 6000 includes our legendary LM6 Loudness Radar Meter for a complete loudness overview at a glance, while ALC6 corrects loudness transparently in real time. UnWrap HD lets you upconvert a stereo signal into a convincing 5.1 surround version. Plus you get Dmix to go the other way around - from 5.1 to stereo. For cinema production - such as movie trailers - you get the AM6 Annoyance Meter that complies with the TASA standard. On top of that, you also get a wide variety of tools such as multiband dynamics, EQ, precision summing mixer and 5.1 monitor control.</div><br />\n\n<h3>Proven Platform</h3>\nThe hardware platform of Broadcast 6000 has been tested intensively in the most demanding production environments since 1999. You will find System 6000 in literally thousands of world-leading recording, film, post and mastering studios all over the world, and in quite a few OB vans and broadcast production studios as well. The platform has won no less than three of the prestigious TEC Awards over the years. In 2000 for the original System 6000, in 2005 for Mastering 6000 and in 2010 for System 6000 MKII.<br /><br /><h3>Total Control with the TC ICON Remote</h3>We know you\'ll love working with our intuitive and innovative TC ICON Remote. We\'ve even included the remote as software so you can also run it on your Mac or PC.<br /><br /><ul><li>Incredibly Fast Touch Screen and Faders Response</li><li>Intuitive and User-friendly Interface</li><li>Controls Even More TC Studio and Broadcast Units with Dual Ethernet and Dual USB Ports</li><li>Integrate Multiple Mainframes and TC ICONS/Editors Into Your Network</li></ul>'),(11367,85,0,1895,'TC Electronic Broadcast 6000 MKII with Icon MKII'),(11368,85,1,1895,'TC Electronic Broadcast 6000 MKII with Icon MKII'),(11369,76,0,1895,''),(11370,76,1,1895,''),(11371,75,0,1896,'<h2>TC Electronic Film 6000 MKII</h2><div><div>Film 6000 is - as the name implies - a special version of System 6000 MKII that is tailored for film production, offering all of the tools you need when creating and mixing audio for film. When working with multichannel formats in film, it is absolutely key that your sense of space is consistent across channel formats. Many reverbs will get more subtle, or almost seem to fade away, when going from 5.1 surround to stereo. This is not the case with the pristine reverbs of Film 6000 that appear equally vivid, realistic and crystal-clear whether in mono, stereo, 5.1, 7.1 or extreme multichannel formats like Auro and Dolby Atmos.</div><div>Film 6000 will be available December 2013.</div></div><br />\n\n<h3>Tailored for Film</h3><div>Broadcast 6000 is tailormade for broadcast production - post or live alike. Starting in the 80\'s, we pioneered the field of digital audio and later we did the same regarding perceived loudness. Since then, we have provided the pro audio and broadcast markets with state-of-the-art tools. With Broadcast 6000 we have collected all of the tools we know broadcasters use with System 6000. Plus we added our AM6 Annoyance Meter to top off the package. In other words, it has become even easier for you to find the right combination of tools for this legendary platform. We have simply gathered and pre-installed the full package so the system is ready to perform right out of the box. </div><br />\n\n\n<h3>Complete Toolbox</h3><div>Broadcast 6000 includes our legendary LM6 Loudness Radar Meter for a complete loudness overview at a glance, while ALC6 corrects loudness transparently in real time. UnWrap HD lets you upconvert a stereo signal into a convincing 5.1 surround version. Plus you get Dmix to go the other way around - from 5.1 to stereo. For cinema production - such as movie trailers - you get the AM6 Annoyance Meter that complies with the TASA standard. On top of that, you also get a wide variety of tools such as multiband dynamics, EQ, precision summing mixer and 5.1 monitor control.</div><br />\n\n<h3>Proven Platform</h3>\nThe hardware platform of Film 6000 has been tested intensively in the most demanding production environments since 1999. You will find System 6000 in literally thousands of world-leading recording, film, post and mastering studios all over the world, and in quite a few OB vans and broadcast production studios as well. The platform has won no less than three of the prestigious TEC Awards over the years. In 2000 for the original System 6000, in 2005 for Mastering 6000 and in 2010 for System 6000 MKII.'),(11372,75,1,1896,'<h2>TC Electronic Film 6000 MKII</h2><div><div>Film 6000 is - as the name implies - a special version of System 6000 MKII that is tailored for film production, offering all of the tools you need when creating and mixing audio for film. When working with multichannel formats in film, it is absolutely key that your sense of space is consistent across channel formats. Many reverbs will get more subtle, or almost seem to fade away, when going from 5.1 surround to stereo. This is not the case with the pristine reverbs of Film 6000 that appear equally vivid, realistic and crystal-clear whether in mono, stereo, 5.1, 7.1 or extreme multichannel formats like Auro and Dolby Atmos.</div><div>Film 6000 will be available December 2013.</div></div><br />\n\n<h3>Tailored for Film</h3><div>Broadcast 6000 is tailormade for broadcast production - post or live alike. Starting in the 80\'s, we pioneered the field of digital audio and later we did the same regarding perceived loudness. Since then, we have provided the pro audio and broadcast markets with state-of-the-art tools. With Broadcast 6000 we have collected all of the tools we know broadcasters use with System 6000. Plus we added our AM6 Annoyance Meter to top off the package. In other words, it has become even easier for you to find the right combination of tools for this legendary platform. We have simply gathered and pre-installed the full package so the system is ready to perform right out of the box. </div><br />\n\n\n<h3>Complete Toolbox</h3><div>Broadcast 6000 includes our legendary LM6 Loudness Radar Meter for a complete loudness overview at a glance, while ALC6 corrects loudness transparently in real time. UnWrap HD lets you upconvert a stereo signal into a convincing 5.1 surround version. Plus you get Dmix to go the other way around - from 5.1 to stereo. For cinema production - such as movie trailers - you get the AM6 Annoyance Meter that complies with the TASA standard. On top of that, you also get a wide variety of tools such as multiband dynamics, EQ, precision summing mixer and 5.1 monitor control.</div><br />\n\n<h3>Proven Platform</h3>\nThe hardware platform of Film 6000 has been tested intensively in the most demanding production environments since 1999. You will find System 6000 in literally thousands of world-leading recording, film, post and mastering studios all over the world, and in quite a few OB vans and broadcast production studios as well. The platform has won no less than three of the prestigious TEC Awards over the years. In 2000 for the original System 6000, in 2005 for Mastering 6000 and in 2010 for System 6000 MKII.'),(11373,85,0,1896,'TC Electronic Film 6000 MKII'),(11374,85,1,1896,'TC Electronic Film 6000 MKII'),(11375,76,0,1896,''),(11376,76,1,1896,''),(11377,75,0,1897,'<h2>TC Electronic Film 6000 MKII with Icon MKII</h2><div><div>Film 6000 is - as the name implies - a special version of System 6000 MKII that is tailored for film production, offering all of the tools you need when creating and mixing audio for film. When working with multichannel formats in film, it is absolutely key that your sense of space is consistent across channel formats. Many reverbs will get more subtle, or almost seem to fade away, when going from 5.1 surround to stereo. This is not the case with the pristine reverbs of Film 6000 that appear equally vivid, realistic and crystal-clear whether in mono, stereo, 5.1, 7.1 or extreme multichannel formats like Auro and Dolby Atmos.</div><div>Film 6000 will be available December 2013.</div></div><br />\n\n<h3>Tailored for Film</h3><div>Broadcast 6000 is tailormade for broadcast production - post or live alike. Starting in the 80\'s, we pioneered the field of digital audio and later we did the same regarding perceived loudness. Since then, we have provided the pro audio and broadcast markets with state-of-the-art tools. With Broadcast 6000 we have collected all of the tools we know broadcasters use with System 6000. Plus we added our AM6 Annoyance Meter to top off the package. In other words, it has become even easier for you to find the right combination of tools for this legendary platform. We have simply gathered and pre-installed the full package so the system is ready to perform right out of the box. </div><br />\n\n\n<h3>Complete Toolbox</h3><div>Broadcast 6000 includes our legendary LM6 Loudness Radar Meter for a complete loudness overview at a glance, while ALC6 corrects loudness transparently in real time. UnWrap HD lets you upconvert a stereo signal into a convincing 5.1 surround version. Plus you get Dmix to go the other way around - from 5.1 to stereo. For cinema production - such as movie trailers - you get the AM6 Annoyance Meter that complies with the TASA standard. On top of that, you also get a wide variety of tools such as multiband dynamics, EQ, precision summing mixer and 5.1 monitor control.</div><br />\n\n<h3>Proven Platform</h3>\nThe hardware platform of Film 6000 has been tested intensively in the most demanding production environments since 1999. You will find System 6000 in literally thousands of world-leading recording, film, post and mastering studios all over the world, and in quite a few OB vans and broadcast production studios as well. The platform has won no less than three of the prestigious TEC Awards over the years. In 2000 for the original System 6000, in 2005 for Mastering 6000 and in 2010 for System 6000 MKII.<br /><br /><h3>Total Control with the TC ICON Remote</h3>We know you\'ll love working with our intuitive and innovative TC ICON Remote. We\'ve even included the remote as software so you can also run it on your Mac or PC.<br /><br /><ul><li>Incredibly Fast Touch Screen and Faders Response</li><li>Intuitive and User-friendly Interface</li><li>Controls Even More TC Studio and Broadcast Units with Dual Ethernet and Dual USB Ports</li><li>Integrate Multiple Mainframes and TC ICONS/Editors Into Your Network</li></ul>'),(11378,75,1,1897,'<h2>TC Electronic Film 6000 MKII with Icon MKII</h2><div><div>Film 6000 is - as the name implies - a special version of System 6000 MKII that is tailored for film production, offering all of the tools you need when creating and mixing audio for film. When working with multichannel formats in film, it is absolutely key that your sense of space is consistent across channel formats. Many reverbs will get more subtle, or almost seem to fade away, when going from 5.1 surround to stereo. This is not the case with the pristine reverbs of Film 6000 that appear equally vivid, realistic and crystal-clear whether in mono, stereo, 5.1, 7.1 or extreme multichannel formats like Auro and Dolby Atmos.</div><div>Film 6000 will be available December 2013.</div></div><br />\n\n<h3>Tailored for Film</h3><div>Broadcast 6000 is tailormade for broadcast production - post or live alike. Starting in the 80\'s, we pioneered the field of digital audio and later we did the same regarding perceived loudness. Since then, we have provided the pro audio and broadcast markets with state-of-the-art tools. With Broadcast 6000 we have collected all of the tools we know broadcasters use with System 6000. Plus we added our AM6 Annoyance Meter to top off the package. In other words, it has become even easier for you to find the right combination of tools for this legendary platform. We have simply gathered and pre-installed the full package so the system is ready to perform right out of the box. </div><br />\n\n\n<h3>Complete Toolbox</h3><div>Broadcast 6000 includes our legendary LM6 Loudness Radar Meter for a complete loudness overview at a glance, while ALC6 corrects loudness transparently in real time. UnWrap HD lets you upconvert a stereo signal into a convincing 5.1 surround version. Plus you get Dmix to go the other way around - from 5.1 to stereo. For cinema production - such as movie trailers - you get the AM6 Annoyance Meter that complies with the TASA standard. On top of that, you also get a wide variety of tools such as multiband dynamics, EQ, precision summing mixer and 5.1 monitor control.</div><br />\n\n<h3>Proven Platform</h3>\nThe hardware platform of Film 6000 has been tested intensively in the most demanding production environments since 1999. You will find System 6000 in literally thousands of world-leading recording, film, post and mastering studios all over the world, and in quite a few OB vans and broadcast production studios as well. The platform has won no less than three of the prestigious TEC Awards over the years. In 2000 for the original System 6000, in 2005 for Mastering 6000 and in 2010 for System 6000 MKII.<br /><br /><h3>Total Control with the TC ICON Remote</h3>We know you\'ll love working with our intuitive and innovative TC ICON Remote. We\'ve even included the remote as software so you can also run it on your Mac or PC.<br /><br /><ul><li>Incredibly Fast Touch Screen and Faders Response</li><li>Intuitive and User-friendly Interface</li><li>Controls Even More TC Studio and Broadcast Units with Dual Ethernet and Dual USB Ports</li><li>Integrate Multiple Mainframes and TC ICONS/Editors Into Your Network</li></ul>'),(11379,85,0,1897,'TC Electronic Film 6000 MKII with Icon MKII'),(11380,85,1,1897,'TC Electronic Film 6000 MKII with Icon MKII'),(11381,76,0,1897,''),(11382,76,1,1897,''),(11383,75,0,1898,'For decades, we have explored and pioneered the field of digital audio and loudness metering, offering state of the art tools that let you measure, correct and convert audio for a wide variety of applications.\nWith LM2, you get a full-featured stereo loudness and true-peak level meter which is perfect not only for post, film and live production, but also for broadcast ingest, linking and transmission.\n\nWhen you need to comply with broadcast standards, the numbers are paramount, and on LM2’s front panel, you can check the all-important digits instantly. For even more loudness details, simply connect LM2 to a PC or Mac via USB and you get full, realtime Radar screen picture using the included Icon application.\n\nIn short, with LM2 we stay true to our pioneering obligations and are proud to present you with next generation metering!'),(11384,75,1,1898,'For decades, we have explored and pioneered the field of digital audio and loudness metering, offering state of the art tools that let you measure, correct and convert audio for a wide variety of applications.\nWith LM2, you get a full-featured stereo loudness and true-peak level meter which is perfect not only for post, film and live production, but also for broadcast ingest, linking and transmission.\n\nWhen you need to comply with broadcast standards, the numbers are paramount, and on LM2’s front panel, you can check the all-important digits instantly. For even more loudness details, simply connect LM2 to a PC or Mac via USB and you get full, realtime Radar screen picture using the included Icon application.\n\nIn short, with LM2 we stay true to our pioneering obligations and are proud to present you with next generation metering!'),(11385,85,0,1898,'TC Electronic LM2 Precision Loudness and True-Peak Meter'),(11386,85,1,1898,'TC Electronic LM2 Precision Loudness and True-Peak Meter'),(11387,76,0,1898,''),(11388,76,1,1898,''),(11389,75,0,1899,'MD4 is an extremely advanced, high-resolution, multiband dynamics algorithm, featuring no less than five individual bands with phase linear reconstruction.\n\nMastering and More...\nYou can operate MD4 in several different ways, including the innovative DXP mode that allows you to lift up low-level detail individually in each band. Therefore, MD4 is perfectly suited for traditional mastering, but you can also use it for converting film to domestic dynamic range, or to process single sources such as vocal, dialogue or acoustic instruments.\n\nConfiguration and More...\nAll processing is done at pristine 48-bit resolution and can be configured to operate in stereo as well as dual mono, or it can be applied surgically to the M and S part of a stereo signal. For example, equalization and compression can target the center or L/R components of a mix to bring out certain elements, or adjust the width.'),(11390,75,1,1899,'MD4 is an extremely advanced, high-resolution, multiband dynamics algorithm, featuring no less than five individual bands with phase linear reconstruction.\n\nMastering and More...\nYou can operate MD4 in several different ways, including the innovative DXP mode that allows you to lift up low-level detail individually in each band. Therefore, MD4 is perfectly suited for traditional mastering, but you can also use it for converting film to domestic dynamic range, or to process single sources such as vocal, dialogue or acoustic instruments.\n\nConfiguration and More...\nAll processing is done at pristine 48-bit resolution and can be configured to operate in stereo as well as dual mono, or it can be applied surgically to the M and S part of a stereo signal. For example, equalization and compression can target the center or L/R components of a mix to bring out certain elements, or adjust the width.'),(11391,85,0,1899,'TC Electronic MD4'),(11392,85,1,1899,'TC Electronic MD4'),(11393,76,0,1899,''),(11394,76,1,1899,''),(11395,75,0,1900,'There can be absolutely no doubt that George Massenburg has a great sense of audio, and the MDW® HiRes EQ has been developed strictly to his personal specifications. As the MDW® design complements the TC Electronic EQ alternatives, you simply get the opportunity to choose between several desirable EQ flavors, each with their own specific advantages.\n\nStereo and Surround\nWith this algorithm running on a System 6000, you get a pristine 48-bit precision signal path from input to output. Further, you get both 2 and 6 channel configurations with flexible linking and absolute/relative real-time adjustment properties. The 6-channel version features 6 identical channels making it equally suitable for processing 5.1 and 6.0 signals.\n\nUps and Downs\nIn order to replicate the most precise behavior of a true analog EQ and to minimize potential alias distortion, the MDW® HiRes EQ uses a special approach. In short, if your sample rate is 44.1 or 48kHz, the signal will be up-sampled to double rate, processed and, then, down-sampled to the original rate. Obviously, the EQ can also be operated at 88.2 or 96kHz, and, in this case, up/down sampling is bypassed, providing a bit transparent signal path at unity gain.\n\n5 Flexible Bands\nThe EQs feature 5 parametric bands per channel, and you can configure outer bands as shelving or 2nd order filters (Butterworth). Further, you can switch Band 1 filters between 2nd and 4th order, and all five bands cover the complete frequency range. Finally, each parametric or shelving band is capable of cutting/boosting over a +/-25 dB range.'),(11396,75,1,1900,'There can be absolutely no doubt that George Massenburg has a great sense of audio, and the MDW® HiRes EQ has been developed strictly to his personal specifications. As the MDW® design complements the TC Electronic EQ alternatives, you simply get the opportunity to choose between several desirable EQ flavors, each with their own specific advantages.\n\nStereo and Surround\nWith this algorithm running on a System 6000, you get a pristine 48-bit precision signal path from input to output. Further, you get both 2 and 6 channel configurations with flexible linking and absolute/relative real-time adjustment properties. The 6-channel version features 6 identical channels making it equally suitable for processing 5.1 and 6.0 signals.\n\nUps and Downs\nIn order to replicate the most precise behavior of a true analog EQ and to minimize potential alias distortion, the MDW® HiRes EQ uses a special approach. In short, if your sample rate is 44.1 or 48kHz, the signal will be up-sampled to double rate, processed and, then, down-sampled to the original rate. Obviously, the EQ can also be operated at 88.2 or 96kHz, and, in this case, up/down sampling is bypassed, providing a bit transparent signal path at unity gain.\n\n5 Flexible Bands\nThe EQs feature 5 parametric bands per channel, and you can configure outer bands as shelving or 2nd order filters (Butterworth). Further, you can switch Band 1 filters between 2nd and 4th order, and all five bands cover the complete frequency range. Finally, each parametric or shelving band is capable of cutting/boosting over a +/-25 dB range.'),(11397,85,0,1900,'TC Electronic Massenburg Design Works Hi-Res EQ'),(11398,85,1,1900,'TC Electronic Massenburg Design Works Hi-Res EQ'),(11399,76,0,1900,''),(11400,76,1,1900,''),(11401,75,0,1901,'<h2>TC Electronic Mastering 6000 MKII</h2>\n\nMastering 6000 is a legacy product, having served in thousands of high-profiled mastering studios since 1999.Over the years, new mastering algorithms have been introduced, but with the latest incarnation of Mastering 6000 a whole new chapter has been written. Mastering 6000 simply comes with more pristine tools under the hood than ever before.Tailored entirely for mastering, you will not find a more complete high-end mastering solution anywhere. <br /><br />\n\n<h3>Tailored for Mastering</h3>\nAs the name implies, Mastering 6000 is all about audio mastering.Starting in the 80\'s, we pioneered the field of digital audio and later we did the same regarding perceived loudness. Since then, we have provided the pro audio and broadcast markets with state-of-the-art tools.With Mastering 6000 we have collected all of the tools we know the world\'s most respected mastering engineers use with System 6000.  In other words, it has become even easier for you to find the right combination of tools for this legendary platform. We have simply gathered and pre-installed the full package so the system is ready to perform right out of the box.<br /><br />\n\n\n<h3>Treat Your Master Track</h3>\nMastering 6000 includes the finest stereo and multichannel dynamics tools known to audio: MDX 5.1, MD 5.1, MD3 and MD4. All of these algorithms work with multiple bands of dynamics control, and as a final safety net, you also get the legendary Brickwall 2 Limiter. EQ is also essential in mastering, so we have added EQ 5.1 and the amazing MDW Hires EQ by George Massenburg Labs.  To meet loudness delivery specs for broadcast, you also get the LM6 Loudness Radar Meter, and if you need to deliver in 5.1 surround, UnWrap HD lets you upconvert a stereo signal into a convincing 5.1 surround version. Finally, you will get Matrix 88, Varipitch 8 and Tolbox 5.1 for your surround mastering sessions.<br /><br />\n\n<h3>Proven Platform</h3>\nThe hardware platform of Mastering 6000 has been tested intensively in the most demanding production environments since 1999. You will find System 6000 in literally thousands of world-leading mastering, recording, film and post studios all over the world, and in quite a few OB vans and broadcast production studios as well.The platform has won no less than three of the prestigious TEC Awards over the years. In 2000 for the original System 6000, in 2005 for Mastering 6000 and in 2010 for System 6000 MKII.'),(11402,75,1,1901,'<h2>TC Electronic Mastering 6000 MKII</h2>\n\nMastering 6000 is a legacy product, having served in thousands of high-profiled mastering studios since 1999.Over the years, new mastering algorithms have been introduced, but with the latest incarnation of Mastering 6000 a whole new chapter has been written. Mastering 6000 simply comes with more pristine tools under the hood than ever before.Tailored entirely for mastering, you will not find a more complete high-end mastering solution anywhere. <br /><br />\n\n<h3>Tailored for Mastering</h3>\nAs the name implies, Mastering 6000 is all about audio mastering.Starting in the 80\'s, we pioneered the field of digital audio and later we did the same regarding perceived loudness. Since then, we have provided the pro audio and broadcast markets with state-of-the-art tools.With Mastering 6000 we have collected all of the tools we know the world\'s most respected mastering engineers use with System 6000.  In other words, it has become even easier for you to find the right combination of tools for this legendary platform. We have simply gathered and pre-installed the full package so the system is ready to perform right out of the box.<br /><br />\n\n\n<h3>Treat Your Master Track</h3>\nMastering 6000 includes the finest stereo and multichannel dynamics tools known to audio: MDX 5.1, MD 5.1, MD3 and MD4. All of these algorithms work with multiple bands of dynamics control, and as a final safety net, you also get the legendary Brickwall 2 Limiter. EQ is also essential in mastering, so we have added EQ 5.1 and the amazing MDW Hires EQ by George Massenburg Labs.  To meet loudness delivery specs for broadcast, you also get the LM6 Loudness Radar Meter, and if you need to deliver in 5.1 surround, UnWrap HD lets you upconvert a stereo signal into a convincing 5.1 surround version. Finally, you will get Matrix 88, Varipitch 8 and Tolbox 5.1 for your surround mastering sessions.<br /><br />\n\n<h3>Proven Platform</h3>\nThe hardware platform of Mastering 6000 has been tested intensively in the most demanding production environments since 1999. You will find System 6000 in literally thousands of world-leading mastering, recording, film and post studios all over the world, and in quite a few OB vans and broadcast production studios as well.The platform has won no less than three of the prestigious TEC Awards over the years. In 2000 for the original System 6000, in 2005 for Mastering 6000 and in 2010 for System 6000 MKII.'),(11403,85,0,1901,'TC Electronic Mastering 6000 MKII'),(11404,85,1,1901,'TC Electronic Mastering 6000 MKII'),(11405,76,0,1901,''),(11406,76,1,1901,''),(11407,75,0,1902,'<h2>TC Electronic Mastering 6000 MKII with Icon MKII</h2>\nMastering 6000 is a legacy product, having served in thousands of high-profiled mastering studios since 1999.Over the years, new mastering algorithms have been introduced, but with the latest incarnation of Mastering 6000 a whole new chapter has been written. Mastering 6000 simply comes with more pristine tools under the hood than ever before.Tailored entirely for mastering, you will not find a more complete high-end mastering solution anywhere. \n<br /><br />\n<h3>Tailored for Mastering</h3>\nAs the name implies, Mastering 6000 is all about audio mastering.Starting in the 80\'s, we pioneered the field of digital audio and later we did the same regarding perceived loudness. Since then, we have provided the pro audio and broadcast markets with state-of-the-art tools.With Mastering 6000 we have collected all of the tools we know the world\'s most respected mastering engineers use with System 6000.  In other words, it has become even easier for you to find the right combination of tools for this legendary platform. We have simply gathered and pre-installed the full package so the system is ready to perform right out of the box.\n<br /><br />\n<h3>Treat Your Master Track</h3>\nMastering 6000 includes the finest stereo and multichannel dynamics tools known to audio: MDX 5.1, MD 5.1, MD3 and MD4. All of these algorithms work with multiple bands of dynamics control, and as a final safety net, you also get the legendary Brickwall 2 Limiter. EQ is also essential in mastering, so we have added EQ 5.1 and the amazing MDW Hires EQ by George Massenburg Labs.  To meet loudness delivery specs for broadcast, you also get the LM6 Loudness Radar Meter, and if you need to deliver in 5.1 surround, UnWrap HD lets you upconvert a stereo signal into a convincing 5.1 surround version. Finally, you will get Matrix 88, Varipitch 8 and Tolbox 5.1 for your surround mastering sessions.\n<br /><br />\n<h3>Proven Platform</h3>\nThe hardware platform of Mastering 6000 has been tested intensively in the most demanding production environments since 1999. You will find System 6000 in literally thousands of world-leading mastering, recording, film and post studios all over the world, and in quite a few OB vans and broadcast production studios as well.The platform has won no less than three of the prestigious TEC Awards over the years. In 2000 for the original System 6000, in 2005 for Mastering 6000 and in 2010 for System 6000 MKII.<br /><br />\n\n<h3>Total Control with the TC ICON Remote</h3>\nWe know you\'ll love working with our intuitive and innovative TC ICON Remote. We\'ve even included the remote as software so you can also run it on your Mac or PC.<br /><br />\n<ul>\n<li>Incredibly Fast Touch Screen and Faders Response                                      </li>\n<li>Intuitive and User-friendly Interface                                                 </li>\n<li>Controls Even More TC Studio and Broadcast Units with Dual Ethernet and Dual USB Ports</li>\n<li>Integrate Multiple Mainframes and TC ICONS/Editors Into Your Network                  </li>\n</ul>'),(11408,75,1,1902,'<h2>TC Electronic Mastering 6000 MKII with Icon MKII</h2>\nMastering 6000 is a legacy product, having served in thousands of high-profiled mastering studios since 1999.Over the years, new mastering algorithms have been introduced, but with the latest incarnation of Mastering 6000 a whole new chapter has been written. Mastering 6000 simply comes with more pristine tools under the hood than ever before.Tailored entirely for mastering, you will not find a more complete high-end mastering solution anywhere. \n<br /><br />\n<h3>Tailored for Mastering</h3>\nAs the name implies, Mastering 6000 is all about audio mastering.Starting in the 80\'s, we pioneered the field of digital audio and later we did the same regarding perceived loudness. Since then, we have provided the pro audio and broadcast markets with state-of-the-art tools.With Mastering 6000 we have collected all of the tools we know the world\'s most respected mastering engineers use with System 6000.  In other words, it has become even easier for you to find the right combination of tools for this legendary platform. We have simply gathered and pre-installed the full package so the system is ready to perform right out of the box.\n<br /><br />\n<h3>Treat Your Master Track</h3>\nMastering 6000 includes the finest stereo and multichannel dynamics tools known to audio: MDX 5.1, MD 5.1, MD3 and MD4. All of these algorithms work with multiple bands of dynamics control, and as a final safety net, you also get the legendary Brickwall 2 Limiter. EQ is also essential in mastering, so we have added EQ 5.1 and the amazing MDW Hires EQ by George Massenburg Labs.  To meet loudness delivery specs for broadcast, you also get the LM6 Loudness Radar Meter, and if you need to deliver in 5.1 surround, UnWrap HD lets you upconvert a stereo signal into a convincing 5.1 surround version. Finally, you will get Matrix 88, Varipitch 8 and Tolbox 5.1 for your surround mastering sessions.\n<br /><br />\n<h3>Proven Platform</h3>\nThe hardware platform of Mastering 6000 has been tested intensively in the most demanding production environments since 1999. You will find System 6000 in literally thousands of world-leading mastering, recording, film and post studios all over the world, and in quite a few OB vans and broadcast production studios as well.The platform has won no less than three of the prestigious TEC Awards over the years. In 2000 for the original System 6000, in 2005 for Mastering 6000 and in 2010 for System 6000 MKII.<br /><br />\n\n<h3>Total Control with the TC ICON Remote</h3>\nWe know you\'ll love working with our intuitive and innovative TC ICON Remote. We\'ve even included the remote as software so you can also run it on your Mac or PC.<br /><br />\n<ul>\n<li>Incredibly Fast Touch Screen and Faders Response                                      </li>\n<li>Intuitive and User-friendly Interface                                                 </li>\n<li>Controls Even More TC Studio and Broadcast Units with Dual Ethernet and Dual USB Ports</li>\n<li>Integrate Multiple Mainframes and TC ICONS/Editors Into Your Network                  </li>\n</ul>'),(11409,85,0,1902,'TC Electronic Mastering 6000 MKII with Icon MKII'),(11410,85,1,1902,'TC Electronic Mastering 6000 MKII with Icon MKII'),(11411,76,0,1902,''),(11412,76,1,1902,''),(11413,75,0,1903,'<h2>TC Electronic Music 6000 MKII</h2><div><div>We have tailored a special version of System 6000 MKII that is optimized for all types of music production. We love music and want it sound its best at all times, so developing the best tools and effects for music production was second nature to us. You can use it for any type of music production and in every stage of your production. Create amazing spaces and control your dynamics in a subtle and transparent way - or compress harder and go for extreme effects for creative purposes. The choice is yours. We just offer you the best tools known to audio.</div></div><br />\n\n<h3>Tailored for Music</h3><div><div>Music 6000 is tailormade for music production in all forms. Regardless of whether you\'re tracking and need to setup a bit of subtle comfort reverb for the performer, or have reached the mixing stage, Music 6000 delivers all of your favorite tools and effects. You can even keep an eye on your loudness level at all times with the LM6 Loudness Radar Meter, which is particularly important if your content is meant for broadcast. In other words, it has become even easier for you to find the right combination of tools for this legendary platform. We have simply gathered and pre-installed all the tools relevant for music production so the system is ready to perform right out of the box.</div></div><br />\n\n\n<h3>Cover Your Spaces</h3><div><div>Music 6000 gives you no less than 18 pristine, multichannel and stereo reverbs plus the M5000 state-of-the-art delay, chorus and phaser effects as well as hundreds of presets. For dynamics processing, our acclaimed MD3 and MD4 multiband compressors as well as Brickwall Limiter 2 have you covered. Also included is Matrix 88, a digital 8-channel summing mixer, offering upsampled limiting, 48 bit summing, accurate delays and bit transparency. On top of this, you get our famous LM6 Loudness Radar Meter and the unmatched, sweet MDW HiRes EQ developed strictly to the personal specifications of the legendary George Massenburg.</div></div><br />\n\n<h3>Proven Platform</h3><div>The hardware platform of Music 6000 has been tested intensively in the most demanding production environments since 1999. You will find System 6000 in literally thousands of world-leading recording, film, post and mastering studios all over the world, and in quite a few OB vans and broadcast production studios as well. The platform has won no less than three of the prestigious TEC Awards over the years. In 2000 for the original System 6000, in 2005 for Mastering 6000 and in 2010 for System 6000 MKII.</div><br />'),(11414,75,1,1903,'<h2>TC Electronic Music 6000 MKII</h2><div><div>We have tailored a special version of System 6000 MKII that is optimized for all types of music production. We love music and want it sound its best at all times, so developing the best tools and effects for music production was second nature to us. You can use it for any type of music production and in every stage of your production. Create amazing spaces and control your dynamics in a subtle and transparent way - or compress harder and go for extreme effects for creative purposes. The choice is yours. We just offer you the best tools known to audio.</div></div><br />\n\n<h3>Tailored for Music</h3><div><div>Music 6000 is tailormade for music production in all forms. Regardless of whether you\'re tracking and need to setup a bit of subtle comfort reverb for the performer, or have reached the mixing stage, Music 6000 delivers all of your favorite tools and effects. You can even keep an eye on your loudness level at all times with the LM6 Loudness Radar Meter, which is particularly important if your content is meant for broadcast. In other words, it has become even easier for you to find the right combination of tools for this legendary platform. We have simply gathered and pre-installed all the tools relevant for music production so the system is ready to perform right out of the box.</div></div><br />\n\n\n<h3>Cover Your Spaces</h3><div><div>Music 6000 gives you no less than 18 pristine, multichannel and stereo reverbs plus the M5000 state-of-the-art delay, chorus and phaser effects as well as hundreds of presets. For dynamics processing, our acclaimed MD3 and MD4 multiband compressors as well as Brickwall Limiter 2 have you covered. Also included is Matrix 88, a digital 8-channel summing mixer, offering upsampled limiting, 48 bit summing, accurate delays and bit transparency. On top of this, you get our famous LM6 Loudness Radar Meter and the unmatched, sweet MDW HiRes EQ developed strictly to the personal specifications of the legendary George Massenburg.</div></div><br />\n\n<h3>Proven Platform</h3><div>The hardware platform of Music 6000 has been tested intensively in the most demanding production environments since 1999. You will find System 6000 in literally thousands of world-leading recording, film, post and mastering studios all over the world, and in quite a few OB vans and broadcast production studios as well. The platform has won no less than three of the prestigious TEC Awards over the years. In 2000 for the original System 6000, in 2005 for Mastering 6000 and in 2010 for System 6000 MKII.</div><br />'),(11415,85,0,1903,'TC Electronic Music 6000 MKII'),(11416,85,1,1903,'TC Electronic Music 6000 MKII'),(11417,76,0,1903,''),(11418,76,1,1903,''),(11419,75,0,1904,'<h2>TC Electronic Music 6000 MKII with Icon MKII</h2><div><div>TC Electronic has tailored a special version of System 6000 MKII specifically for professional music production. The engineers at TC Electronic love music and developing the best tools and effects for music production was second nature to them. Amazing room spaces and control over your dynamics can be subtle and transparent - or use the dynamics section to compress harder and go for extreme effects for creative purposes. </div></div><br />\n\n<h3>Tailored for Music</h3><div><div>Music 6000 is tailormade for music production in all forms. Regardless of whether you\'re tracking and need to setup a bit of subtle comfort reverb for the performer, or have reached the mixing stage, Music 6000 delivers all of your favorite tools and effects. You can even keep an eye on your loudness level at all times with the LM6 Loudness Radar Meter, which is particularly important if your content is meant for broadcast. In other words, it has become even easier for you to find the right combination of tools for this legendary platform. We have simply gathered and pre-installed all the tools relevant for music production so the system is ready to perform right out of the box.</div></div><br />\n\n\n<h3>Cover Your Spaces</h3><div><div>Music 6000 gives you no less than 18 pristine, multichannel and stereo reverbs plus the M5000 state-of-the-art delay, chorus and phaser effects as well as hundreds of presets. For dynamics processing, our acclaimed MD3 and MD4 multiband compressors as well as Brickwall Limiter 2 have you covered. Also included is Matrix 88, a digital 8-channel summing mixer, offering upsampled limiting, 48 bit summing, accurate delays and bit transparency. On top of this, you get our famous LM6 Loudness Radar Meter and the unmatched, sweet MDW HiRes EQ developed strictly to the personal specifications of the legendary George Massenburg.</div></div><br />\n\n<h3>Proven Platform</h3><div>The hardware platform of Music 6000 has been tested intensively in the most demanding production environments since 1999. You will find System 6000 in literally thousands of world-leading recording, film, post and mastering studios all over the world, and in quite a few OB vans and broadcast production studios as well. The platform has won no less than three of the prestigious TEC Awards over the years. In 2000 for the original System 6000, in 2005 for Mastering 6000 and in 2010 for System 6000 MKII.<br /><br /></div><h3>Total Control with the TC ICON Remote</h3>We know you\'ll love working with our intuitive and innovative TC ICON Remote. We\'ve even included the remote as software so you can also run it on your Mac or PC.<br /><br /><ul><li>Incredibly Fast Touch Screen and Faders Response</li><li>Intuitive and User-friendly Interface</li><li>Controls Even More TC Studio and Broadcast Units with Dual Ethernet and Dual USB Ports</li><li>Integrate Multiple Mainframes and TC ICONS/Editors Into Your Network</li></ul>'),(11420,75,1,1904,'<h2>TC Electronic Music 6000 MKII with Icon MKII</h2><div><div>TC Electronic has tailored a special version of System 6000 MKII specifically for professional music production. The engineers at TC Electronic love music and developing the best tools and effects for music production was second nature to them. Amazing room spaces and control over your dynamics can be subtle and transparent - or use the dynamics section to compress harder and go for extreme effects for creative purposes. </div></div><br />\n\n<h3>Tailored for Music</h3><div><div>Music 6000 is tailormade for music production in all forms. Regardless of whether you\'re tracking and need to setup a bit of subtle comfort reverb for the performer, or have reached the mixing stage, Music 6000 delivers all of your favorite tools and effects. You can even keep an eye on your loudness level at all times with the LM6 Loudness Radar Meter, which is particularly important if your content is meant for broadcast. In other words, it has become even easier for you to find the right combination of tools for this legendary platform. We have simply gathered and pre-installed all the tools relevant for music production so the system is ready to perform right out of the box.</div></div><br />\n\n\n<h3>Cover Your Spaces</h3><div><div>Music 6000 gives you no less than 18 pristine, multichannel and stereo reverbs plus the M5000 state-of-the-art delay, chorus and phaser effects as well as hundreds of presets. For dynamics processing, our acclaimed MD3 and MD4 multiband compressors as well as Brickwall Limiter 2 have you covered. Also included is Matrix 88, a digital 8-channel summing mixer, offering upsampled limiting, 48 bit summing, accurate delays and bit transparency. On top of this, you get our famous LM6 Loudness Radar Meter and the unmatched, sweet MDW HiRes EQ developed strictly to the personal specifications of the legendary George Massenburg.</div></div><br />\n\n<h3>Proven Platform</h3><div>The hardware platform of Music 6000 has been tested intensively in the most demanding production environments since 1999. You will find System 6000 in literally thousands of world-leading recording, film, post and mastering studios all over the world, and in quite a few OB vans and broadcast production studios as well. The platform has won no less than three of the prestigious TEC Awards over the years. In 2000 for the original System 6000, in 2005 for Mastering 6000 and in 2010 for System 6000 MKII.<br /><br /></div><h3>Total Control with the TC ICON Remote</h3>We know you\'ll love working with our intuitive and innovative TC ICON Remote. We\'ve even included the remote as software so you can also run it on your Mac or PC.<br /><br /><ul><li>Incredibly Fast Touch Screen and Faders Response</li><li>Intuitive and User-friendly Interface</li><li>Controls Even More TC Studio and Broadcast Units with Dual Ethernet and Dual USB Ports</li><li>Integrate Multiple Mainframes and TC ICONS/Editors Into Your Network</li></ul>'),(11421,85,0,1904,'TC Electronic Music 6000 MKII with Icon MKII'),(11422,85,1,1904,'TC Electronic Music 6000 MKII with Icon MKII'),(11423,76,0,1904,''),(11424,76,1,1904,''),(11425,75,0,1905,'<h2>TC Electronic TM7 Loudness Meter with 16 Digi I/O (Sub D), Loudness & SPL</h2>\n	\n<span style=\"font-size:16px; font-stylRSPE Product Description Template.html\">Loudness has never looked this good. Next Generation Loudness Metering</span><br /><br />\n\nYou can get TC TouchMonitor TM7 & TM9 in 6 basic configurations based on connectivity, features and physical size. Simply choose between 7” or 9” touch screen, stereo or multichannel and whether you want the Radar Meter to be included with the multichannel version or not. Further, you have a number of I/O options to choose from. As standard, TC TouchMonitor TM9 comes with 16 digital balanced I/O, and TC TouchMonitor TM7 features 8 analog plus 8 digital I/O. However, an additional number of I/O configurations on either balanced or unbalanced connectors (Sub-D or BNC) are available as well. A TM9 SDI 3G I/O card will be available in 2011. Further, you can expand or upgrade TC TouchMonitor TM7 & TM9 by installing optional software instruments (meter types) such as Real Time Analyzer or upgrade to Multichannel Mode.<br /><br />\n\nTouchMonitor is the ultimate, stand-alone loudness meter solution, featuring a touch screen with highly flexible layout options, an extremely consistent loudness readout and compatibility with all major  broadcast standards, including ITU-R BS.1770, EBU R128 and ATSC A/85.\n<ul>\n<li><strong>Loudness and True-peak Level Meter</strong><br />\nStereo and Multichannel </li>\n<li><strong>Use It for Everything</strong><br />\nBroadcast Ingest, Transmission, Post, Film and Live Production</li>\n<li><strong>Compliant with Major Broadcast Standards</strong><br />\nITU BS-1770, EBU R128, ATSC A/85, etc. </li>\n</ul><br />\n\n<h3>Two Sizes Fits All</h3>\nYou can get two basic TouchMonitor variants: TM7 and TM9 featuring a 7\" and a 9\" touch screen respectively. TM7 comes with 8 analog and 8 digital I/O, and you can choose between digital I/O on BNC (unbalanced AESid) or SUB-D (balanced) connectors. TM9 has a more comprehensive set of I/O options, including 16 analog balanced, 8 analog/8 digital (bal/unbal.) and 16 digital channels. Also, a 3G SDI expansion option is available for TM9.<br /><br />\n\nFurther, you can expand or upgrade TouchMonitor by installing optional software instruments (meter types) such as the Radar Display or upgrade to Multichannel Mode.<br /><br />\n<ul>\n<li>7\" or 9\" Touch Screen (16:9 TFT) - Loudness Has Never Looked This Good!  </li>\n<li>Extremely Consistent Readouts - Consistent Results at All Times.         </li>\n<li>Compliance - Conforms to All Major Broadcast Standards.                  </li>\n<li>Easy Touch Screen Control - Context-sensitive, On-screen Help.           </li>\n<li>Flexible Screen Layout - Resize and Reposition Any Instrument.           </li>\n<li>Powerful DSP - Parallel Display of Multiple Instruments.                 </li>\n<li>Comprehensive I/O Options - Including Analog, AES3, AES3id, SDI 3G, etc. </li>\n<li>Connectivity - Ethernet/LAN, USB, VGA and GPIO.                          </li>\n<li>Modular Software - Add Optional Instruments as the Need Arises.          </li>\n</ul><br />\n\n<h3>Flexible Screen Layout</h3>\nTailor the screen layout to optimize it for any application, making your life easier and letting you achieve ultimate end results. For instance, let the Radar Loudness Meter fill out one side of your screen, while using the remaining space for e.g. a Phase or PPM meter. You could even have two Radar Loudness Meters running simultaneously to monitor audio loudness at different stages.<br /><br />\n\n<h2>Hardware Options</h2>\n<h3>8 Analog Inputs + 8 Digital I/O (Sub D)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong>                                                                   </li>\n<li><strong>8-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 4 x AES3 In/Out, Sub-D        </li>\n<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D                               </li>\n</ul><br />\n\n<h3>8 Analog Inputs + 8 Digital I/O (BNC)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong>                                                                  </li>\n<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D                              </li>\n<li><strong>8-Channel Digital I/O</strong> - Unbalanced, 75 Ohm, 4 x AES3id In,  x AES3id Out, 8 x BNC  </li>\n </ul><br />\n\n<h3>3G SDI + 8 Digital I/O</h3>\n<ul>\n<li><strong>3G SDI  - BNC (loop through)</strong>          </li>\n<li><strong>8-Channel Digital Input</strong> - AES3, Sub-D</li>\n<li><strong>8-Channel Digital Output</strong> - AES3 Sub-D</li>\n</ul> <br />\n\n<h3>16 Digital I/O (Sub D)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong></li>\n<li><strong>16-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 2 x Sub-D</li><br /><br />\n</ul><br />\n\n<h2>Software Options</h2>\nAll TouchMonitor models come with a basic software package that includes:\n<ul>\n<li>Stereo-PPM w/ Analog Scales - DIN5, Nordic, British IIa, British IIb</li>\n<li>Stereo-PPM w/ Digtal Scales - 0 to -60 dB, +3 to -60 dB TruePeak, DIN5, Nordic, British IIa and IIb</li>\n<li>Peak Hold, Peak Memory, Over Indicators and Phase Meter</li>\n<li>Loudness & SPL License</li>\n</ul>\n\nOptionally, a broad variation of software modules, or \'instruments\', are available as licences. You can order optional instruments either at the point of purchase, or at a later point. If the licence was ordered at the point of purchase, the licence will be activated at delivery. If you choose to order a license after purchase, the order process starts from the \'Licences\' menu of the TouchMonitor.<br /><br /><br />\n\n<h3>Radar Loudness Display (optional)</h3>\nThe Radar Loudness Display license provides a high resolution circular Loudness history display for Momentary values, enhanced with numerical display of measuring time and two descriptors.<br /><br />\nThe Radar Display is compatible with all other Radar Loudness Meters from TC Electronic.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Loudness</strong> <strong>Landscape Overview</strong> - Loudness History, Momentary Loudness (M), True-peak Level, Program Loudness (I) and Loudness Range (LRA) in a Single View</li>\n<li><strong>Extremely Consistent Loudness Readout</strong></li>\n<li><strong>Detailed statistics view </strong></li>\n<li><strong>Ultimate Compliance</strong> - Conforms to all major\nbroadcast standards</li>\n<li><strong>Load Two Separate Radar Displays Simultaneously</strong> - Dual 24-hour History for pre- and post processing overview</li>\n</ul><br /><br />\n\n<h3>Loudness & SPL (included with all models)</h3>\nThis license expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB guidelines, and LRA instrument for the graphical display of the Loudness Range.<br /><br />\nA customer-specific mode allows the user to modify parameters.<br /><br />\nIn addition, the module provides an SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Expands the Basic Stereo PPM</strong> - Loudness Measuring as described in EBU Loudness Measuring Documents and ITU BS.1771 guidelines</li>\n<li><strong>Parameters Can be Modified</strong></li>\n<li><strong>SPL Display Mode</strong> - Various Weighting Filters and Integration</li>\n<li><strong>Reference Level Adjustment</strong> - Calculate an SPL Value from an Electrical Signal</li>\n<li><strong>Includes the LRA Instrument</strong> - Magic Eye View that Combines the Two Essential Measurements: Program Loudness and Loudness Range</li>\n</ul><br /><br />\n\n<h3>SSA Surround Sound Analyzer (optional)</h3>\nThis license is a powerful tool for visualizing the interaction of all important parameters of surround signals.<br /><br />\nThe dynamic behaviour of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Powerful Visualization of Surround Signals</strong></li>\n<li><strong>The Dynamics of all Display Elements Corresponds to the Subjective Listening Impression</strong> - See the Balance of a Surround Program Intuitively and at a Glance.</li>\n</ul><br /><br />\n\n<h3>Premium PPM + VectorScope</h3>\nThis license expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and PPM/VU moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.<br />\n\n<ul>\n<li><strong>Expand the Basic Stereo PPM with Additional Scales</strong> - Zoom, SMPTE, NHK, ARD+9</li>\n<li><strong>Expand the Basic Stereo PPM with Additional Functions</strong> - Peak Hold, Peak Memory, Over indicator</li>\n<li><strong>2-Channel Audio Vectorscope</strong></li>\n<li><strong>PPM/VU moving coil</strong></li>\n<li><strong>Separate Phase Meter</strong></li>\n</ul>\nAdd the Multi-channel License to extend to multi-channel PPM, to enhance the Multi-Correlator (up to 10 Phase Meters) and to add gain reduction.<br /><br /><br />\n\n<h3>RTA Real Time Analyzer (optional)</h3>\nThis license provides 31 bands of spectral distribution display for single channels, channel pairs or groups plus HP HF band. <br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Spectral Distribution Display</strong> - 31 Bands for Single Channels, Channel Pairs or Groups Plus HP HF Band</li>\n</ul><br /><br />\n\n<h3>BLITS</h3>\nThe instrument generates and analyzes BLITS test signals. BLITS (Black & Lane\'s Ident Tones for Surround) is a tool that allows you to test channel allocation, level and phase of 5.1 surround signals. Developed by Martin Black and Keith Lane from Sky TV in London in 2004, this sequence is widely used in international broadcasting<br />\n<ul>\n<li><strong>Generate BLITS test signal</strong></li>\n<li><strong>Analyze channel allocation, phase, delay and polarity</strong></li>\n<li><strong>Use any digital input of the TouchMonitor</strong></li>\n<li><strong>Generate BLITS for surround</strong></li>\n<li><strong>Generate GLITS or EBU 3304 for stereo</strong></li>\n</ul><br /><br />\n\n<h3>Multi-channel License (optional)</h3>\nExpands routing to:\n<ul>\n<li>Mono</li>\n<li>Stereo</li>\n<li>3.1 Surround</li>\n<li>5.0 Surround</li>\n<li>5.1 Surround</li>\n<li>Multi Channel (2 to 8 Channels in One Block - Up to 4 Blocks with 3G SDI Option)</li>\n</ul><br />'),(11426,75,1,1905,'<h2>TC Electronic TM7 Loudness Meter with 16 Digi I/O (Sub D), Loudness & SPL</h2>\n	\n<span style=\"font-size:16px; font-stylRSPE Product Description Template.html\">Loudness has never looked this good. Next Generation Loudness Metering</span><br /><br />\n\nYou can get TC TouchMonitor TM7 & TM9 in 6 basic configurations based on connectivity, features and physical size. Simply choose between 7” or 9” touch screen, stereo or multichannel and whether you want the Radar Meter to be included with the multichannel version or not. Further, you have a number of I/O options to choose from. As standard, TC TouchMonitor TM9 comes with 16 digital balanced I/O, and TC TouchMonitor TM7 features 8 analog plus 8 digital I/O. However, an additional number of I/O configurations on either balanced or unbalanced connectors (Sub-D or BNC) are available as well. A TM9 SDI 3G I/O card will be available in 2011. Further, you can expand or upgrade TC TouchMonitor TM7 & TM9 by installing optional software instruments (meter types) such as Real Time Analyzer or upgrade to Multichannel Mode.<br /><br />\n\nTouchMonitor is the ultimate, stand-alone loudness meter solution, featuring a touch screen with highly flexible layout options, an extremely consistent loudness readout and compatibility with all major  broadcast standards, including ITU-R BS.1770, EBU R128 and ATSC A/85.\n<ul>\n<li><strong>Loudness and True-peak Level Meter</strong><br />\nStereo and Multichannel </li>\n<li><strong>Use It for Everything</strong><br />\nBroadcast Ingest, Transmission, Post, Film and Live Production</li>\n<li><strong>Compliant with Major Broadcast Standards</strong><br />\nITU BS-1770, EBU R128, ATSC A/85, etc. </li>\n</ul><br />\n\n<h3>Two Sizes Fits All</h3>\nYou can get two basic TouchMonitor variants: TM7 and TM9 featuring a 7\" and a 9\" touch screen respectively. TM7 comes with 8 analog and 8 digital I/O, and you can choose between digital I/O on BNC (unbalanced AESid) or SUB-D (balanced) connectors. TM9 has a more comprehensive set of I/O options, including 16 analog balanced, 8 analog/8 digital (bal/unbal.) and 16 digital channels. Also, a 3G SDI expansion option is available for TM9.<br /><br />\n\nFurther, you can expand or upgrade TouchMonitor by installing optional software instruments (meter types) such as the Radar Display or upgrade to Multichannel Mode.<br /><br />\n<ul>\n<li>7\" or 9\" Touch Screen (16:9 TFT) - Loudness Has Never Looked This Good!  </li>\n<li>Extremely Consistent Readouts - Consistent Results at All Times.         </li>\n<li>Compliance - Conforms to All Major Broadcast Standards.                  </li>\n<li>Easy Touch Screen Control - Context-sensitive, On-screen Help.           </li>\n<li>Flexible Screen Layout - Resize and Reposition Any Instrument.           </li>\n<li>Powerful DSP - Parallel Display of Multiple Instruments.                 </li>\n<li>Comprehensive I/O Options - Including Analog, AES3, AES3id, SDI 3G, etc. </li>\n<li>Connectivity - Ethernet/LAN, USB, VGA and GPIO.                          </li>\n<li>Modular Software - Add Optional Instruments as the Need Arises.          </li>\n</ul><br />\n\n<h3>Flexible Screen Layout</h3>\nTailor the screen layout to optimize it for any application, making your life easier and letting you achieve ultimate end results. For instance, let the Radar Loudness Meter fill out one side of your screen, while using the remaining space for e.g. a Phase or PPM meter. You could even have two Radar Loudness Meters running simultaneously to monitor audio loudness at different stages.<br /><br />\n\n<h2>Hardware Options</h2>\n<h3>8 Analog Inputs + 8 Digital I/O (Sub D)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong>                                                                   </li>\n<li><strong>8-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 4 x AES3 In/Out, Sub-D        </li>\n<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D                               </li>\n</ul><br />\n\n<h3>8 Analog Inputs + 8 Digital I/O (BNC)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong>                                                                  </li>\n<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D                              </li>\n<li><strong>8-Channel Digital I/O</strong> - Unbalanced, 75 Ohm, 4 x AES3id In,  x AES3id Out, 8 x BNC  </li>\n </ul><br />\n\n<h3>3G SDI + 8 Digital I/O</h3>\n<ul>\n<li><strong>3G SDI  - BNC (loop through)</strong>          </li>\n<li><strong>8-Channel Digital Input</strong> - AES3, Sub-D</li>\n<li><strong>8-Channel Digital Output</strong> - AES3 Sub-D</li>\n</ul> <br />\n\n<h3>16 Digital I/O (Sub D)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong></li>\n<li><strong>16-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 2 x Sub-D</li><br /><br />\n</ul><br />\n\n<h2>Software Options</h2>\nAll TouchMonitor models come with a basic software package that includes:\n<ul>\n<li>Stereo-PPM w/ Analog Scales - DIN5, Nordic, British IIa, British IIb</li>\n<li>Stereo-PPM w/ Digtal Scales - 0 to -60 dB, +3 to -60 dB TruePeak, DIN5, Nordic, British IIa and IIb</li>\n<li>Peak Hold, Peak Memory, Over Indicators and Phase Meter</li>\n<li>Loudness & SPL License</li>\n</ul>\n\nOptionally, a broad variation of software modules, or \'instruments\', are available as licences. You can order optional instruments either at the point of purchase, or at a later point. If the licence was ordered at the point of purchase, the licence will be activated at delivery. If you choose to order a license after purchase, the order process starts from the \'Licences\' menu of the TouchMonitor.<br /><br /><br />\n\n<h3>Radar Loudness Display (optional)</h3>\nThe Radar Loudness Display license provides a high resolution circular Loudness history display for Momentary values, enhanced with numerical display of measuring time and two descriptors.<br /><br />\nThe Radar Display is compatible with all other Radar Loudness Meters from TC Electronic.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Loudness</strong> <strong>Landscape Overview</strong> - Loudness History, Momentary Loudness (M), True-peak Level, Program Loudness (I) and Loudness Range (LRA) in a Single View</li>\n<li><strong>Extremely Consistent Loudness Readout</strong></li>\n<li><strong>Detailed statistics view </strong></li>\n<li><strong>Ultimate Compliance</strong> - Conforms to all major\nbroadcast standards</li>\n<li><strong>Load Two Separate Radar Displays Simultaneously</strong> - Dual 24-hour History for pre- and post processing overview</li>\n</ul><br /><br />\n\n<h3>Loudness & SPL (included with all models)</h3>\nThis license expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB guidelines, and LRA instrument for the graphical display of the Loudness Range.<br /><br />\nA customer-specific mode allows the user to modify parameters.<br /><br />\nIn addition, the module provides an SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Expands the Basic Stereo PPM</strong> - Loudness Measuring as described in EBU Loudness Measuring Documents and ITU BS.1771 guidelines</li>\n<li><strong>Parameters Can be Modified</strong></li>\n<li><strong>SPL Display Mode</strong> - Various Weighting Filters and Integration</li>\n<li><strong>Reference Level Adjustment</strong> - Calculate an SPL Value from an Electrical Signal</li>\n<li><strong>Includes the LRA Instrument</strong> - Magic Eye View that Combines the Two Essential Measurements: Program Loudness and Loudness Range</li>\n</ul><br /><br />\n\n<h3>SSA Surround Sound Analyzer (optional)</h3>\nThis license is a powerful tool for visualizing the interaction of all important parameters of surround signals.<br /><br />\nThe dynamic behaviour of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Powerful Visualization of Surround Signals</strong></li>\n<li><strong>The Dynamics of all Display Elements Corresponds to the Subjective Listening Impression</strong> - See the Balance of a Surround Program Intuitively and at a Glance.</li>\n</ul><br /><br />\n\n<h3>Premium PPM + VectorScope</h3>\nThis license expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and PPM/VU moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.<br />\n\n<ul>\n<li><strong>Expand the Basic Stereo PPM with Additional Scales</strong> - Zoom, SMPTE, NHK, ARD+9</li>\n<li><strong>Expand the Basic Stereo PPM with Additional Functions</strong> - Peak Hold, Peak Memory, Over indicator</li>\n<li><strong>2-Channel Audio Vectorscope</strong></li>\n<li><strong>PPM/VU moving coil</strong></li>\n<li><strong>Separate Phase Meter</strong></li>\n</ul>\nAdd the Multi-channel License to extend to multi-channel PPM, to enhance the Multi-Correlator (up to 10 Phase Meters) and to add gain reduction.<br /><br /><br />\n\n<h3>RTA Real Time Analyzer (optional)</h3>\nThis license provides 31 bands of spectral distribution display for single channels, channel pairs or groups plus HP HF band. <br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Spectral Distribution Display</strong> - 31 Bands for Single Channels, Channel Pairs or Groups Plus HP HF Band</li>\n</ul><br /><br />\n\n<h3>BLITS</h3>\nThe instrument generates and analyzes BLITS test signals. BLITS (Black & Lane\'s Ident Tones for Surround) is a tool that allows you to test channel allocation, level and phase of 5.1 surround signals. Developed by Martin Black and Keith Lane from Sky TV in London in 2004, this sequence is widely used in international broadcasting<br />\n<ul>\n<li><strong>Generate BLITS test signal</strong></li>\n<li><strong>Analyze channel allocation, phase, delay and polarity</strong></li>\n<li><strong>Use any digital input of the TouchMonitor</strong></li>\n<li><strong>Generate BLITS for surround</strong></li>\n<li><strong>Generate GLITS or EBU 3304 for stereo</strong></li>\n</ul><br /><br />\n\n<h3>Multi-channel License (optional)</h3>\nExpands routing to:\n<ul>\n<li>Mono</li>\n<li>Stereo</li>\n<li>3.1 Surround</li>\n<li>5.0 Surround</li>\n<li>5.1 Surround</li>\n<li>Multi Channel (2 to 8 Channels in One Block - Up to 4 Blocks with 3G SDI Option)</li>\n</ul><br />'),(11427,85,0,1905,'TC Electronic TM7 Loudness Meter with 16 Digi I/O (Sub D), Loudness & SPL'),(11428,85,1,1905,'TC Electronic TM7 Loudness Meter with 16 Digi I/O (Sub D), Loudness & SPL'),(11429,76,0,1905,''),(11430,76,1,1905,''),(11431,75,0,1906,'<h2>TM7 Loudness Meter with 3G SDI + 8 Digi I/O (Sub D), Loudness & SPL ￼</h2>\n	\n<span style=\"font-size:16px; font-stylRSPE Product Description Template.html\">Loudness has never looked this good. Next Generation Loudness Metering</span><br /><br />\n\nYou can get TC TouchMonitor TM7 & TM9 in 6 basic configurations based on connectivity, features and physical size. Simply choose between 7” or 9” touch screen, stereo or multichannel and whether you want the Radar Meter to be included with the multichannel version or not. Further, you have a number of I/O options to choose from. As standard, TC TouchMonitor TM9 comes with 16 digital balanced I/O, and TC TouchMonitor TM7 features 8 analog plus 8 digital I/O. However, an additional number of I/O configurations on either balanced or unbalanced connectors (Sub-D or BNC) are available as well. A TM9 SDI 3G I/O card will be available in 2011. Further, you can expand or upgrade TC TouchMonitor TM7 & TM9 by installing optional software instruments (meter types) such as Real Time Analyzer or upgrade to Multichannel Mode.<br /><br />\n\nTouchMonitor is the ultimate, stand-alone loudness meter solution, featuring a touch screen with highly flexible layout options, an extremely consistent loudness readout and compatibility with all major  broadcast standards, including ITU-R BS.1770, EBU R128 and ATSC A/85.\n<ul>\n<li><strong>Loudness and True-peak Level Meter</strong><br />\nStereo and Multichannel </li>\n<li><strong>Use It for Everything</strong><br />\nBroadcast Ingest, Transmission, Post, Film and Live Production</li>\n<li><strong>Compliant with Major Broadcast Standards</strong><br />\nITU BS-1770, EBU R128, ATSC A/85, etc. </li>\n</ul><br />\n\n<h3>Two Sizes Fits All</h3>\nYou can get two basic TouchMonitor variants: TM7 and TM9 featuring a 7\" and a 9\" touch screen respectively. TM7 comes with 8 analog and 8 digital I/O, and you can choose between digital I/O on BNC (unbalanced AESid) or SUB-D (balanced) connectors. TM9 has a more comprehensive set of I/O options, including 16 analog balanced, 8 analog/8 digital (bal/unbal.) and 16 digital channels. Also, a 3G SDI expansion option is available for TM9.<br /><br />\n\nFurther, you can expand or upgrade TouchMonitor by installing optional software instruments (meter types) such as the Radar Display or upgrade to Multichannel Mode.<br /><br />\n<ul>\n<li>7\" or 9\" Touch Screen (16:9 TFT) - Loudness Has Never Looked This Good!  </li>\n<li>Extremely Consistent Readouts - Consistent Results at All Times.         </li>\n<li>Compliance - Conforms to All Major Broadcast Standards.                  </li>\n<li>Easy Touch Screen Control - Context-sensitive, On-screen Help.           </li>\n<li>Flexible Screen Layout - Resize and Reposition Any Instrument.           </li>\n<li>Powerful DSP - Parallel Display of Multiple Instruments.                 </li>\n<li>Comprehensive I/O Options - Including Analog, AES3, AES3id, SDI 3G, etc. </li>\n<li>Connectivity - Ethernet/LAN, USB, VGA and GPIO.                          </li>\n<li>Modular Software - Add Optional Instruments as the Need Arises.          </li>\n</ul><br />\n\n<h3>Flexible Screen Layout</h3>\nTailor the screen layout to optimize it for any application, making your life easier and letting you achieve ultimate end results. For instance, let the Radar Loudness Meter fill out one side of your screen, while using the remaining space for e.g. a Phase or PPM meter. You could even have two Radar Loudness Meters running simultaneously to monitor audio loudness at different stages.<br /><br />\n\n<h2>Hardware Options</h2>\n<h3>8 Analog Inputs + 8 Digital I/O (Sub D)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong>                                                                   </li>\n<li><strong>8-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 4 x AES3 In/Out, Sub-D        </li>\n<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D                               </li>\n</ul><br />\n\n<h3>8 Analog Inputs + 8 Digital I/O (BNC)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong>                                                                  </li>\n<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D                              </li>\n<li><strong>8-Channel Digital I/O</strong> - Unbalanced, 75 Ohm, 4 x AES3id In,  x AES3id Out, 8 x BNC  </li>\n </ul><br />\n\n<h3>3G SDI + 8 Digital I/O</h3>\n<ul>\n<li><strong>3G SDI  - BNC (loop through)</strong>          </li>\n<li><strong>8-Channel Digital Input</strong> - AES3, Sub-D</li>\n<li><strong>8-Channel Digital Output</strong> - AES3 Sub-D</li>\n</ul> <br />\n\n<h3>16 Digital I/O (Sub D)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong></li>\n<li><strong>16-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 2 x Sub-D</li><br /><br />\n</ul><br />\n\n<h2>Software Options</h2>\nAll TouchMonitor models come with a basic software package that includes:\n<ul>\n<li>Stereo-PPM w/ Analog Scales - DIN5, Nordic, British IIa, British IIb</li>\n<li>Stereo-PPM w/ Digtal Scales - 0 to -60 dB, +3 to -60 dB TruePeak, DIN5, Nordic, British IIa and IIb</li>\n<li>Peak Hold, Peak Memory, Over Indicators and Phase Meter</li>\n<li>Loudness & SPL License</li>\n</ul>\n\nOptionally, a broad variation of software modules, or \'instruments\', are available as licences. You can order optional instruments either at the point of purchase, or at a later point. If the licence was ordered at the point of purchase, the licence will be activated at delivery. If you choose to order a license after purchase, the order process starts from the \'Licences\' menu of the TouchMonitor.<br /><br /><br />\n\n<h3>Radar Loudness Display (optional)</h3>\nThe Radar Loudness Display license provides a high resolution circular Loudness history display for Momentary values, enhanced with numerical display of measuring time and two descriptors.<br /><br />\nThe Radar Display is compatible with all other Radar Loudness Meters from TC Electronic.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Loudness</strong> <strong>Landscape Overview</strong> - Loudness History, Momentary Loudness (M), True-peak Level, Program Loudness (I) and Loudness Range (LRA) in a Single View</li>\n<li><strong>Extremely Consistent Loudness Readout</strong></li>\n<li><strong>Detailed statistics view </strong></li>\n<li><strong>Ultimate Compliance</strong> - Conforms to all major\nbroadcast standards</li>\n<li><strong>Load Two Separate Radar Displays Simultaneously</strong> - Dual 24-hour History for pre- and post processing overview</li>\n</ul><br /><br />\n\n<h3>Loudness & SPL (included with all models)</h3>\nThis license expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB guidelines, and LRA instrument for the graphical display of the Loudness Range.<br /><br />\nA customer-specific mode allows the user to modify parameters.<br /><br />\nIn addition, the module provides an SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Expands the Basic Stereo PPM</strong> - Loudness Measuring as described in EBU Loudness Measuring Documents and ITU BS.1771 guidelines</li>\n<li><strong>Parameters Can be Modified</strong></li>\n<li><strong>SPL Display Mode</strong> - Various Weighting Filters and Integration</li>\n<li><strong>Reference Level Adjustment</strong> - Calculate an SPL Value from an Electrical Signal</li>\n<li><strong>Includes the LRA Instrument</strong> - Magic Eye View that Combines the Two Essential Measurements: Program Loudness and Loudness Range</li>\n</ul><br /><br />\n\n<h3>SSA Surround Sound Analyzer (optional)</h3>\nThis license is a powerful tool for visualizing the interaction of all important parameters of surround signals.<br /><br />\nThe dynamic behaviour of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Powerful Visualization of Surround Signals</strong></li>\n<li><strong>The Dynamics of all Display Elements Corresponds to the Subjective Listening Impression</strong> - See the Balance of a Surround Program Intuitively and at a Glance.</li>\n</ul><br /><br />\n\n<h3>Premium PPM + VectorScope</h3>\nThis license expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and PPM/VU moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.<br />\n\n<ul>\n<li><strong>Expand the Basic Stereo PPM with Additional Scales</strong> - Zoom, SMPTE, NHK, ARD+9</li>\n<li><strong>Expand the Basic Stereo PPM with Additional Functions</strong> - Peak Hold, Peak Memory, Over indicator</li>\n<li><strong>2-Channel Audio Vectorscope</strong></li>\n<li><strong>PPM/VU moving coil</strong></li>\n<li><strong>Separate Phase Meter</strong></li>\n</ul>\nAdd the Multi-channel License to extend to multi-channel PPM, to enhance the Multi-Correlator (up to 10 Phase Meters) and to add gain reduction.<br /><br /><br />\n\n<h3>RTA Real Time Analyzer (optional)</h3>\nThis license provides 31 bands of spectral distribution display for single channels, channel pairs or groups plus HP HF band. <br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Spectral Distribution Display</strong> - 31 Bands for Single Channels, Channel Pairs or Groups Plus HP HF Band</li>\n</ul><br /><br />\n\n<h3>BLITS</h3>\nThe instrument generates and analyzes BLITS test signals. BLITS (Black & Lane\'s Ident Tones for Surround) is a tool that allows you to test channel allocation, level and phase of 5.1 surround signals. Developed by Martin Black and Keith Lane from Sky TV in London in 2004, this sequence is widely used in international broadcasting<br />\n<ul>\n<li><strong>Generate BLITS test signal</strong></li>\n<li><strong>Analyze channel allocation, phase, delay and polarity</strong></li>\n<li><strong>Use any digital input of the TouchMonitor</strong></li>\n<li><strong>Generate BLITS for surround</strong></li>\n<li><strong>Generate GLITS or EBU 3304 for stereo</strong></li>\n</ul><br /><br />\n\n<h3>Multi-channel License (optional)</h3>\nExpands routing to:\n<ul>\n<li>Mono</li>\n<li>Stereo</li>\n<li>3.1 Surround</li>\n<li>5.0 Surround</li>\n<li>5.1 Surround</li>\n<li>Multi Channel (2 to 8 Channels in One Block - Up to 4 Blocks with 3G SDI Option)</li>\n</ul><br />'),(11432,75,1,1906,'<h2>TM7 Loudness Meter with 3G SDI + 8 Digi I/O (Sub D), Loudness & SPL ￼</h2>\n	\n<span style=\"font-size:16px; font-stylRSPE Product Description Template.html\">Loudness has never looked this good. Next Generation Loudness Metering</span><br /><br />\n\nYou can get TC TouchMonitor TM7 & TM9 in 6 basic configurations based on connectivity, features and physical size. Simply choose between 7” or 9” touch screen, stereo or multichannel and whether you want the Radar Meter to be included with the multichannel version or not. Further, you have a number of I/O options to choose from. As standard, TC TouchMonitor TM9 comes with 16 digital balanced I/O, and TC TouchMonitor TM7 features 8 analog plus 8 digital I/O. However, an additional number of I/O configurations on either balanced or unbalanced connectors (Sub-D or BNC) are available as well. A TM9 SDI 3G I/O card will be available in 2011. Further, you can expand or upgrade TC TouchMonitor TM7 & TM9 by installing optional software instruments (meter types) such as Real Time Analyzer or upgrade to Multichannel Mode.<br /><br />\n\nTouchMonitor is the ultimate, stand-alone loudness meter solution, featuring a touch screen with highly flexible layout options, an extremely consistent loudness readout and compatibility with all major  broadcast standards, including ITU-R BS.1770, EBU R128 and ATSC A/85.\n<ul>\n<li><strong>Loudness and True-peak Level Meter</strong><br />\nStereo and Multichannel </li>\n<li><strong>Use It for Everything</strong><br />\nBroadcast Ingest, Transmission, Post, Film and Live Production</li>\n<li><strong>Compliant with Major Broadcast Standards</strong><br />\nITU BS-1770, EBU R128, ATSC A/85, etc. </li>\n</ul><br />\n\n<h3>Two Sizes Fits All</h3>\nYou can get two basic TouchMonitor variants: TM7 and TM9 featuring a 7\" and a 9\" touch screen respectively. TM7 comes with 8 analog and 8 digital I/O, and you can choose between digital I/O on BNC (unbalanced AESid) or SUB-D (balanced) connectors. TM9 has a more comprehensive set of I/O options, including 16 analog balanced, 8 analog/8 digital (bal/unbal.) and 16 digital channels. Also, a 3G SDI expansion option is available for TM9.<br /><br />\n\nFurther, you can expand or upgrade TouchMonitor by installing optional software instruments (meter types) such as the Radar Display or upgrade to Multichannel Mode.<br /><br />\n<ul>\n<li>7\" or 9\" Touch Screen (16:9 TFT) - Loudness Has Never Looked This Good!  </li>\n<li>Extremely Consistent Readouts - Consistent Results at All Times.         </li>\n<li>Compliance - Conforms to All Major Broadcast Standards.                  </li>\n<li>Easy Touch Screen Control - Context-sensitive, On-screen Help.           </li>\n<li>Flexible Screen Layout - Resize and Reposition Any Instrument.           </li>\n<li>Powerful DSP - Parallel Display of Multiple Instruments.                 </li>\n<li>Comprehensive I/O Options - Including Analog, AES3, AES3id, SDI 3G, etc. </li>\n<li>Connectivity - Ethernet/LAN, USB, VGA and GPIO.                          </li>\n<li>Modular Software - Add Optional Instruments as the Need Arises.          </li>\n</ul><br />\n\n<h3>Flexible Screen Layout</h3>\nTailor the screen layout to optimize it for any application, making your life easier and letting you achieve ultimate end results. For instance, let the Radar Loudness Meter fill out one side of your screen, while using the remaining space for e.g. a Phase or PPM meter. You could even have two Radar Loudness Meters running simultaneously to monitor audio loudness at different stages.<br /><br />\n\n<h2>Hardware Options</h2>\n<h3>8 Analog Inputs + 8 Digital I/O (Sub D)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong>                                                                   </li>\n<li><strong>8-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 4 x AES3 In/Out, Sub-D        </li>\n<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D                               </li>\n</ul><br />\n\n<h3>8 Analog Inputs + 8 Digital I/O (BNC)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong>                                                                  </li>\n<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D                              </li>\n<li><strong>8-Channel Digital I/O</strong> - Unbalanced, 75 Ohm, 4 x AES3id In,  x AES3id Out, 8 x BNC  </li>\n </ul><br />\n\n<h3>3G SDI + 8 Digital I/O</h3>\n<ul>\n<li><strong>3G SDI  - BNC (loop through)</strong>          </li>\n<li><strong>8-Channel Digital Input</strong> - AES3, Sub-D</li>\n<li><strong>8-Channel Digital Output</strong> - AES3 Sub-D</li>\n</ul> <br />\n\n<h3>16 Digital I/O (Sub D)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong></li>\n<li><strong>16-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 2 x Sub-D</li><br /><br />\n</ul><br />\n\n<h2>Software Options</h2>\nAll TouchMonitor models come with a basic software package that includes:\n<ul>\n<li>Stereo-PPM w/ Analog Scales - DIN5, Nordic, British IIa, British IIb</li>\n<li>Stereo-PPM w/ Digtal Scales - 0 to -60 dB, +3 to -60 dB TruePeak, DIN5, Nordic, British IIa and IIb</li>\n<li>Peak Hold, Peak Memory, Over Indicators and Phase Meter</li>\n<li>Loudness & SPL License</li>\n</ul>\n\nOptionally, a broad variation of software modules, or \'instruments\', are available as licences. You can order optional instruments either at the point of purchase, or at a later point. If the licence was ordered at the point of purchase, the licence will be activated at delivery. If you choose to order a license after purchase, the order process starts from the \'Licences\' menu of the TouchMonitor.<br /><br /><br />\n\n<h3>Radar Loudness Display (optional)</h3>\nThe Radar Loudness Display license provides a high resolution circular Loudness history display for Momentary values, enhanced with numerical display of measuring time and two descriptors.<br /><br />\nThe Radar Display is compatible with all other Radar Loudness Meters from TC Electronic.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Loudness</strong> <strong>Landscape Overview</strong> - Loudness History, Momentary Loudness (M), True-peak Level, Program Loudness (I) and Loudness Range (LRA) in a Single View</li>\n<li><strong>Extremely Consistent Loudness Readout</strong></li>\n<li><strong>Detailed statistics view </strong></li>\n<li><strong>Ultimate Compliance</strong> - Conforms to all major\nbroadcast standards</li>\n<li><strong>Load Two Separate Radar Displays Simultaneously</strong> - Dual 24-hour History for pre- and post processing overview</li>\n</ul><br /><br />\n\n<h3>Loudness & SPL (included with all models)</h3>\nThis license expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB guidelines, and LRA instrument for the graphical display of the Loudness Range.<br /><br />\nA customer-specific mode allows the user to modify parameters.<br /><br />\nIn addition, the module provides an SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Expands the Basic Stereo PPM</strong> - Loudness Measuring as described in EBU Loudness Measuring Documents and ITU BS.1771 guidelines</li>\n<li><strong>Parameters Can be Modified</strong></li>\n<li><strong>SPL Display Mode</strong> - Various Weighting Filters and Integration</li>\n<li><strong>Reference Level Adjustment</strong> - Calculate an SPL Value from an Electrical Signal</li>\n<li><strong>Includes the LRA Instrument</strong> - Magic Eye View that Combines the Two Essential Measurements: Program Loudness and Loudness Range</li>\n</ul><br /><br />\n\n<h3>SSA Surround Sound Analyzer (optional)</h3>\nThis license is a powerful tool for visualizing the interaction of all important parameters of surround signals.<br /><br />\nThe dynamic behaviour of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Powerful Visualization of Surround Signals</strong></li>\n<li><strong>The Dynamics of all Display Elements Corresponds to the Subjective Listening Impression</strong> - See the Balance of a Surround Program Intuitively and at a Glance.</li>\n</ul><br /><br />\n\n<h3>Premium PPM + VectorScope</h3>\nThis license expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and PPM/VU moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.<br />\n\n<ul>\n<li><strong>Expand the Basic Stereo PPM with Additional Scales</strong> - Zoom, SMPTE, NHK, ARD+9</li>\n<li><strong>Expand the Basic Stereo PPM with Additional Functions</strong> - Peak Hold, Peak Memory, Over indicator</li>\n<li><strong>2-Channel Audio Vectorscope</strong></li>\n<li><strong>PPM/VU moving coil</strong></li>\n<li><strong>Separate Phase Meter</strong></li>\n</ul>\nAdd the Multi-channel License to extend to multi-channel PPM, to enhance the Multi-Correlator (up to 10 Phase Meters) and to add gain reduction.<br /><br /><br />\n\n<h3>RTA Real Time Analyzer (optional)</h3>\nThis license provides 31 bands of spectral distribution display for single channels, channel pairs or groups plus HP HF band. <br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Spectral Distribution Display</strong> - 31 Bands for Single Channels, Channel Pairs or Groups Plus HP HF Band</li>\n</ul><br /><br />\n\n<h3>BLITS</h3>\nThe instrument generates and analyzes BLITS test signals. BLITS (Black & Lane\'s Ident Tones for Surround) is a tool that allows you to test channel allocation, level and phase of 5.1 surround signals. Developed by Martin Black and Keith Lane from Sky TV in London in 2004, this sequence is widely used in international broadcasting<br />\n<ul>\n<li><strong>Generate BLITS test signal</strong></li>\n<li><strong>Analyze channel allocation, phase, delay and polarity</strong></li>\n<li><strong>Use any digital input of the TouchMonitor</strong></li>\n<li><strong>Generate BLITS for surround</strong></li>\n<li><strong>Generate GLITS or EBU 3304 for stereo</strong></li>\n</ul><br /><br />\n\n<h3>Multi-channel License (optional)</h3>\nExpands routing to:\n<ul>\n<li>Mono</li>\n<li>Stereo</li>\n<li>3.1 Surround</li>\n<li>5.0 Surround</li>\n<li>5.1 Surround</li>\n<li>Multi Channel (2 to 8 Channels in One Block - Up to 4 Blocks with 3G SDI Option)</li>\n</ul><br />'),(11433,85,0,1906,'TC Electronic TM7 Loudness Meter with 3G SDI + 8 Digi I/O (Sub D), Loudness & SPL ￼'),(11434,85,1,1906,'TC Electronic TM7 Loudness Meter with 3G SDI + 8 Digi I/O (Sub D), Loudness & SPL ￼'),(11435,76,0,1906,''),(11436,76,1,1906,''),(11437,75,0,1907,'<h2>TM7 Loudness Meter with 8 Ana I + 8 Digi I/O (BNC) for TM7 ￼</h2>\n	\n<span style=\"font-size:16px; font-stylRSPE Product Description Template.html\">Loudness has never looked this good. Next Generation Loudness Metering</span><br /><br />\n\nYou can get TC TouchMonitor TM7 & TM9 in 6 basic configurations based on connectivity, features and physical size. Simply choose between 7” or 9” touch screen, stereo or multichannel and whether you want the Radar Meter to be included with the multichannel version or not. Further, you have a number of I/O options to choose from. As standard, TC TouchMonitor TM9 comes with 16 digital balanced I/O, and TC TouchMonitor TM7 features 8 analog plus 8 digital I/O. However, an additional number of I/O configurations on either balanced or unbalanced connectors (Sub-D or BNC) are available as well. A TM9 SDI 3G I/O card will be available in 2011. Further, you can expand or upgrade TC TouchMonitor TM7 & TM9 by installing optional software instruments (meter types) such as Real Time Analyzer or upgrade to Multichannel Mode.<br /><br />\n\nTouchMonitor is the ultimate, stand-alone loudness meter solution, featuring a touch screen with highly flexible layout options, an extremely consistent loudness readout and compatibility with all major  broadcast standards, including ITU-R BS.1770, EBU R128 and ATSC A/85.\n<ul>\n<li><strong>Loudness and True-peak Level Meter</strong><br />\nStereo and Multichannel </li>\n<li><strong>Use It for Everything</strong><br />\nBroadcast Ingest, Transmission, Post, Film and Live Production</li>\n<li><strong>Compliant with Major Broadcast Standards</strong><br />\nITU BS-1770, EBU R128, ATSC A/85, etc. </li>\n</ul><br />\n\n<h3>Two Sizes Fits All</h3>\nYou can get two basic TouchMonitor variants: TM7 and TM9 featuring a 7\" and a 9\" touch screen respectively. TM7 comes with 8 analog and 8 digital I/O, and you can choose between digital I/O on BNC (unbalanced AESid) or SUB-D (balanced) connectors. TM9 has a more comprehensive set of I/O options, including 16 analog balanced, 8 analog/8 digital (bal/unbal.) and 16 digital channels. Also, a 3G SDI expansion option is available for TM9.<br /><br />\n\nFurther, you can expand or upgrade TouchMonitor by installing optional software instruments (meter types) such as the Radar Display or upgrade to Multichannel Mode.<br /><br />\n<ul>\n<li>7\" or 9\" Touch Screen (16:9 TFT) - Loudness Has Never Looked This Good!  </li>\n<li>Extremely Consistent Readouts - Consistent Results at All Times.         </li>\n<li>Compliance - Conforms to All Major Broadcast Standards.                  </li>\n<li>Easy Touch Screen Control - Context-sensitive, On-screen Help.           </li>\n<li>Flexible Screen Layout - Resize and Reposition Any Instrument.           </li>\n<li>Powerful DSP - Parallel Display of Multiple Instruments.                 </li>\n<li>Comprehensive I/O Options - Including Analog, AES3, AES3id, SDI 3G, etc. </li>\n<li>Connectivity - Ethernet/LAN, USB, VGA and GPIO.                          </li>\n<li>Modular Software - Add Optional Instruments as the Need Arises.          </li>\n</ul><br />\n\n<h3>Flexible Screen Layout</h3>\nTailor the screen layout to optimize it for any application, making your life easier and letting you achieve ultimate end results. For instance, let the Radar Loudness Meter fill out one side of your screen, while using the remaining space for e.g. a Phase or PPM meter. You could even have two Radar Loudness Meters running simultaneously to monitor audio loudness at different stages.<br /><br />\n\n<h2>Hardware Options</h2>\n<h3>8 Analog Inputs + 8 Digital I/O (Sub D)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong>                                                                   </li>\n<li><strong>8-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 4 x AES3 In/Out, Sub-D        </li>\n<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D                               </li>\n</ul><br />\n\n<h3>8 Analog Inputs + 8 Digital I/O (BNC)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong>                                                                  </li>\n<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D                              </li>\n<li><strong>8-Channel Digital I/O</strong> - Unbalanced, 75 Ohm, 4 x AES3id In,  x AES3id Out, 8 x BNC  </li>\n </ul><br />\n\n<h3>3G SDI + 8 Digital I/O</h3>\n<ul>\n<li><strong>3G SDI  - BNC (loop through)</strong>          </li>\n<li><strong>8-Channel Digital Input</strong> - AES3, Sub-D</li>\n<li><strong>8-Channel Digital Output</strong> - AES3 Sub-D</li>\n</ul> <br />\n\n<h3>16 Digital I/O (Sub D)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong></li>\n<li><strong>16-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 2 x Sub-D</li><br /><br />\n</ul><br />\n\n<h2>Software Options</h2>\nAll TouchMonitor models come with a basic software package that includes:\n<ul>\n<li>Stereo-PPM w/ Analog Scales - DIN5, Nordic, British IIa, British IIb</li>\n<li>Stereo-PPM w/ Digtal Scales - 0 to -60 dB, +3 to -60 dB TruePeak, DIN5, Nordic, British IIa and IIb</li>\n<li>Peak Hold, Peak Memory, Over Indicators and Phase Meter</li>\n<li>Loudness & SPL License</li>\n</ul>\n\nOptionally, a broad variation of software modules, or \'instruments\', are available as licences. You can order optional instruments either at the point of purchase, or at a later point. If the licence was ordered at the point of purchase, the licence will be activated at delivery. If you choose to order a license after purchase, the order process starts from the \'Licences\' menu of the TouchMonitor.<br /><br /><br />\n\n<h3>Radar Loudness Display (optional)</h3>\nThe Radar Loudness Display license provides a high resolution circular Loudness history display for Momentary values, enhanced with numerical display of measuring time and two descriptors.<br /><br />\nThe Radar Display is compatible with all other Radar Loudness Meters from TC Electronic.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Loudness</strong> <strong>Landscape Overview</strong> - Loudness History, Momentary Loudness (M), True-peak Level, Program Loudness (I) and Loudness Range (LRA) in a Single View</li>\n<li><strong>Extremely Consistent Loudness Readout</strong></li>\n<li><strong>Detailed statistics view </strong></li>\n<li><strong>Ultimate Compliance</strong> - Conforms to all major\nbroadcast standards</li>\n<li><strong>Load Two Separate Radar Displays Simultaneously</strong> - Dual 24-hour History for pre- and post processing overview</li>\n</ul><br /><br />\n\n<h3>Loudness & SPL (included with all models)</h3>\nThis license expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB guidelines, and LRA instrument for the graphical display of the Loudness Range.<br /><br />\nA customer-specific mode allows the user to modify parameters.<br /><br />\nIn addition, the module provides an SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Expands the Basic Stereo PPM</strong> - Loudness Measuring as described in EBU Loudness Measuring Documents and ITU BS.1771 guidelines</li>\n<li><strong>Parameters Can be Modified</strong></li>\n<li><strong>SPL Display Mode</strong> - Various Weighting Filters and Integration</li>\n<li><strong>Reference Level Adjustment</strong> - Calculate an SPL Value from an Electrical Signal</li>\n<li><strong>Includes the LRA Instrument</strong> - Magic Eye View that Combines the Two Essential Measurements: Program Loudness and Loudness Range</li>\n</ul><br /><br />\n\n<h3>SSA Surround Sound Analyzer (optional)</h3>\nThis license is a powerful tool for visualizing the interaction of all important parameters of surround signals.<br /><br />\nThe dynamic behaviour of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Powerful Visualization of Surround Signals</strong></li>\n<li><strong>The Dynamics of all Display Elements Corresponds to the Subjective Listening Impression</strong> - See the Balance of a Surround Program Intuitively and at a Glance.</li>\n</ul><br /><br />\n\n<h3>Premium PPM + VectorScope</h3>\nThis license expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and PPM/VU moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.<br />\n\n<ul>\n<li><strong>Expand the Basic Stereo PPM with Additional Scales</strong> - Zoom, SMPTE, NHK, ARD+9</li>\n<li><strong>Expand the Basic Stereo PPM with Additional Functions</strong> - Peak Hold, Peak Memory, Over indicator</li>\n<li><strong>2-Channel Audio Vectorscope</strong></li>\n<li><strong>PPM/VU moving coil</strong></li>\n<li><strong>Separate Phase Meter</strong></li>\n</ul>\nAdd the Multi-channel License to extend to multi-channel PPM, to enhance the Multi-Correlator (up to 10 Phase Meters) and to add gain reduction.<br /><br /><br />\n\n<h3>RTA Real Time Analyzer (optional)</h3>\nThis license provides 31 bands of spectral distribution display for single channels, channel pairs or groups plus HP HF band. <br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Spectral Distribution Display</strong> - 31 Bands for Single Channels, Channel Pairs or Groups Plus HP HF Band</li>\n</ul><br /><br />\n\n<h3>BLITS</h3>\nThe instrument generates and analyzes BLITS test signals. BLITS (Black & Lane\'s Ident Tones for Surround) is a tool that allows you to test channel allocation, level and phase of 5.1 surround signals. Developed by Martin Black and Keith Lane from Sky TV in London in 2004, this sequence is widely used in international broadcasting<br />\n<ul>\n<li><strong>Generate BLITS test signal</strong></li>\n<li><strong>Analyze channel allocation, phase, delay and polarity</strong></li>\n<li><strong>Use any digital input of the TouchMonitor</strong></li>\n<li><strong>Generate BLITS for surround</strong></li>\n<li><strong>Generate GLITS or EBU 3304 for stereo</strong></li>\n</ul><br /><br />\n\n<h3>Multi-channel License (optional)</h3>\nExpands routing to:\n<ul>\n<li>Mono</li>\n<li>Stereo</li>\n<li>3.1 Surround</li>\n<li>5.0 Surround</li>\n<li>5.1 Surround</li>\n<li>Multi Channel (2 to 8 Channels in One Block - Up to 4 Blocks with 3G SDI Option)</li>\n</ul><br />'),(11438,75,1,1907,'<h2>TM7 Loudness Meter with 8 Ana I + 8 Digi I/O (BNC) for TM7 ￼</h2>\n	\n<span style=\"font-size:16px; font-stylRSPE Product Description Template.html\">Loudness has never looked this good. Next Generation Loudness Metering</span><br /><br />\n\nYou can get TC TouchMonitor TM7 & TM9 in 6 basic configurations based on connectivity, features and physical size. Simply choose between 7” or 9” touch screen, stereo or multichannel and whether you want the Radar Meter to be included with the multichannel version or not. Further, you have a number of I/O options to choose from. As standard, TC TouchMonitor TM9 comes with 16 digital balanced I/O, and TC TouchMonitor TM7 features 8 analog plus 8 digital I/O. However, an additional number of I/O configurations on either balanced or unbalanced connectors (Sub-D or BNC) are available as well. A TM9 SDI 3G I/O card will be available in 2011. Further, you can expand or upgrade TC TouchMonitor TM7 & TM9 by installing optional software instruments (meter types) such as Real Time Analyzer or upgrade to Multichannel Mode.<br /><br />\n\nTouchMonitor is the ultimate, stand-alone loudness meter solution, featuring a touch screen with highly flexible layout options, an extremely consistent loudness readout and compatibility with all major  broadcast standards, including ITU-R BS.1770, EBU R128 and ATSC A/85.\n<ul>\n<li><strong>Loudness and True-peak Level Meter</strong><br />\nStereo and Multichannel </li>\n<li><strong>Use It for Everything</strong><br />\nBroadcast Ingest, Transmission, Post, Film and Live Production</li>\n<li><strong>Compliant with Major Broadcast Standards</strong><br />\nITU BS-1770, EBU R128, ATSC A/85, etc. </li>\n</ul><br />\n\n<h3>Two Sizes Fits All</h3>\nYou can get two basic TouchMonitor variants: TM7 and TM9 featuring a 7\" and a 9\" touch screen respectively. TM7 comes with 8 analog and 8 digital I/O, and you can choose between digital I/O on BNC (unbalanced AESid) or SUB-D (balanced) connectors. TM9 has a more comprehensive set of I/O options, including 16 analog balanced, 8 analog/8 digital (bal/unbal.) and 16 digital channels. Also, a 3G SDI expansion option is available for TM9.<br /><br />\n\nFurther, you can expand or upgrade TouchMonitor by installing optional software instruments (meter types) such as the Radar Display or upgrade to Multichannel Mode.<br /><br />\n<ul>\n<li>7\" or 9\" Touch Screen (16:9 TFT) - Loudness Has Never Looked This Good!  </li>\n<li>Extremely Consistent Readouts - Consistent Results at All Times.         </li>\n<li>Compliance - Conforms to All Major Broadcast Standards.                  </li>\n<li>Easy Touch Screen Control - Context-sensitive, On-screen Help.           </li>\n<li>Flexible Screen Layout - Resize and Reposition Any Instrument.           </li>\n<li>Powerful DSP - Parallel Display of Multiple Instruments.                 </li>\n<li>Comprehensive I/O Options - Including Analog, AES3, AES3id, SDI 3G, etc. </li>\n<li>Connectivity - Ethernet/LAN, USB, VGA and GPIO.                          </li>\n<li>Modular Software - Add Optional Instruments as the Need Arises.          </li>\n</ul><br />\n\n<h3>Flexible Screen Layout</h3>\nTailor the screen layout to optimize it for any application, making your life easier and letting you achieve ultimate end results. For instance, let the Radar Loudness Meter fill out one side of your screen, while using the remaining space for e.g. a Phase or PPM meter. You could even have two Radar Loudness Meters running simultaneously to monitor audio loudness at different stages.<br /><br />\n\n<h2>Hardware Options</h2>\n<h3>8 Analog Inputs + 8 Digital I/O (Sub D)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong>                                                                   </li>\n<li><strong>8-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 4 x AES3 In/Out, Sub-D        </li>\n<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D                               </li>\n</ul><br />\n\n<h3>8 Analog Inputs + 8 Digital I/O (BNC)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong>                                                                  </li>\n<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D                              </li>\n<li><strong>8-Channel Digital I/O</strong> - Unbalanced, 75 Ohm, 4 x AES3id In,  x AES3id Out, 8 x BNC  </li>\n </ul><br />\n\n<h3>3G SDI + 8 Digital I/O</h3>\n<ul>\n<li><strong>3G SDI  - BNC (loop through)</strong>          </li>\n<li><strong>8-Channel Digital Input</strong> - AES3, Sub-D</li>\n<li><strong>8-Channel Digital Output</strong> - AES3 Sub-D</li>\n</ul> <br />\n\n<h3>16 Digital I/O (Sub D)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong></li>\n<li><strong>16-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 2 x Sub-D</li><br /><br />\n</ul><br />\n\n<h2>Software Options</h2>\nAll TouchMonitor models come with a basic software package that includes:\n<ul>\n<li>Stereo-PPM w/ Analog Scales - DIN5, Nordic, British IIa, British IIb</li>\n<li>Stereo-PPM w/ Digtal Scales - 0 to -60 dB, +3 to -60 dB TruePeak, DIN5, Nordic, British IIa and IIb</li>\n<li>Peak Hold, Peak Memory, Over Indicators and Phase Meter</li>\n<li>Loudness & SPL License</li>\n</ul>\n\nOptionally, a broad variation of software modules, or \'instruments\', are available as licences. You can order optional instruments either at the point of purchase, or at a later point. If the licence was ordered at the point of purchase, the licence will be activated at delivery. If you choose to order a license after purchase, the order process starts from the \'Licences\' menu of the TouchMonitor.<br /><br /><br />\n\n<h3>Radar Loudness Display (optional)</h3>\nThe Radar Loudness Display license provides a high resolution circular Loudness history display for Momentary values, enhanced with numerical display of measuring time and two descriptors.<br /><br />\nThe Radar Display is compatible with all other Radar Loudness Meters from TC Electronic.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Loudness</strong> <strong>Landscape Overview</strong> - Loudness History, Momentary Loudness (M), True-peak Level, Program Loudness (I) and Loudness Range (LRA) in a Single View</li>\n<li><strong>Extremely Consistent Loudness Readout</strong></li>\n<li><strong>Detailed statistics view </strong></li>\n<li><strong>Ultimate Compliance</strong> - Conforms to all major\nbroadcast standards</li>\n<li><strong>Load Two Separate Radar Displays Simultaneously</strong> - Dual 24-hour History for pre- and post processing overview</li>\n</ul><br /><br />\n\n<h3>Loudness & SPL (included with all models)</h3>\nThis license expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB guidelines, and LRA instrument for the graphical display of the Loudness Range.<br /><br />\nA customer-specific mode allows the user to modify parameters.<br /><br />\nIn addition, the module provides an SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Expands the Basic Stereo PPM</strong> - Loudness Measuring as described in EBU Loudness Measuring Documents and ITU BS.1771 guidelines</li>\n<li><strong>Parameters Can be Modified</strong></li>\n<li><strong>SPL Display Mode</strong> - Various Weighting Filters and Integration</li>\n<li><strong>Reference Level Adjustment</strong> - Calculate an SPL Value from an Electrical Signal</li>\n<li><strong>Includes the LRA Instrument</strong> - Magic Eye View that Combines the Two Essential Measurements: Program Loudness and Loudness Range</li>\n</ul><br /><br />\n\n<h3>SSA Surround Sound Analyzer (optional)</h3>\nThis license is a powerful tool for visualizing the interaction of all important parameters of surround signals.<br /><br />\nThe dynamic behaviour of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Powerful Visualization of Surround Signals</strong></li>\n<li><strong>The Dynamics of all Display Elements Corresponds to the Subjective Listening Impression</strong> - See the Balance of a Surround Program Intuitively and at a Glance.</li>\n</ul><br /><br />\n\n<h3>Premium PPM + VectorScope</h3>\nThis license expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and PPM/VU moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.<br />\n\n<ul>\n<li><strong>Expand the Basic Stereo PPM with Additional Scales</strong> - Zoom, SMPTE, NHK, ARD+9</li>\n<li><strong>Expand the Basic Stereo PPM with Additional Functions</strong> - Peak Hold, Peak Memory, Over indicator</li>\n<li><strong>2-Channel Audio Vectorscope</strong></li>\n<li><strong>PPM/VU moving coil</strong></li>\n<li><strong>Separate Phase Meter</strong></li>\n</ul>\nAdd the Multi-channel License to extend to multi-channel PPM, to enhance the Multi-Correlator (up to 10 Phase Meters) and to add gain reduction.<br /><br /><br />\n\n<h3>RTA Real Time Analyzer (optional)</h3>\nThis license provides 31 bands of spectral distribution display for single channels, channel pairs or groups plus HP HF band. <br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Spectral Distribution Display</strong> - 31 Bands for Single Channels, Channel Pairs or Groups Plus HP HF Band</li>\n</ul><br /><br />\n\n<h3>BLITS</h3>\nThe instrument generates and analyzes BLITS test signals. BLITS (Black & Lane\'s Ident Tones for Surround) is a tool that allows you to test channel allocation, level and phase of 5.1 surround signals. Developed by Martin Black and Keith Lane from Sky TV in London in 2004, this sequence is widely used in international broadcasting<br />\n<ul>\n<li><strong>Generate BLITS test signal</strong></li>\n<li><strong>Analyze channel allocation, phase, delay and polarity</strong></li>\n<li><strong>Use any digital input of the TouchMonitor</strong></li>\n<li><strong>Generate BLITS for surround</strong></li>\n<li><strong>Generate GLITS or EBU 3304 for stereo</strong></li>\n</ul><br /><br />\n\n<h3>Multi-channel License (optional)</h3>\nExpands routing to:\n<ul>\n<li>Mono</li>\n<li>Stereo</li>\n<li>3.1 Surround</li>\n<li>5.0 Surround</li>\n<li>5.1 Surround</li>\n<li>Multi Channel (2 to 8 Channels in One Block - Up to 4 Blocks with 3G SDI Option)</li>\n</ul><br />'),(11439,85,0,1907,'TC Electronic TM7 Loudness Meter with 8 Ana I + 8 Digi I/O (BNC) for TM7'),(11440,85,1,1907,'TC Electronic TM7 Loudness Meter with 8 Ana I + 8 Digi I/O (BNC) for TM7'),(11441,76,0,1907,''),(11442,76,1,1907,''),(11443,75,0,1908,'<h2>TM7 - TouchMonitor Loudness Meter with 8 Ana I + 8 Digi I/O (Sub D), Loudness & SPL</h2>\n	\n<span style=\"font-size:16px; font-stylRSPE Product Description Template.html\">Loudness has never looked this good. Next Generation Loudness Metering</span><br /><br />\n\nYou can get TC TouchMonitor TM7 & TM9 in 6 basic configurations based on connectivity, features and physical size. Simply choose between 7” or 9” touch screen, stereo or multichannel and whether you want the Radar Meter to be included with the multichannel version or not. Further, you have a number of I/O options to choose from. As standard, TC TouchMonitor TM9 comes with 16 digital balanced I/O, and TC TouchMonitor TM7 features 8 analog plus 8 digital I/O. However, an additional number of I/O configurations on either balanced or unbalanced connectors (Sub-D or BNC) are available as well. A TM9 SDI 3G I/O card will be available in 2011. Further, you can expand or upgrade TC TouchMonitor TM7 & TM9 by installing optional software instruments (meter types) such as Real Time Analyzer or upgrade to Multichannel Mode.<br /><br />\n\nTouchMonitor is the ultimate, stand-alone loudness meter solution, featuring a touch screen with highly flexible layout options, an extremely consistent loudness readout and compatibility with all major  broadcast standards, including ITU-R BS.1770, EBU R128 and ATSC A/85.\n<ul>\n<li><strong>Loudness and True-peak Level Meter</strong><br />\nStereo and Multichannel </li>\n<li><strong>Use It for Everything</strong><br />\nBroadcast Ingest, Transmission, Post, Film and Live Production</li>\n<li><strong>Compliant with Major Broadcast Standards</strong><br />\nITU BS-1770, EBU R128, ATSC A/85, etc. </li>\n</ul><br />\n\n<h3>Two Sizes Fits All</h3>\nYou can get two basic TouchMonitor variants: TM7 and TM9 featuring a 7\" and a 9\" touch screen respectively. TM7 comes with 8 analog and 8 digital I/O, and you can choose between digital I/O on BNC (unbalanced AESid) or SUB-D (balanced) connectors. TM9 has a more comprehensive set of I/O options, including 16 analog balanced, 8 analog/8 digital (bal/unbal.) and 16 digital channels. Also, a 3G SDI expansion option is available for TM9.<br /><br />\n\nFurther, you can expand or upgrade TouchMonitor by installing optional software instruments (meter types) such as the Radar Display or upgrade to Multichannel Mode.<br /><br />\n<ul>\n<li>7\" or 9\" Touch Screen (16:9 TFT) - Loudness Has Never Looked This Good!  </li>\n<li>Extremely Consistent Readouts - Consistent Results at All Times.         </li>\n<li>Compliance - Conforms to All Major Broadcast Standards.                  </li>\n<li>Easy Touch Screen Control - Context-sensitive, On-screen Help.           </li>\n<li>Flexible Screen Layout - Resize and Reposition Any Instrument.           </li>\n<li>Powerful DSP - Parallel Display of Multiple Instruments.                 </li>\n<li>Comprehensive I/O Options - Including Analog, AES3, AES3id, SDI 3G, etc. </li>\n<li>Connectivity - Ethernet/LAN, USB, VGA and GPIO.                          </li>\n<li>Modular Software - Add Optional Instruments as the Need Arises.          </li>\n</ul><br />\n\n<h3>Flexible Screen Layout</h3>\nTailor the screen layout to optimize it for any application, making your life easier and letting you achieve ultimate end results. For instance, let the Radar Loudness Meter fill out one side of your screen, while using the remaining space for e.g. a Phase or PPM meter. You could even have two Radar Loudness Meters running simultaneously to monitor audio loudness at different stages.<br /><br />\n\n<h2>Hardware Options</h2>\n<h3>8 Analog Inputs + 8 Digital I/O (Sub D)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong>                                                                   </li>\n<li><strong>8-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 4 x AES3 In/Out, Sub-D        </li>\n<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D                               </li>\n</ul><br />\n\n<h3>8 Analog Inputs + 8 Digital I/O (BNC)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong>                                                                  </li>\n<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D                              </li>\n<li><strong>8-Channel Digital I/O</strong> - Unbalanced, 75 Ohm, 4 x AES3id In,  x AES3id Out, 8 x BNC  </li>\n </ul><br />\n\n<h3>3G SDI + 8 Digital I/O</h3>\n<ul>\n<li><strong>3G SDI  - BNC (loop through)</strong>          </li>\n<li><strong>8-Channel Digital Input</strong> - AES3, Sub-D</li>\n<li><strong>8-Channel Digital Output</strong> - AES3 Sub-D</li>\n</ul> <br />\n\n<h3>16 Digital I/O (Sub D)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong></li>\n<li><strong>16-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 2 x Sub-D</li><br /><br />\n</ul><br />\n\n<h2>Software Options</h2>\nAll TouchMonitor models come with a basic software package that includes:\n<ul>\n<li>Stereo-PPM w/ Analog Scales - DIN5, Nordic, British IIa, British IIb</li>\n<li>Stereo-PPM w/ Digtal Scales - 0 to -60 dB, +3 to -60 dB TruePeak, DIN5, Nordic, British IIa and IIb</li>\n<li>Peak Hold, Peak Memory, Over Indicators and Phase Meter</li>\n<li>Loudness & SPL License</li>\n</ul>\n\nOptionally, a broad variation of software modules, or \'instruments\', are available as licences. You can order optional instruments either at the point of purchase, or at a later point. If the licence was ordered at the point of purchase, the licence will be activated at delivery. If you choose to order a license after purchase, the order process starts from the \'Licences\' menu of the TouchMonitor.<br /><br /><br />\n\n<h3>Radar Loudness Display (optional)</h3>\nThe Radar Loudness Display license provides a high resolution circular Loudness history display for Momentary values, enhanced with numerical display of measuring time and two descriptors.<br /><br />\nThe Radar Display is compatible with all other Radar Loudness Meters from TC Electronic.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Loudness</strong> <strong>Landscape Overview</strong> - Loudness History, Momentary Loudness (M), True-peak Level, Program Loudness (I) and Loudness Range (LRA) in a Single View</li>\n<li><strong>Extremely Consistent Loudness Readout</strong></li>\n<li><strong>Detailed statistics view </strong></li>\n<li><strong>Ultimate Compliance</strong> - Conforms to all major\nbroadcast standards</li>\n<li><strong>Load Two Separate Radar Displays Simultaneously</strong> - Dual 24-hour History for pre- and post processing overview</li>\n</ul><br /><br />\n\n<h3>Loudness & SPL (included with all models)</h3>\nThis license expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB guidelines, and LRA instrument for the graphical display of the Loudness Range.<br /><br />\nA customer-specific mode allows the user to modify parameters.<br /><br />\nIn addition, the module provides an SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Expands the Basic Stereo PPM</strong> - Loudness Measuring as described in EBU Loudness Measuring Documents and ITU BS.1771 guidelines</li>\n<li><strong>Parameters Can be Modified</strong></li>\n<li><strong>SPL Display Mode</strong> - Various Weighting Filters and Integration</li>\n<li><strong>Reference Level Adjustment</strong> - Calculate an SPL Value from an Electrical Signal</li>\n<li><strong>Includes the LRA Instrument</strong> - Magic Eye View that Combines the Two Essential Measurements: Program Loudness and Loudness Range</li>\n</ul><br /><br />\n\n<h3>SSA Surround Sound Analyzer (optional)</h3>\nThis license is a powerful tool for visualizing the interaction of all important parameters of surround signals.<br /><br />\nThe dynamic behaviour of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Powerful Visualization of Surround Signals</strong></li>\n<li><strong>The Dynamics of all Display Elements Corresponds to the Subjective Listening Impression</strong> - See the Balance of a Surround Program Intuitively and at a Glance.</li>\n</ul><br /><br />\n\n<h3>Premium PPM + VectorScope</h3>\nThis license expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and PPM/VU moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.<br />\n\n<ul>\n<li><strong>Expand the Basic Stereo PPM with Additional Scales</strong> - Zoom, SMPTE, NHK, ARD+9</li>\n<li><strong>Expand the Basic Stereo PPM with Additional Functions</strong> - Peak Hold, Peak Memory, Over indicator</li>\n<li><strong>2-Channel Audio Vectorscope</strong></li>\n<li><strong>PPM/VU moving coil</strong></li>\n<li><strong>Separate Phase Meter</strong></li>\n</ul>\nAdd the Multi-channel License to extend to multi-channel PPM, to enhance the Multi-Correlator (up to 10 Phase Meters) and to add gain reduction.<br /><br /><br />\n\n<h3>RTA Real Time Analyzer (optional)</h3>\nThis license provides 31 bands of spectral distribution display for single channels, channel pairs or groups plus HP HF band. <br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Spectral Distribution Display</strong> - 31 Bands for Single Channels, Channel Pairs or Groups Plus HP HF Band</li>\n</ul><br /><br />\n\n<h3>BLITS</h3>\nThe instrument generates and analyzes BLITS test signals. BLITS (Black & Lane\'s Ident Tones for Surround) is a tool that allows you to test channel allocation, level and phase of 5.1 surround signals. Developed by Martin Black and Keith Lane from Sky TV in London in 2004, this sequence is widely used in international broadcasting<br />\n<ul>\n<li><strong>Generate BLITS test signal</strong></li>\n<li><strong>Analyze channel allocation, phase, delay and polarity</strong></li>\n<li><strong>Use any digital input of the TouchMonitor</strong></li>\n<li><strong>Generate BLITS for surround</strong></li>\n<li><strong>Generate GLITS or EBU 3304 for stereo</strong></li>\n</ul><br /><br />\n\n<h3>Multi-channel License (optional)</h3>\nExpands routing to:\n<ul>\n<li>Mono</li>\n<li>Stereo</li>\n<li>3.1 Surround</li>\n<li>5.0 Surround</li>\n<li>5.1 Surround</li>\n<li>Multi Channel (2 to 8 Channels in One Block - Up to 4 Blocks with 3G SDI Option)</li>\n</ul><br />'),(11444,75,1,1908,'<h2>TM7 - TouchMonitor Loudness Meter with 8 Ana I + 8 Digi I/O (Sub D), Loudness & SPL</h2>\n	\n<span style=\"font-size:16px; font-stylRSPE Product Description Template.html\">Loudness has never looked this good. Next Generation Loudness Metering</span><br /><br />\n\nYou can get TC TouchMonitor TM7 & TM9 in 6 basic configurations based on connectivity, features and physical size. Simply choose between 7” or 9” touch screen, stereo or multichannel and whether you want the Radar Meter to be included with the multichannel version or not. Further, you have a number of I/O options to choose from. As standard, TC TouchMonitor TM9 comes with 16 digital balanced I/O, and TC TouchMonitor TM7 features 8 analog plus 8 digital I/O. However, an additional number of I/O configurations on either balanced or unbalanced connectors (Sub-D or BNC) are available as well. A TM9 SDI 3G I/O card will be available in 2011. Further, you can expand or upgrade TC TouchMonitor TM7 & TM9 by installing optional software instruments (meter types) such as Real Time Analyzer or upgrade to Multichannel Mode.<br /><br />\n\nTouchMonitor is the ultimate, stand-alone loudness meter solution, featuring a touch screen with highly flexible layout options, an extremely consistent loudness readout and compatibility with all major  broadcast standards, including ITU-R BS.1770, EBU R128 and ATSC A/85.\n<ul>\n<li><strong>Loudness and True-peak Level Meter</strong><br />\nStereo and Multichannel </li>\n<li><strong>Use It for Everything</strong><br />\nBroadcast Ingest, Transmission, Post, Film and Live Production</li>\n<li><strong>Compliant with Major Broadcast Standards</strong><br />\nITU BS-1770, EBU R128, ATSC A/85, etc. </li>\n</ul><br />\n\n<h3>Two Sizes Fits All</h3>\nYou can get two basic TouchMonitor variants: TM7 and TM9 featuring a 7\" and a 9\" touch screen respectively. TM7 comes with 8 analog and 8 digital I/O, and you can choose between digital I/O on BNC (unbalanced AESid) or SUB-D (balanced) connectors. TM9 has a more comprehensive set of I/O options, including 16 analog balanced, 8 analog/8 digital (bal/unbal.) and 16 digital channels. Also, a 3G SDI expansion option is available for TM9.<br /><br />\n\nFurther, you can expand or upgrade TouchMonitor by installing optional software instruments (meter types) such as the Radar Display or upgrade to Multichannel Mode.<br /><br />\n<ul>\n<li>7\" or 9\" Touch Screen (16:9 TFT) - Loudness Has Never Looked This Good!  </li>\n<li>Extremely Consistent Readouts - Consistent Results at All Times.         </li>\n<li>Compliance - Conforms to All Major Broadcast Standards.                  </li>\n<li>Easy Touch Screen Control - Context-sensitive, On-screen Help.           </li>\n<li>Flexible Screen Layout - Resize and Reposition Any Instrument.           </li>\n<li>Powerful DSP - Parallel Display of Multiple Instruments.                 </li>\n<li>Comprehensive I/O Options - Including Analog, AES3, AES3id, SDI 3G, etc. </li>\n<li>Connectivity - Ethernet/LAN, USB, VGA and GPIO.                          </li>\n<li>Modular Software - Add Optional Instruments as the Need Arises.          </li>\n</ul><br />\n\n<h3>Flexible Screen Layout</h3>\nTailor the screen layout to optimize it for any application, making your life easier and letting you achieve ultimate end results. For instance, let the Radar Loudness Meter fill out one side of your screen, while using the remaining space for e.g. a Phase or PPM meter. You could even have two Radar Loudness Meters running simultaneously to monitor audio loudness at different stages.<br /><br />\n\n<h2>Hardware Options</h2>\n<h3>8 Analog Inputs + 8 Digital I/O (Sub D)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong>                                                                   </li>\n<li><strong>8-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 4 x AES3 In/Out, Sub-D        </li>\n<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D                               </li>\n</ul><br />\n\n<h3>8 Analog Inputs + 8 Digital I/O (BNC)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong>                                                                  </li>\n<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D                              </li>\n<li><strong>8-Channel Digital I/O</strong> - Unbalanced, 75 Ohm, 4 x AES3id In,  x AES3id Out, 8 x BNC  </li>\n </ul><br />\n\n<h3>3G SDI + 8 Digital I/O</h3>\n<ul>\n<li><strong>3G SDI  - BNC (loop through)</strong>          </li>\n<li><strong>8-Channel Digital Input</strong> - AES3, Sub-D</li>\n<li><strong>8-Channel Digital Output</strong> - AES3 Sub-D</li>\n</ul> <br />\n\n<h3>16 Digital I/O (Sub D)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong></li>\n<li><strong>16-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 2 x Sub-D</li><br /><br />\n</ul><br />\n\n<h2>Software Options</h2>\nAll TouchMonitor models come with a basic software package that includes:\n<ul>\n<li>Stereo-PPM w/ Analog Scales - DIN5, Nordic, British IIa, British IIb</li>\n<li>Stereo-PPM w/ Digtal Scales - 0 to -60 dB, +3 to -60 dB TruePeak, DIN5, Nordic, British IIa and IIb</li>\n<li>Peak Hold, Peak Memory, Over Indicators and Phase Meter</li>\n<li>Loudness & SPL License</li>\n</ul>\n\nOptionally, a broad variation of software modules, or \'instruments\', are available as licences. You can order optional instruments either at the point of purchase, or at a later point. If the licence was ordered at the point of purchase, the licence will be activated at delivery. If you choose to order a license after purchase, the order process starts from the \'Licences\' menu of the TouchMonitor.<br /><br /><br />\n\n<h3>Radar Loudness Display (optional)</h3>\nThe Radar Loudness Display license provides a high resolution circular Loudness history display for Momentary values, enhanced with numerical display of measuring time and two descriptors.<br /><br />\nThe Radar Display is compatible with all other Radar Loudness Meters from TC Electronic.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Loudness</strong> <strong>Landscape Overview</strong> - Loudness History, Momentary Loudness (M), True-peak Level, Program Loudness (I) and Loudness Range (LRA) in a Single View</li>\n<li><strong>Extremely Consistent Loudness Readout</strong></li>\n<li><strong>Detailed statistics view </strong></li>\n<li><strong>Ultimate Compliance</strong> - Conforms to all major\nbroadcast standards</li>\n<li><strong>Load Two Separate Radar Displays Simultaneously</strong> - Dual 24-hour History for pre- and post processing overview</li>\n</ul><br /><br />\n\n<h3>Loudness & SPL (included with all models)</h3>\nThis license expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB guidelines, and LRA instrument for the graphical display of the Loudness Range.<br /><br />\nA customer-specific mode allows the user to modify parameters.<br /><br />\nIn addition, the module provides an SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Expands the Basic Stereo PPM</strong> - Loudness Measuring as described in EBU Loudness Measuring Documents and ITU BS.1771 guidelines</li>\n<li><strong>Parameters Can be Modified</strong></li>\n<li><strong>SPL Display Mode</strong> - Various Weighting Filters and Integration</li>\n<li><strong>Reference Level Adjustment</strong> - Calculate an SPL Value from an Electrical Signal</li>\n<li><strong>Includes the LRA Instrument</strong> - Magic Eye View that Combines the Two Essential Measurements: Program Loudness and Loudness Range</li>\n</ul><br /><br />\n\n<h3>SSA Surround Sound Analyzer (optional)</h3>\nThis license is a powerful tool for visualizing the interaction of all important parameters of surround signals.<br /><br />\nThe dynamic behaviour of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Powerful Visualization of Surround Signals</strong></li>\n<li><strong>The Dynamics of all Display Elements Corresponds to the Subjective Listening Impression</strong> - See the Balance of a Surround Program Intuitively and at a Glance.</li>\n</ul><br /><br />\n\n<h3>Premium PPM + VectorScope</h3>\nThis license expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and PPM/VU moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.<br />\n\n<ul>\n<li><strong>Expand the Basic Stereo PPM with Additional Scales</strong> - Zoom, SMPTE, NHK, ARD+9</li>\n<li><strong>Expand the Basic Stereo PPM with Additional Functions</strong> - Peak Hold, Peak Memory, Over indicator</li>\n<li><strong>2-Channel Audio Vectorscope</strong></li>\n<li><strong>PPM/VU moving coil</strong></li>\n<li><strong>Separate Phase Meter</strong></li>\n</ul>\nAdd the Multi-channel License to extend to multi-channel PPM, to enhance the Multi-Correlator (up to 10 Phase Meters) and to add gain reduction.<br /><br /><br />\n\n<h3>RTA Real Time Analyzer (optional)</h3>\nThis license provides 31 bands of spectral distribution display for single channels, channel pairs or groups plus HP HF band. <br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Spectral Distribution Display</strong> - 31 Bands for Single Channels, Channel Pairs or Groups Plus HP HF Band</li>\n</ul><br /><br />\n\n<h3>BLITS</h3>\nThe instrument generates and analyzes BLITS test signals. BLITS (Black & Lane\'s Ident Tones for Surround) is a tool that allows you to test channel allocation, level and phase of 5.1 surround signals. Developed by Martin Black and Keith Lane from Sky TV in London in 2004, this sequence is widely used in international broadcasting<br />\n<ul>\n<li><strong>Generate BLITS test signal</strong></li>\n<li><strong>Analyze channel allocation, phase, delay and polarity</strong></li>\n<li><strong>Use any digital input of the TouchMonitor</strong></li>\n<li><strong>Generate BLITS for surround</strong></li>\n<li><strong>Generate GLITS or EBU 3304 for stereo</strong></li>\n</ul><br /><br />\n\n<h3>Multi-channel License (optional)</h3>\nExpands routing to:\n<ul>\n<li>Mono</li>\n<li>Stereo</li>\n<li>3.1 Surround</li>\n<li>5.0 Surround</li>\n<li>5.1 Surround</li>\n<li>Multi Channel (2 to 8 Channels in One Block - Up to 4 Blocks with 3G SDI Option)</li>\n</ul><br />'),(11445,85,0,1908,'TC Electronic TM7 Loudness Meter with 8 Ana I + 8 Digi I/O (Sub D), Loudness & SPL'),(11446,85,1,1908,'TC Electronic TM7 Loudness Meter with 8 Ana I + 8 Digi I/O (Sub D), Loudness & SPL'),(11447,76,0,1908,''),(11448,76,1,1908,''),(11449,75,0,1909,'<h2>TM9 Loudness Meter with 16 Ana I Bal., Loudness & SPL</h2>\n<span style=\"font-size:16px; font-stylRSPE Product Description Template.html\">Loudness has never looked this good. Next Generation Loudness Metering</span><br /><br />\nYou can get TC TouchMonitor TM7 & TM9 in 6 basic configurations based on connectivity, features and physical size. Simply choose between 7” or 9” touch screen, stereo or multichannel and whether you want the Radar Meter to be included with the multichannel version or not. Further, you have a number of I/O options to choose from. As standard, TC TouchMonitor TM9 comes with 16 digital balanced I/O, and TC TouchMonitor TM7 features 8 analog plus 8 digital I/O. However, an additional number of I/O configurations on either balanced or unbalanced connectors (Sub-D or BNC) are available as well. A TM9 SDI 3G I/O card will be available in 2011. Further, you can expand or upgrade TC TouchMonitor TM7 & TM9 by installing optional software instruments (meter types) such as Real Time Analyzer or upgrade to Multichannel Mode.<br /><br />\nTouchMonitor is the ultimate, stand-alone loudness meter solution, featuring a touch screen with highly flexible layout options, an extremely consistent loudness readout and compatibility with all major  broadcast standards, including ITU-R BS.1770, EBU R128 and ATSC A/85.\n<ul>\n	<li><strong>Loudness and True-peak Level Meter</strong><br />\n	Stereo and Multichannel </li>\n	<li><strong>Use It for Everything</strong><br />\n	Broadcast Ingest, Transmission, Post, Film and Live Production</li>\n	<li><strong>Compliant with Major Broadcast Standards</strong><br />\n	ITU BS-1770, EBU R128, ATSC A/85, etc. </li>\n</ul>\n<br />\n<h3>Two Sizes Fits All</h3>\nYou can get two basic TouchMonitor variants: TM7 and TM9 featuring a 7\" and a 9\" touch screen respectively. TM7 comes with 8 analog and 8 digital I/O, and you can choose between digital I/O on BNC (unbalanced AESid) or SUB-D (balanced) connectors. TM9 has a more comprehensive set of I/O options, including 16 analog balanced, 8 analog/8 digital (bal/unbal.) and 16 digital channels. Also, a 3G SDI expansion option is available for TM9.\n<br /><br />\nFurther, you can expand or upgrade TouchMonitor by installing optional software instruments (meter types) such as the Radar Display or upgrade to Multichannel Mode.<br /><br />\n<ul>\n	<li>7\" or 9\" Touch Screen (16:9 TFT) - Loudness Has Never Looked This Good!  </li>\n	<li>Extremely Consistent Readouts - Consistent Results at All Times.         </li>\n	<li>Compliance - Conforms to All Major Broadcast Standards.                  </li>\n	<li>Easy Touch Screen Control - Context-sensitive, On-screen Help.           </li>\n	<li>Flexible Screen Layout - Resize and Reposition Any Instrument.           </li>\n	<li>Powerful DSP - Parallel Display of Multiple Instruments.                 </li>\n	<li>Comprehensive I/O Options - Including Analog, AES3, AES3id, SDI 3G, etc. </li>\n	<li>Connectivity - Ethernet/LAN, USB, VGA and GPIO.                          </li>\n	<li>Modular Software - Add Optional Instruments as the Need Arises.          </li>\n</ul>\n<br />\n<h3>Flexible Screen Layout</h3>\nTailor the screen layout to optimize it for any application, making your life easier and letting you achieve ultimate end results. For instance, let the Radar Loudness Meter fill out one side of your screen, while using the remaining space for e.g. a Phase or PPM meter. You could even have two Radar Loudness Meters running simultaneously to monitor audio loudness at different stages.\n<br /><br />\n<h2>Hardware Options</h2>\n<h3>8 Analog Inputs + 8 Digital I/O (Sub D)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>8-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 4 x AES3 In/Out, Sub-D</li>\n	<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D</li>\n</ul>\n<br />\n<h3>8 Analog Inputs + 8 Digital I/O (BNC)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D</li>\n	<li><strong>8-Channel Digital I/O</strong> - Unbalanced, 75 Ohm, 4 x AES3id In, 4 x AES3id Out, 8 x BNC</li>\n</ul>\n<br />\n<h3>16 Digital I/O (Sub D)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 2 x Sub-D</li>\n</ul>\n<br />\n<h3>16 Digital I/O (BNC)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Digital I/O</strong> - Unbal., 75 Ohm, 8 x AES3id In, 8 x AES3id Out, 16 x BNC</li>\n</ul>\n<br />\n<h3>16 Analog Inputs Balanced</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Analog Inputs</strong> - Electronically Balanced, 2 x Sub-D</li>\n</ul>\n<br />\n<h3>3G SDI Extension Card</h3>\n<ul>\n	<li><strong>3G SDI Audio Interface</strong> - Expand Inputs to 32 Channels</li>\n	<li><strong>SDI Can be Retrofitted</strong></li>\n</ul>\n<br /><br />\n<h2>Software Options</h2>\nAll TouchMonitor models come with a basic software package that includes:\n<ul>\n	<li>Stereo-PPM w/ Analog Scales - DIN5, Nordic, British IIa, British IIb</li>\n	<li>Stereo-PPM w/ Digtal Scales - 0 to -60 dB, +3 to -60 dB TruePeak, DIN5, Nordic, British IIa and IIb</li>\n	<li>Peak Hold, Peak Memory, Over Indicators and Phase Meter</li>\n	<li>Loudness & SPL License</li>\n</ul>\nOptionally, a broad variation of software modules, or \'instruments\', are available as licences. You can order optional instruments either at the point of purchase, or at a later point. If the licence was ordered at the point of purchase, the licence will be activated at delivery. If you choose to order a license after purchase, the order process starts from the \'Licences\' menu of the TouchMonitor.\n<br /><br /><br />\n<h3>Radar Loudness Display (optional)</h3>\nThe Radar Loudness Display license provides a high resolution circular Loudness history display for Momentary values, enhanced with numerical display of measuring time and two descriptors.\n<br /><br />\nThe Radar Display is compatible with all other Radar Loudness Meters from TC Electronic.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Loudness</strong> <strong>Landscape Overview</strong> - Loudness History, Momentary Loudness (M), True-peak Level, Program Loudness (I) and Loudness Range (LRA) in a Single View</li>\n	<li><strong>Extremely Consistent Loudness Readout</strong></li>\n	<li><strong>Detailed statistics view </strong></li>\n	<li><strong>Ultimate Compliance</strong> - Conforms to all major\nbroadcast standards\n	</li>\n	<li><strong>Load Two Separate Radar Displays Simultaneously</strong> - Dual 24-hour History for pre- and post processing overview</li>\n</ul>\n<br /><br />\n<h3>Loudness & SPL (included with all models)</h3>\nThis license expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB guidelines, and LRA instrument for the graphical display of the Loudness Range.\n<br /><br />\nA customer-specific mode allows the user to modify parameters.<br /><br />\nIn addition, the module provides an SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Expands the Basic Stereo PPM</strong> - Loudness Measuring as described in EBU Loudness Measuring Documents and ITU BS.1771 guidelines</li>\n	<li><strong>Parameters Can be Modified</strong></li>\n	<li><strong>SPL Display Mode</strong> - Various Weighting Filters and Integration</li>\n	<li><strong>Reference Level Adjustment</strong> - Calculate an SPL Value from an Electrical Signal</li>\n	<li><strong>Includes the LRA Instrument</strong> - Magic Eye View that Combines the Two Essential Measurements: Program Loudness and Loudness Range</li>\n</ul>\n<br /><br />\n<h3>SSA Surround Sound Analyzer (optional)</h3>\nThis license is a powerful tool for visualizing the interaction of all important parameters of surround signals.\n<br /><br />\nThe dynamic behaviour of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Powerful Visualization of Surround Signals</strong></li>\n	<li><strong>The Dynamics of all Display Elements Corresponds to the Subjective Listening Impression</strong> - See the Balance of a Surround Program Intuitively and at a Glance.</li>\n</ul>\n<br /><br />\n<h3>Premium PPM + VectorScope</h3>\nThis license expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and PPM/VU moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.\n<br />\n<ul>\n	<li><strong>Expand the Basic Stereo PPM with Additional Scales</strong> - Zoom, SMPTE, NHK, ARD+9</li>\n	<li><strong>Expand the Basic Stereo PPM with Additional Functions</strong> - Peak Hold, Peak Memory, Over indicator</li>\n	<li><strong>2-Channel Audio Vectorscope</strong></li>\n	<li><strong>PPM/VU moving coil</strong></li>\n	<li><strong>Separate Phase Meter</strong></li>\n</ul>\nAdd the Multi-channel License to extend to multi-channel PPM, to enhance the Multi-Correlator (up to 10 Phase Meters) and to add gain reduction.\n<br /><br /><br />\n<h3>RTA Real Time Analyzer (optional)</h3>\nThis license provides 31 bands of spectral distribution display for single channels, channel pairs or groups plus HP HF band. \n<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Spectral Distribution Display</strong> - 31 Bands for Single Channels, Channel Pairs or Groups Plus HP HF Band</li>\n</ul>\n<br /><br />\n<h3>BLITS</h3>\nThe instrument generates and analyzes BLITS test signals. BLITS (Black & Lane\'s Ident Tones for Surround) is a tool that allows you to test channel allocation, level and phase of 5.1 surround signals. Developed by Martin Black and Keith Lane from Sky TV in London in 2004, this sequence is widely used in international broadcasting\n<br />\n<ul>\n	<li><strong>Generate BLITS test signal</strong></li>\n	<li><strong>Analyze channel allocation, phase, delay and polarity</strong></li>\n	<li><strong>Use any digital input of the TouchMonitor</strong></li>\n	<li><strong>Generate BLITS for surround</strong></li>\n	<li><strong>Generate GLITS or EBU 3304 for stereo</strong></li>\n</ul>\n<br /><br />\n<h3>Multi-channel License (optional)</h3>\nExpands routing to:\n<ul>\n	<li>Mono</li>\n	<li>Stereo</li>\n	<li>3.1 Surround</li>\n	<li>5.0 Surround</li>\n	<li>5.1 Surround</li>\n	<li>Multi Channel (2 to 8 Channels in One Block - Up to 4 Blocks with 3G SDI Option)</li>\n</ul>\n<br />'),(11450,75,1,1909,'<h2>TM9 Loudness Meter with 16 Ana I Bal., Loudness & SPL</h2>\n<span style=\"font-size:16px; font-stylRSPE Product Description Template.html\">Loudness has never looked this good. Next Generation Loudness Metering</span><br /><br />\nYou can get TC TouchMonitor TM7 & TM9 in 6 basic configurations based on connectivity, features and physical size. Simply choose between 7” or 9” touch screen, stereo or multichannel and whether you want the Radar Meter to be included with the multichannel version or not. Further, you have a number of I/O options to choose from. As standard, TC TouchMonitor TM9 comes with 16 digital balanced I/O, and TC TouchMonitor TM7 features 8 analog plus 8 digital I/O. However, an additional number of I/O configurations on either balanced or unbalanced connectors (Sub-D or BNC) are available as well. A TM9 SDI 3G I/O card will be available in 2011. Further, you can expand or upgrade TC TouchMonitor TM7 & TM9 by installing optional software instruments (meter types) such as Real Time Analyzer or upgrade to Multichannel Mode.<br /><br />\nTouchMonitor is the ultimate, stand-alone loudness meter solution, featuring a touch screen with highly flexible layout options, an extremely consistent loudness readout and compatibility with all major  broadcast standards, including ITU-R BS.1770, EBU R128 and ATSC A/85.\n<ul>\n	<li><strong>Loudness and True-peak Level Meter</strong><br />\n	Stereo and Multichannel </li>\n	<li><strong>Use It for Everything</strong><br />\n	Broadcast Ingest, Transmission, Post, Film and Live Production</li>\n	<li><strong>Compliant with Major Broadcast Standards</strong><br />\n	ITU BS-1770, EBU R128, ATSC A/85, etc. </li>\n</ul>\n<br />\n<h3>Two Sizes Fits All</h3>\nYou can get two basic TouchMonitor variants: TM7 and TM9 featuring a 7\" and a 9\" touch screen respectively. TM7 comes with 8 analog and 8 digital I/O, and you can choose between digital I/O on BNC (unbalanced AESid) or SUB-D (balanced) connectors. TM9 has a more comprehensive set of I/O options, including 16 analog balanced, 8 analog/8 digital (bal/unbal.) and 16 digital channels. Also, a 3G SDI expansion option is available for TM9.\n<br /><br />\nFurther, you can expand or upgrade TouchMonitor by installing optional software instruments (meter types) such as the Radar Display or upgrade to Multichannel Mode.<br /><br />\n<ul>\n	<li>7\" or 9\" Touch Screen (16:9 TFT) - Loudness Has Never Looked This Good!  </li>\n	<li>Extremely Consistent Readouts - Consistent Results at All Times.         </li>\n	<li>Compliance - Conforms to All Major Broadcast Standards.                  </li>\n	<li>Easy Touch Screen Control - Context-sensitive, On-screen Help.           </li>\n	<li>Flexible Screen Layout - Resize and Reposition Any Instrument.           </li>\n	<li>Powerful DSP - Parallel Display of Multiple Instruments.                 </li>\n	<li>Comprehensive I/O Options - Including Analog, AES3, AES3id, SDI 3G, etc. </li>\n	<li>Connectivity - Ethernet/LAN, USB, VGA and GPIO.                          </li>\n	<li>Modular Software - Add Optional Instruments as the Need Arises.          </li>\n</ul>\n<br />\n<h3>Flexible Screen Layout</h3>\nTailor the screen layout to optimize it for any application, making your life easier and letting you achieve ultimate end results. For instance, let the Radar Loudness Meter fill out one side of your screen, while using the remaining space for e.g. a Phase or PPM meter. You could even have two Radar Loudness Meters running simultaneously to monitor audio loudness at different stages.\n<br /><br />\n<h2>Hardware Options</h2>\n<h3>8 Analog Inputs + 8 Digital I/O (Sub D)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>8-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 4 x AES3 In/Out, Sub-D</li>\n	<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D</li>\n</ul>\n<br />\n<h3>8 Analog Inputs + 8 Digital I/O (BNC)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D</li>\n	<li><strong>8-Channel Digital I/O</strong> - Unbalanced, 75 Ohm, 4 x AES3id In, 4 x AES3id Out, 8 x BNC</li>\n</ul>\n<br />\n<h3>16 Digital I/O (Sub D)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 2 x Sub-D</li>\n</ul>\n<br />\n<h3>16 Digital I/O (BNC)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Digital I/O</strong> - Unbal., 75 Ohm, 8 x AES3id In, 8 x AES3id Out, 16 x BNC</li>\n</ul>\n<br />\n<h3>16 Analog Inputs Balanced</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Analog Inputs</strong> - Electronically Balanced, 2 x Sub-D</li>\n</ul>\n<br />\n<h3>3G SDI Extension Card</h3>\n<ul>\n	<li><strong>3G SDI Audio Interface</strong> - Expand Inputs to 32 Channels</li>\n	<li><strong>SDI Can be Retrofitted</strong></li>\n</ul>\n<br /><br />\n<h2>Software Options</h2>\nAll TouchMonitor models come with a basic software package that includes:\n<ul>\n	<li>Stereo-PPM w/ Analog Scales - DIN5, Nordic, British IIa, British IIb</li>\n	<li>Stereo-PPM w/ Digtal Scales - 0 to -60 dB, +3 to -60 dB TruePeak, DIN5, Nordic, British IIa and IIb</li>\n	<li>Peak Hold, Peak Memory, Over Indicators and Phase Meter</li>\n	<li>Loudness & SPL License</li>\n</ul>\nOptionally, a broad variation of software modules, or \'instruments\', are available as licences. You can order optional instruments either at the point of purchase, or at a later point. If the licence was ordered at the point of purchase, the licence will be activated at delivery. If you choose to order a license after purchase, the order process starts from the \'Licences\' menu of the TouchMonitor.\n<br /><br /><br />\n<h3>Radar Loudness Display (optional)</h3>\nThe Radar Loudness Display license provides a high resolution circular Loudness history display for Momentary values, enhanced with numerical display of measuring time and two descriptors.\n<br /><br />\nThe Radar Display is compatible with all other Radar Loudness Meters from TC Electronic.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Loudness</strong> <strong>Landscape Overview</strong> - Loudness History, Momentary Loudness (M), True-peak Level, Program Loudness (I) and Loudness Range (LRA) in a Single View</li>\n	<li><strong>Extremely Consistent Loudness Readout</strong></li>\n	<li><strong>Detailed statistics view </strong></li>\n	<li><strong>Ultimate Compliance</strong> - Conforms to all major\nbroadcast standards\n	</li>\n	<li><strong>Load Two Separate Radar Displays Simultaneously</strong> - Dual 24-hour History for pre- and post processing overview</li>\n</ul>\n<br /><br />\n<h3>Loudness & SPL (included with all models)</h3>\nThis license expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB guidelines, and LRA instrument for the graphical display of the Loudness Range.\n<br /><br />\nA customer-specific mode allows the user to modify parameters.<br /><br />\nIn addition, the module provides an SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Expands the Basic Stereo PPM</strong> - Loudness Measuring as described in EBU Loudness Measuring Documents and ITU BS.1771 guidelines</li>\n	<li><strong>Parameters Can be Modified</strong></li>\n	<li><strong>SPL Display Mode</strong> - Various Weighting Filters and Integration</li>\n	<li><strong>Reference Level Adjustment</strong> - Calculate an SPL Value from an Electrical Signal</li>\n	<li><strong>Includes the LRA Instrument</strong> - Magic Eye View that Combines the Two Essential Measurements: Program Loudness and Loudness Range</li>\n</ul>\n<br /><br />\n<h3>SSA Surround Sound Analyzer (optional)</h3>\nThis license is a powerful tool for visualizing the interaction of all important parameters of surround signals.\n<br /><br />\nThe dynamic behaviour of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Powerful Visualization of Surround Signals</strong></li>\n	<li><strong>The Dynamics of all Display Elements Corresponds to the Subjective Listening Impression</strong> - See the Balance of a Surround Program Intuitively and at a Glance.</li>\n</ul>\n<br /><br />\n<h3>Premium PPM + VectorScope</h3>\nThis license expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and PPM/VU moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.\n<br />\n<ul>\n	<li><strong>Expand the Basic Stereo PPM with Additional Scales</strong> - Zoom, SMPTE, NHK, ARD+9</li>\n	<li><strong>Expand the Basic Stereo PPM with Additional Functions</strong> - Peak Hold, Peak Memory, Over indicator</li>\n	<li><strong>2-Channel Audio Vectorscope</strong></li>\n	<li><strong>PPM/VU moving coil</strong></li>\n	<li><strong>Separate Phase Meter</strong></li>\n</ul>\nAdd the Multi-channel License to extend to multi-channel PPM, to enhance the Multi-Correlator (up to 10 Phase Meters) and to add gain reduction.\n<br /><br /><br />\n<h3>RTA Real Time Analyzer (optional)</h3>\nThis license provides 31 bands of spectral distribution display for single channels, channel pairs or groups plus HP HF band. \n<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Spectral Distribution Display</strong> - 31 Bands for Single Channels, Channel Pairs or Groups Plus HP HF Band</li>\n</ul>\n<br /><br />\n<h3>BLITS</h3>\nThe instrument generates and analyzes BLITS test signals. BLITS (Black & Lane\'s Ident Tones for Surround) is a tool that allows you to test channel allocation, level and phase of 5.1 surround signals. Developed by Martin Black and Keith Lane from Sky TV in London in 2004, this sequence is widely used in international broadcasting\n<br />\n<ul>\n	<li><strong>Generate BLITS test signal</strong></li>\n	<li><strong>Analyze channel allocation, phase, delay and polarity</strong></li>\n	<li><strong>Use any digital input of the TouchMonitor</strong></li>\n	<li><strong>Generate BLITS for surround</strong></li>\n	<li><strong>Generate GLITS or EBU 3304 for stereo</strong></li>\n</ul>\n<br /><br />\n<h3>Multi-channel License (optional)</h3>\nExpands routing to:\n<ul>\n	<li>Mono</li>\n	<li>Stereo</li>\n	<li>3.1 Surround</li>\n	<li>5.0 Surround</li>\n	<li>5.1 Surround</li>\n	<li>Multi Channel (2 to 8 Channels in One Block - Up to 4 Blocks with 3G SDI Option)</li>\n</ul>\n<br />'),(11451,85,0,1909,'TM9 Loudness Meter with 16 Ana I Bal., Loudness & SPL'),(11452,85,1,1909,'TM9 Loudness Meter with 16 Ana I Bal., Loudness & SPL'),(11453,76,0,1909,''),(11454,76,1,1909,''),(11455,75,0,1910,'<h2>TM9 Loudness Meter with 16 Digi I/O (BNC), Loudness & SPL</h2>\n<span style=\"font-size:16px; font-stylRSPE Product Description Template.html\">Loudness has never looked this good. Next Generation Loudness Metering</span><br /><br />\nYou can get TC TouchMonitor TM7 & TM9 in 6 basic configurations based on connectivity, features and physical size. Simply choose between 7” or 9” touch screen, stereo or multichannel and whether you want the Radar Meter to be included with the multichannel version or not. Further, you have a number of I/O options to choose from. As standard, TC TouchMonitor TM9 comes with 16 digital balanced I/O, and TC TouchMonitor TM7 features 8 analog plus 8 digital I/O. However, an additional number of I/O configurations on either balanced or unbalanced connectors (Sub-D or BNC) are available as well. A TM9 SDI 3G I/O card will be available in 2011. Further, you can expand or upgrade TC TouchMonitor TM7 & TM9 by installing optional software instruments (meter types) such as Real Time Analyzer or upgrade to Multichannel Mode.<br /><br />\nTouchMonitor is the ultimate, stand-alone loudness meter solution, featuring a touch screen with highly flexible layout options, an extremely consistent loudness readout and compatibility with all major  broadcast standards, including ITU-R BS.1770, EBU R128 and ATSC A/85.\n<ul>\n	<li><strong>Loudness and True-peak Level Meter</strong><br />\n	Stereo and Multichannel </li>\n	<li><strong>Use It for Everything</strong><br />\n	Broadcast Ingest, Transmission, Post, Film and Live Production</li>\n	<li><strong>Compliant with Major Broadcast Standards</strong><br />\n	ITU BS-1770, EBU R128, ATSC A/85, etc. </li>\n</ul>\n<br />\n<h3>Two Sizes Fits All</h3>\nYou can get two basic TouchMonitor variants: TM7 and TM9 featuring a 7\" and a 9\" touch screen respectively. TM7 comes with 8 analog and 8 digital I/O, and you can choose between digital I/O on BNC (unbalanced AESid) or SUB-D (balanced) connectors. TM9 has a more comprehensive set of I/O options, including 16 analog balanced, 8 analog/8 digital (bal/unbal.) and 16 digital channels. Also, a 3G SDI expansion option is available for TM9.\n<br /><br />\nFurther, you can expand or upgrade TouchMonitor by installing optional software instruments (meter types) such as the Radar Display or upgrade to Multichannel Mode.<br /><br />\n<ul>\n	<li>7\" or 9\" Touch Screen (16:9 TFT) - Loudness Has Never Looked This Good!  </li>\n	<li>Extremely Consistent Readouts - Consistent Results at All Times.         </li>\n	<li>Compliance - Conforms to All Major Broadcast Standards.                  </li>\n	<li>Easy Touch Screen Control - Context-sensitive, On-screen Help.           </li>\n	<li>Flexible Screen Layout - Resize and Reposition Any Instrument.           </li>\n	<li>Powerful DSP - Parallel Display of Multiple Instruments.                 </li>\n	<li>Comprehensive I/O Options - Including Analog, AES3, AES3id, SDI 3G, etc. </li>\n	<li>Connectivity - Ethernet/LAN, USB, VGA and GPIO.                          </li>\n	<li>Modular Software - Add Optional Instruments as the Need Arises.          </li>\n</ul>\n<br />\n<h3>Flexible Screen Layout</h3>\nTailor the screen layout to optimize it for any application, making your life easier and letting you achieve ultimate end results. For instance, let the Radar Loudness Meter fill out one side of your screen, while using the remaining space for e.g. a Phase or PPM meter. You could even have two Radar Loudness Meters running simultaneously to monitor audio loudness at different stages.\n<br /><br />\n<h2>Hardware Options</h2>\n<h3>8 Analog Inputs + 8 Digital I/O (Sub D)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>8-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 4 x AES3 In/Out, Sub-D</li>\n	<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D</li>\n</ul>\n<br />\n<h3>8 Analog Inputs + 8 Digital I/O (BNC)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D</li>\n	<li><strong>8-Channel Digital I/O</strong> - Unbalanced, 75 Ohm, 4 x AES3id In, 4 x AES3id Out, 8 x BNC</li>\n</ul>\n<br />\n<h3>16 Digital I/O (Sub D)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 2 x Sub-D</li>\n</ul>\n<br />\n<h3>16 Digital I/O (BNC)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Digital I/O</strong> - Unbal., 75 Ohm, 8 x AES3id In, 8 x AES3id Out, 16 x BNC</li>\n</ul>\n<br />\n<h3>16 Analog Inputs Balanced</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Analog Inputs</strong> - Electronically Balanced, 2 x Sub-D</li>\n</ul>\n<br />\n<h3>3G SDI Extension Card</h3>\n<ul>\n	<li><strong>3G SDI Audio Interface</strong> - Expand Inputs to 32 Channels</li>\n	<li><strong>SDI Can be Retrofitted</strong></li>\n</ul>\n<br /><br />\n<h2>Software Options</h2>\nAll TouchMonitor models come with a basic software package that includes:\n<ul>\n	<li>Stereo-PPM w/ Analog Scales - DIN5, Nordic, British IIa, British IIb</li>\n	<li>Stereo-PPM w/ Digtal Scales - 0 to -60 dB, +3 to -60 dB TruePeak, DIN5, Nordic, British IIa and IIb</li>\n	<li>Peak Hold, Peak Memory, Over Indicators and Phase Meter</li>\n	<li>Loudness & SPL License</li>\n</ul>\nOptionally, a broad variation of software modules, or \'instruments\', are available as licences. You can order optional instruments either at the point of purchase, or at a later point. If the licence was ordered at the point of purchase, the licence will be activated at delivery. If you choose to order a license after purchase, the order process starts from the \'Licences\' menu of the TouchMonitor.\n<br /><br /><br />\n<h3>Radar Loudness Display (optional)</h3>\nThe Radar Loudness Display license provides a high resolution circular Loudness history display for Momentary values, enhanced with numerical display of measuring time and two descriptors.\n<br /><br />\nThe Radar Display is compatible with all other Radar Loudness Meters from TC Electronic.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Loudness</strong> <strong>Landscape Overview</strong> - Loudness History, Momentary Loudness (M), True-peak Level, Program Loudness (I) and Loudness Range (LRA) in a Single View</li>\n	<li><strong>Extremely Consistent Loudness Readout</strong></li>\n	<li><strong>Detailed statistics view </strong></li>\n	<li><strong>Ultimate Compliance</strong> - Conforms to all major\nbroadcast standards\n	</li>\n	<li><strong>Load Two Separate Radar Displays Simultaneously</strong> - Dual 24-hour History for pre- and post processing overview</li>\n</ul>\n<br /><br />\n<h3>Loudness & SPL (included with all models)</h3>\nThis license expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB guidelines, and LRA instrument for the graphical display of the Loudness Range.\n<br /><br />\nA customer-specific mode allows the user to modify parameters.<br /><br />\nIn addition, the module provides an SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Expands the Basic Stereo PPM</strong> - Loudness Measuring as described in EBU Loudness Measuring Documents and ITU BS.1771 guidelines</li>\n	<li><strong>Parameters Can be Modified</strong></li>\n	<li><strong>SPL Display Mode</strong> - Various Weighting Filters and Integration</li>\n	<li><strong>Reference Level Adjustment</strong> - Calculate an SPL Value from an Electrical Signal</li>\n	<li><strong>Includes the LRA Instrument</strong> - Magic Eye View that Combines the Two Essential Measurements: Program Loudness and Loudness Range</li>\n</ul>\n<br /><br />\n<h3>SSA Surround Sound Analyzer (optional)</h3>\nThis license is a powerful tool for visualizing the interaction of all important parameters of surround signals.\n<br /><br />\nThe dynamic behaviour of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Powerful Visualization of Surround Signals</strong></li>\n	<li><strong>The Dynamics of all Display Elements Corresponds to the Subjective Listening Impression</strong> - See the Balance of a Surround Program Intuitively and at a Glance.</li>\n</ul>\n<br /><br />\n<h3>Premium PPM + VectorScope</h3>\nThis license expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and PPM/VU moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.\n<br />\n<ul>\n	<li><strong>Expand the Basic Stereo PPM with Additional Scales</strong> - Zoom, SMPTE, NHK, ARD+9</li>\n	<li><strong>Expand the Basic Stereo PPM with Additional Functions</strong> - Peak Hold, Peak Memory, Over indicator</li>\n	<li><strong>2-Channel Audio Vectorscope</strong></li>\n	<li><strong>PPM/VU moving coil</strong></li>\n	<li><strong>Separate Phase Meter</strong></li>\n</ul>\nAdd the Multi-channel License to extend to multi-channel PPM, to enhance the Multi-Correlator (up to 10 Phase Meters) and to add gain reduction.\n<br /><br /><br />\n<h3>RTA Real Time Analyzer (optional)</h3>\nThis license provides 31 bands of spectral distribution display for single channels, channel pairs or groups plus HP HF band. \n<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Spectral Distribution Display</strong> - 31 Bands for Single Channels, Channel Pairs or Groups Plus HP HF Band</li>\n</ul>\n<br /><br />\n<h3>BLITS</h3>\nThe instrument generates and analyzes BLITS test signals. BLITS (Black & Lane\'s Ident Tones for Surround) is a tool that allows you to test channel allocation, level and phase of 5.1 surround signals. Developed by Martin Black and Keith Lane from Sky TV in London in 2004, this sequence is widely used in international broadcasting\n<br />\n<ul>\n	<li><strong>Generate BLITS test signal</strong></li>\n	<li><strong>Analyze channel allocation, phase, delay and polarity</strong></li>\n	<li><strong>Use any digital input of the TouchMonitor</strong></li>\n	<li><strong>Generate BLITS for surround</strong></li>\n	<li><strong>Generate GLITS or EBU 3304 for stereo</strong></li>\n</ul>\n<br /><br />\n<h3>Multi-channel License (optional)</h3>\nExpands routing to:\n<ul>\n	<li>Mono</li>\n	<li>Stereo</li>\n	<li>3.1 Surround</li>\n	<li>5.0 Surround</li>\n	<li>5.1 Surround</li>\n	<li>Multi Channel (2 to 8 Channels in One Block - Up to 4 Blocks with 3G SDI Option)</li>\n</ul>\n<br />'),(11456,75,1,1910,'<h2>TM9 Loudness Meter with 16 Digi I/O (BNC), Loudness & SPL</h2>\n<span style=\"font-size:16px; font-stylRSPE Product Description Template.html\">Loudness has never looked this good. Next Generation Loudness Metering</span><br /><br />\nYou can get TC TouchMonitor TM7 & TM9 in 6 basic configurations based on connectivity, features and physical size. Simply choose between 7” or 9” touch screen, stereo or multichannel and whether you want the Radar Meter to be included with the multichannel version or not. Further, you have a number of I/O options to choose from. As standard, TC TouchMonitor TM9 comes with 16 digital balanced I/O, and TC TouchMonitor TM7 features 8 analog plus 8 digital I/O. However, an additional number of I/O configurations on either balanced or unbalanced connectors (Sub-D or BNC) are available as well. A TM9 SDI 3G I/O card will be available in 2011. Further, you can expand or upgrade TC TouchMonitor TM7 & TM9 by installing optional software instruments (meter types) such as Real Time Analyzer or upgrade to Multichannel Mode.<br /><br />\nTouchMonitor is the ultimate, stand-alone loudness meter solution, featuring a touch screen with highly flexible layout options, an extremely consistent loudness readout and compatibility with all major  broadcast standards, including ITU-R BS.1770, EBU R128 and ATSC A/85.\n<ul>\n	<li><strong>Loudness and True-peak Level Meter</strong><br />\n	Stereo and Multichannel </li>\n	<li><strong>Use It for Everything</strong><br />\n	Broadcast Ingest, Transmission, Post, Film and Live Production</li>\n	<li><strong>Compliant with Major Broadcast Standards</strong><br />\n	ITU BS-1770, EBU R128, ATSC A/85, etc. </li>\n</ul>\n<br />\n<h3>Two Sizes Fits All</h3>\nYou can get two basic TouchMonitor variants: TM7 and TM9 featuring a 7\" and a 9\" touch screen respectively. TM7 comes with 8 analog and 8 digital I/O, and you can choose between digital I/O on BNC (unbalanced AESid) or SUB-D (balanced) connectors. TM9 has a more comprehensive set of I/O options, including 16 analog balanced, 8 analog/8 digital (bal/unbal.) and 16 digital channels. Also, a 3G SDI expansion option is available for TM9.\n<br /><br />\nFurther, you can expand or upgrade TouchMonitor by installing optional software instruments (meter types) such as the Radar Display or upgrade to Multichannel Mode.<br /><br />\n<ul>\n	<li>7\" or 9\" Touch Screen (16:9 TFT) - Loudness Has Never Looked This Good!  </li>\n	<li>Extremely Consistent Readouts - Consistent Results at All Times.         </li>\n	<li>Compliance - Conforms to All Major Broadcast Standards.                  </li>\n	<li>Easy Touch Screen Control - Context-sensitive, On-screen Help.           </li>\n	<li>Flexible Screen Layout - Resize and Reposition Any Instrument.           </li>\n	<li>Powerful DSP - Parallel Display of Multiple Instruments.                 </li>\n	<li>Comprehensive I/O Options - Including Analog, AES3, AES3id, SDI 3G, etc. </li>\n	<li>Connectivity - Ethernet/LAN, USB, VGA and GPIO.                          </li>\n	<li>Modular Software - Add Optional Instruments as the Need Arises.          </li>\n</ul>\n<br />\n<h3>Flexible Screen Layout</h3>\nTailor the screen layout to optimize it for any application, making your life easier and letting you achieve ultimate end results. For instance, let the Radar Loudness Meter fill out one side of your screen, while using the remaining space for e.g. a Phase or PPM meter. You could even have two Radar Loudness Meters running simultaneously to monitor audio loudness at different stages.\n<br /><br />\n<h2>Hardware Options</h2>\n<h3>8 Analog Inputs + 8 Digital I/O (Sub D)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>8-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 4 x AES3 In/Out, Sub-D</li>\n	<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D</li>\n</ul>\n<br />\n<h3>8 Analog Inputs + 8 Digital I/O (BNC)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D</li>\n	<li><strong>8-Channel Digital I/O</strong> - Unbalanced, 75 Ohm, 4 x AES3id In, 4 x AES3id Out, 8 x BNC</li>\n</ul>\n<br />\n<h3>16 Digital I/O (Sub D)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 2 x Sub-D</li>\n</ul>\n<br />\n<h3>16 Digital I/O (BNC)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Digital I/O</strong> - Unbal., 75 Ohm, 8 x AES3id In, 8 x AES3id Out, 16 x BNC</li>\n</ul>\n<br />\n<h3>16 Analog Inputs Balanced</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Analog Inputs</strong> - Electronically Balanced, 2 x Sub-D</li>\n</ul>\n<br />\n<h3>3G SDI Extension Card</h3>\n<ul>\n	<li><strong>3G SDI Audio Interface</strong> - Expand Inputs to 32 Channels</li>\n	<li><strong>SDI Can be Retrofitted</strong></li>\n</ul>\n<br /><br />\n<h2>Software Options</h2>\nAll TouchMonitor models come with a basic software package that includes:\n<ul>\n	<li>Stereo-PPM w/ Analog Scales - DIN5, Nordic, British IIa, British IIb</li>\n	<li>Stereo-PPM w/ Digtal Scales - 0 to -60 dB, +3 to -60 dB TruePeak, DIN5, Nordic, British IIa and IIb</li>\n	<li>Peak Hold, Peak Memory, Over Indicators and Phase Meter</li>\n	<li>Loudness & SPL License</li>\n</ul>\nOptionally, a broad variation of software modules, or \'instruments\', are available as licences. You can order optional instruments either at the point of purchase, or at a later point. If the licence was ordered at the point of purchase, the licence will be activated at delivery. If you choose to order a license after purchase, the order process starts from the \'Licences\' menu of the TouchMonitor.\n<br /><br /><br />\n<h3>Radar Loudness Display (optional)</h3>\nThe Radar Loudness Display license provides a high resolution circular Loudness history display for Momentary values, enhanced with numerical display of measuring time and two descriptors.\n<br /><br />\nThe Radar Display is compatible with all other Radar Loudness Meters from TC Electronic.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Loudness</strong> <strong>Landscape Overview</strong> - Loudness History, Momentary Loudness (M), True-peak Level, Program Loudness (I) and Loudness Range (LRA) in a Single View</li>\n	<li><strong>Extremely Consistent Loudness Readout</strong></li>\n	<li><strong>Detailed statistics view </strong></li>\n	<li><strong>Ultimate Compliance</strong> - Conforms to all major\nbroadcast standards\n	</li>\n	<li><strong>Load Two Separate Radar Displays Simultaneously</strong> - Dual 24-hour History for pre- and post processing overview</li>\n</ul>\n<br /><br />\n<h3>Loudness & SPL (included with all models)</h3>\nThis license expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB guidelines, and LRA instrument for the graphical display of the Loudness Range.\n<br /><br />\nA customer-specific mode allows the user to modify parameters.<br /><br />\nIn addition, the module provides an SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Expands the Basic Stereo PPM</strong> - Loudness Measuring as described in EBU Loudness Measuring Documents and ITU BS.1771 guidelines</li>\n	<li><strong>Parameters Can be Modified</strong></li>\n	<li><strong>SPL Display Mode</strong> - Various Weighting Filters and Integration</li>\n	<li><strong>Reference Level Adjustment</strong> - Calculate an SPL Value from an Electrical Signal</li>\n	<li><strong>Includes the LRA Instrument</strong> - Magic Eye View that Combines the Two Essential Measurements: Program Loudness and Loudness Range</li>\n</ul>\n<br /><br />\n<h3>SSA Surround Sound Analyzer (optional)</h3>\nThis license is a powerful tool for visualizing the interaction of all important parameters of surround signals.\n<br /><br />\nThe dynamic behaviour of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Powerful Visualization of Surround Signals</strong></li>\n	<li><strong>The Dynamics of all Display Elements Corresponds to the Subjective Listening Impression</strong> - See the Balance of a Surround Program Intuitively and at a Glance.</li>\n</ul>\n<br /><br />\n<h3>Premium PPM + VectorScope</h3>\nThis license expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and PPM/VU moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.\n<br />\n<ul>\n	<li><strong>Expand the Basic Stereo PPM with Additional Scales</strong> - Zoom, SMPTE, NHK, ARD+9</li>\n	<li><strong>Expand the Basic Stereo PPM with Additional Functions</strong> - Peak Hold, Peak Memory, Over indicator</li>\n	<li><strong>2-Channel Audio Vectorscope</strong></li>\n	<li><strong>PPM/VU moving coil</strong></li>\n	<li><strong>Separate Phase Meter</strong></li>\n</ul>\nAdd the Multi-channel License to extend to multi-channel PPM, to enhance the Multi-Correlator (up to 10 Phase Meters) and to add gain reduction.\n<br /><br /><br />\n<h3>RTA Real Time Analyzer (optional)</h3>\nThis license provides 31 bands of spectral distribution display for single channels, channel pairs or groups plus HP HF band. \n<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Spectral Distribution Display</strong> - 31 Bands for Single Channels, Channel Pairs or Groups Plus HP HF Band</li>\n</ul>\n<br /><br />\n<h3>BLITS</h3>\nThe instrument generates and analyzes BLITS test signals. BLITS (Black & Lane\'s Ident Tones for Surround) is a tool that allows you to test channel allocation, level and phase of 5.1 surround signals. Developed by Martin Black and Keith Lane from Sky TV in London in 2004, this sequence is widely used in international broadcasting\n<br />\n<ul>\n	<li><strong>Generate BLITS test signal</strong></li>\n	<li><strong>Analyze channel allocation, phase, delay and polarity</strong></li>\n	<li><strong>Use any digital input of the TouchMonitor</strong></li>\n	<li><strong>Generate BLITS for surround</strong></li>\n	<li><strong>Generate GLITS or EBU 3304 for stereo</strong></li>\n</ul>\n<br /><br />\n<h3>Multi-channel License (optional)</h3>\nExpands routing to:\n<ul>\n	<li>Mono</li>\n	<li>Stereo</li>\n	<li>3.1 Surround</li>\n	<li>5.0 Surround</li>\n	<li>5.1 Surround</li>\n	<li>Multi Channel (2 to 8 Channels in One Block - Up to 4 Blocks with 3G SDI Option)</li>\n</ul>\n<br />'),(11457,85,0,1910,'TC Electronic TM9 Loudness Meter with 16 Digi I/O (BNC), Loudness & SPL'),(11458,85,1,1910,'TC Electronic TM9 Loudness Meter with 16 Digi I/O (BNC), Loudness & SPL'),(11459,76,0,1910,''),(11460,76,1,1910,''),(11461,75,0,1911,'<h2>TM9 Loudness Meter with 16 Digi I/O (Sub D), Loudness & SPL</h2>\n	\n<span style=\"font-size:16px; font-stylRSPE Product Description Template.html\">Loudness has never looked this good. Next Generation Loudness Metering</span><br /><br />\n\nYou can get TC TouchMonitor TM7 & TM9 in 6 basic configurations based on connectivity, features and physical size. Simply choose between 7” or 9” touch screen, stereo or multichannel and whether you want the Radar Meter to be included with the multichannel version or not. Further, you have a number of I/O options to choose from. As standard, TC TouchMonitor TM9 comes with 16 digital balanced I/O, and TC TouchMonitor TM7 features 8 analog plus 8 digital I/O. However, an additional number of I/O configurations on either balanced or unbalanced connectors (Sub-D or BNC) are available as well. A TM9 SDI 3G I/O card will be available in 2011. Further, you can expand or upgrade TC TouchMonitor TM7 & TM9 by installing optional software instruments (meter types) such as Real Time Analyzer or upgrade to Multichannel Mode.<br /><br />\n\nTouchMonitor is the ultimate, stand-alone loudness meter solution, featuring a touch screen with highly flexible layout options, an extremely consistent loudness readout and compatibility with all major  broadcast standards, including ITU-R BS.1770, EBU R128 and ATSC A/85.\n<ul>\n<li><strong>Loudness and True-peak Level Meter</strong><br />\nStereo and Multichannel </li>\n<li><strong>Use It for Everything</strong><br />\nBroadcast Ingest, Transmission, Post, Film and Live Production</li>\n<li><strong>Compliant with Major Broadcast Standards</strong><br />\nITU BS-1770, EBU R128, ATSC A/85, etc. </li>\n</ul><br />\n\n<h3>Two Sizes Fits All</h3>\nYou can get two basic TouchMonitor variants: TM7 and TM9 featuring a 7\" and a 9\" touch screen respectively. TM7 comes with 8 analog and 8 digital I/O, and you can choose between digital I/O on BNC (unbalanced AESid) or SUB-D (balanced) connectors. TM9 has a more comprehensive set of I/O options, including 16 analog balanced, 8 analog/8 digital (bal/unbal.) and 16 digital channels. Also, a 3G SDI expansion option is available for TM9.<br /><br />\n\nFurther, you can expand or upgrade TouchMonitor by installing optional software instruments (meter types) such as the Radar Display or upgrade to Multichannel Mode.<br /><br />\n<ul>\n<li>7\" or 9\" Touch Screen (16:9 TFT) - Loudness Has Never Looked This Good!  </li>\n<li>Extremely Consistent Readouts - Consistent Results at All Times.         </li>\n<li>Compliance - Conforms to All Major Broadcast Standards.                  </li>\n<li>Easy Touch Screen Control - Context-sensitive, On-screen Help.           </li>\n<li>Flexible Screen Layout - Resize and Reposition Any Instrument.           </li>\n<li>Powerful DSP - Parallel Display of Multiple Instruments.                 </li>\n<li>Comprehensive I/O Options - Including Analog, AES3, AES3id, SDI 3G, etc. </li>\n<li>Connectivity - Ethernet/LAN, USB, VGA and GPIO.                          </li>\n<li>Modular Software - Add Optional Instruments as the Need Arises.          </li>\n</ul><br />\n\n<h3>Flexible Screen Layout</h3>\nTailor the screen layout to optimize it for any application, making your life easier and letting you achieve ultimate end results. For instance, let the Radar Loudness Meter fill out one side of your screen, while using the remaining space for e.g. a Phase or PPM meter. You could even have two Radar Loudness Meters running simultaneously to monitor audio loudness at different stages.<br /><br />\n\n<h2>Hardware Options</h2>\n<h3>8 Analog Inputs + 8 Digital I/O (Sub D)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong></li>\n<li><strong>8-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 4 x AES3 In/Out, Sub-D</li>\n<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D</li>\n</ul><br />\n\n<h3>8 Analog Inputs + 8 Digital I/O (BNC)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong></li>\n<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D</li>\n<li><strong>8-Channel Digital I/O</strong> - Unbalanced, 75 Ohm, 4 x AES3id In, 4 x AES3id Out, 8 x BNC</li>\n</ul><br />\n\n<h3>16 Digital I/O (Sub D)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong></li>\n<li><strong>16-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 2 x Sub-D</li>\n</ul><br />\n\n<h3>16 Digital I/O (BNC)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong></li>\n<li><strong>16-Channel Digital I/O</strong> - Unbal., 75 Ohm, 8 x AES3id In, 8 x AES3id Out, 16 x BNC</li>\n</ul><br />\n\n<h3>16 Analog Inputs Balanced</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong></li>\n<li><strong>16-Channel Analog Inputs</strong> - Electronically Balanced, 2 x Sub-D</li>\n</ul><br />\n\n<h3>3G SDI Extension Card</h3>\n<ul>\n<li><strong>3G SDI Audio Interface</strong> - Expand Inputs to 32 Channels</li>\n<li><strong>SDI Can be Retrofitted</strong></li>\n</ul><br /><br />\n\n<h2>Software Options</h2>\nAll TouchMonitor models come with a basic software package that includes:\n<ul>\n<li>Stereo-PPM w/ Analog Scales - DIN5, Nordic, British IIa, British IIb</li>\n<li>Stereo-PPM w/ Digtal Scales - 0 to -60 dB, +3 to -60 dB TruePeak, DIN5, Nordic, British IIa and IIb</li>\n<li>Peak Hold, Peak Memory, Over Indicators and Phase Meter</li>\n<li>Loudness & SPL License</li>\n</ul>\n\nOptionally, a broad variation of software modules, or \'instruments\', are available as licences. You can order optional instruments either at the point of purchase, or at a later point. If the licence was ordered at the point of purchase, the licence will be activated at delivery. If you choose to order a license after purchase, the order process starts from the \'Licences\' menu of the TouchMonitor.<br /><br />\n\n<h3>Radar Loudness Display (optional)</h3>\nThe Radar Loudness Display license provides a high resolution circular Loudness history display for Momentary values, enhanced with numerical display of measuring time and two descriptors.<br /><br />\nThe Radar Display is compatible with all other Radar Loudness Meters from TC Electronic.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Loudness</strong> <strong>Landscape Overview</strong> - Loudness History, Momentary Loudness (M), True-peak Level, Program Loudness (I) and Loudness Range (LRA) in a Single View</li>\n<li><strong>Extremely Consistent Loudness Readout</strong></li>\n<li><strong>Detailed statistics view </strong></li>\n<li><strong>Ultimate Compliance</strong> - Conforms to all major\nbroadcast standards</li>\n<li><strong>Load Two Separate Radar Displays Simultaneously</strong> - Dual 24-hour History for pre- and post processing overview</li>\n</ul><br /><br />\n\n<h3>Loudness & SPL (included with all models)</h3>\nThis license expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB guidelines, and LRA instrument for the graphical display of the Loudness Range.<br /><br />\nA customer-specific mode allows the user to modify parameters.<br /><br />\nIn addition, the module provides an SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Expands the Basic Stereo PPM</strong> - Loudness Measuring as described in EBU Loudness Measuring Documents and ITU BS.1771 guidelines</li>\n<li><strong>Parameters Can be Modified</strong></li>\n<li><strong>SPL Display Mode</strong> - Various Weighting Filters and Integration</li>\n<li><strong>Reference Level Adjustment</strong> - Calculate an SPL Value from an Electrical Signal</li>\n<li><strong>Includes the LRA Instrument</strong> - Magic Eye View that Combines the Two Essential Measurements: Program Loudness and Loudness Range</li>\n</ul><br /><br />\n\n<h3>SSA Surround Sound Analyzer (optional)</h3>\nThis license is a powerful tool for visualizing the interaction of all important parameters of surround signals.<br /><br />\nThe dynamic behaviour of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Powerful Visualization of Surround Signals</strong></li>\n<li><strong>The Dynamics of all Display Elements Corresponds to the Subjective Listening Impression</strong> - See the Balance of a Surround Program Intuitively and at a Glance.</li>\n</ul><br /><br />\n\n<h3>Premium PPM + VectorScope</h3>\nThis license expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and PPM/VU moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.<br />\n\n<ul>\n<li><strong>Expand the Basic Stereo PPM with Additional Scales</strong> - Zoom, SMPTE, NHK, ARD+9</li>\n<li><strong>Expand the Basic Stereo PPM with Additional Functions</strong> - Peak Hold, Peak Memory, Over indicator</li>\n<li><strong>2-Channel Audio Vectorscope</strong></li>\n<li><strong>PPM/VU moving coil</strong></li>\n<li><strong>Separate Phase Meter</strong></li>\n</ul>\nAdd the Multi-channel License to extend to multi-channel PPM, to enhance the Multi-Correlator (up to 10 Phase Meters) and to add gain reduction.<br /><br /><br />\n\n<h3>RTA Real Time Analyzer (optional)</h3>\nThis license provides 31 bands of spectral distribution display for single channels, channel pairs or groups plus HP HF band. <br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Spectral Distribution Display</strong> - 31 Bands for Single Channels, Channel Pairs or Groups Plus HP HF Band</li>\n</ul><br /><br />\n\n<h3>BLITS</h3>\nThe instrument generates and analyzes BLITS test signals. BLITS (Black & Lane\'s Ident Tones for Surround) is a tool that allows you to test channel allocation, level and phase of 5.1 surround signals. Developed by Martin Black and Keith Lane from Sky TV in London in 2004, this sequence is widely used in international broadcasting<br />\n<ul>\n<li><strong>Generate BLITS test signal</strong></li>\n<li><strong>Analyze channel allocation, phase, delay and polarity</strong></li>\n<li><strong>Use any digital input of the TouchMonitor</strong></li>\n<li><strong>Generate BLITS for surround</strong></li>\n<li><strong>Generate GLITS or EBU 3304 for stereo</strong></li>\n</ul><br /><br />\n\n<h3>Multi-channel License (optional)</h3>\nExpands routing to:\n<ul>\n<li>Mono</li>\n<li>Stereo</li>\n<li>3.1 Surround</li>\n<li>5.0 Surround</li>\n<li>5.1 Surround</li>\n<li>Multi Channel (2 to 8 Channels in One Block - Up to 4 Blocks with 3G SDI Option)</li>\n</ul><br /><br />'),(11462,75,1,1911,'<h2>TM9 Loudness Meter with 16 Digi I/O (Sub D), Loudness & SPL</h2>\n	\n<span style=\"font-size:16px; font-stylRSPE Product Description Template.html\">Loudness has never looked this good. Next Generation Loudness Metering</span><br /><br />\n\nYou can get TC TouchMonitor TM7 & TM9 in 6 basic configurations based on connectivity, features and physical size. Simply choose between 7” or 9” touch screen, stereo or multichannel and whether you want the Radar Meter to be included with the multichannel version or not. Further, you have a number of I/O options to choose from. As standard, TC TouchMonitor TM9 comes with 16 digital balanced I/O, and TC TouchMonitor TM7 features 8 analog plus 8 digital I/O. However, an additional number of I/O configurations on either balanced or unbalanced connectors (Sub-D or BNC) are available as well. A TM9 SDI 3G I/O card will be available in 2011. Further, you can expand or upgrade TC TouchMonitor TM7 & TM9 by installing optional software instruments (meter types) such as Real Time Analyzer or upgrade to Multichannel Mode.<br /><br />\n\nTouchMonitor is the ultimate, stand-alone loudness meter solution, featuring a touch screen with highly flexible layout options, an extremely consistent loudness readout and compatibility with all major  broadcast standards, including ITU-R BS.1770, EBU R128 and ATSC A/85.\n<ul>\n<li><strong>Loudness and True-peak Level Meter</strong><br />\nStereo and Multichannel </li>\n<li><strong>Use It for Everything</strong><br />\nBroadcast Ingest, Transmission, Post, Film and Live Production</li>\n<li><strong>Compliant with Major Broadcast Standards</strong><br />\nITU BS-1770, EBU R128, ATSC A/85, etc. </li>\n</ul><br />\n\n<h3>Two Sizes Fits All</h3>\nYou can get two basic TouchMonitor variants: TM7 and TM9 featuring a 7\" and a 9\" touch screen respectively. TM7 comes with 8 analog and 8 digital I/O, and you can choose between digital I/O on BNC (unbalanced AESid) or SUB-D (balanced) connectors. TM9 has a more comprehensive set of I/O options, including 16 analog balanced, 8 analog/8 digital (bal/unbal.) and 16 digital channels. Also, a 3G SDI expansion option is available for TM9.<br /><br />\n\nFurther, you can expand or upgrade TouchMonitor by installing optional software instruments (meter types) such as the Radar Display or upgrade to Multichannel Mode.<br /><br />\n<ul>\n<li>7\" or 9\" Touch Screen (16:9 TFT) - Loudness Has Never Looked This Good!  </li>\n<li>Extremely Consistent Readouts - Consistent Results at All Times.         </li>\n<li>Compliance - Conforms to All Major Broadcast Standards.                  </li>\n<li>Easy Touch Screen Control - Context-sensitive, On-screen Help.           </li>\n<li>Flexible Screen Layout - Resize and Reposition Any Instrument.           </li>\n<li>Powerful DSP - Parallel Display of Multiple Instruments.                 </li>\n<li>Comprehensive I/O Options - Including Analog, AES3, AES3id, SDI 3G, etc. </li>\n<li>Connectivity - Ethernet/LAN, USB, VGA and GPIO.                          </li>\n<li>Modular Software - Add Optional Instruments as the Need Arises.          </li>\n</ul><br />\n\n<h3>Flexible Screen Layout</h3>\nTailor the screen layout to optimize it for any application, making your life easier and letting you achieve ultimate end results. For instance, let the Radar Loudness Meter fill out one side of your screen, while using the remaining space for e.g. a Phase or PPM meter. You could even have two Radar Loudness Meters running simultaneously to monitor audio loudness at different stages.<br /><br />\n\n<h2>Hardware Options</h2>\n<h3>8 Analog Inputs + 8 Digital I/O (Sub D)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong></li>\n<li><strong>8-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 4 x AES3 In/Out, Sub-D</li>\n<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D</li>\n</ul><br />\n\n<h3>8 Analog Inputs + 8 Digital I/O (BNC)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong></li>\n<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D</li>\n<li><strong>8-Channel Digital I/O</strong> - Unbalanced, 75 Ohm, 4 x AES3id In, 4 x AES3id Out, 8 x BNC</li>\n</ul><br />\n\n<h3>16 Digital I/O (Sub D)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong></li>\n<li><strong>16-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 2 x Sub-D</li>\n</ul><br />\n\n<h3>16 Digital I/O (BNC)</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong></li>\n<li><strong>16-Channel Digital I/O</strong> - Unbal., 75 Ohm, 8 x AES3id In, 8 x AES3id Out, 16 x BNC</li>\n</ul><br />\n\n<h3>16 Analog Inputs Balanced</h3>\n<ul>\n<li><strong>16 Channels of Audio</strong></li>\n<li><strong>16-Channel Analog Inputs</strong> - Electronically Balanced, 2 x Sub-D</li>\n</ul><br />\n\n<h3>3G SDI Extension Card</h3>\n<ul>\n<li><strong>3G SDI Audio Interface</strong> - Expand Inputs to 32 Channels</li>\n<li><strong>SDI Can be Retrofitted</strong></li>\n</ul><br /><br />\n\n<h2>Software Options</h2>\nAll TouchMonitor models come with a basic software package that includes:\n<ul>\n<li>Stereo-PPM w/ Analog Scales - DIN5, Nordic, British IIa, British IIb</li>\n<li>Stereo-PPM w/ Digtal Scales - 0 to -60 dB, +3 to -60 dB TruePeak, DIN5, Nordic, British IIa and IIb</li>\n<li>Peak Hold, Peak Memory, Over Indicators and Phase Meter</li>\n<li>Loudness & SPL License</li>\n</ul>\n\nOptionally, a broad variation of software modules, or \'instruments\', are available as licences. You can order optional instruments either at the point of purchase, or at a later point. If the licence was ordered at the point of purchase, the licence will be activated at delivery. If you choose to order a license after purchase, the order process starts from the \'Licences\' menu of the TouchMonitor.<br /><br />\n\n<h3>Radar Loudness Display (optional)</h3>\nThe Radar Loudness Display license provides a high resolution circular Loudness history display for Momentary values, enhanced with numerical display of measuring time and two descriptors.<br /><br />\nThe Radar Display is compatible with all other Radar Loudness Meters from TC Electronic.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Loudness</strong> <strong>Landscape Overview</strong> - Loudness History, Momentary Loudness (M), True-peak Level, Program Loudness (I) and Loudness Range (LRA) in a Single View</li>\n<li><strong>Extremely Consistent Loudness Readout</strong></li>\n<li><strong>Detailed statistics view </strong></li>\n<li><strong>Ultimate Compliance</strong> - Conforms to all major\nbroadcast standards</li>\n<li><strong>Load Two Separate Radar Displays Simultaneously</strong> - Dual 24-hour History for pre- and post processing overview</li>\n</ul><br /><br />\n\n<h3>Loudness & SPL (included with all models)</h3>\nThis license expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB guidelines, and LRA instrument for the graphical display of the Loudness Range.<br /><br />\nA customer-specific mode allows the user to modify parameters.<br /><br />\nIn addition, the module provides an SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Expands the Basic Stereo PPM</strong> - Loudness Measuring as described in EBU Loudness Measuring Documents and ITU BS.1771 guidelines</li>\n<li><strong>Parameters Can be Modified</strong></li>\n<li><strong>SPL Display Mode</strong> - Various Weighting Filters and Integration</li>\n<li><strong>Reference Level Adjustment</strong> - Calculate an SPL Value from an Electrical Signal</li>\n<li><strong>Includes the LRA Instrument</strong> - Magic Eye View that Combines the Two Essential Measurements: Program Loudness and Loudness Range</li>\n</ul><br /><br />\n\n<h3>SSA Surround Sound Analyzer (optional)</h3>\nThis license is a powerful tool for visualizing the interaction of all important parameters of surround signals.<br /><br />\nThe dynamic behaviour of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Powerful Visualization of Surround Signals</strong></li>\n<li><strong>The Dynamics of all Display Elements Corresponds to the Subjective Listening Impression</strong> - See the Balance of a Surround Program Intuitively and at a Glance.</li>\n</ul><br /><br />\n\n<h3>Premium PPM + VectorScope</h3>\nThis license expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and PPM/VU moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.<br />\n\n<ul>\n<li><strong>Expand the Basic Stereo PPM with Additional Scales</strong> - Zoom, SMPTE, NHK, ARD+9</li>\n<li><strong>Expand the Basic Stereo PPM with Additional Functions</strong> - Peak Hold, Peak Memory, Over indicator</li>\n<li><strong>2-Channel Audio Vectorscope</strong></li>\n<li><strong>PPM/VU moving coil</strong></li>\n<li><strong>Separate Phase Meter</strong></li>\n</ul>\nAdd the Multi-channel License to extend to multi-channel PPM, to enhance the Multi-Correlator (up to 10 Phase Meters) and to add gain reduction.<br /><br /><br />\n\n<h3>RTA Real Time Analyzer (optional)</h3>\nThis license provides 31 bands of spectral distribution display for single channels, channel pairs or groups plus HP HF band. <br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n<li><strong>Spectral Distribution Display</strong> - 31 Bands for Single Channels, Channel Pairs or Groups Plus HP HF Band</li>\n</ul><br /><br />\n\n<h3>BLITS</h3>\nThe instrument generates and analyzes BLITS test signals. BLITS (Black & Lane\'s Ident Tones for Surround) is a tool that allows you to test channel allocation, level and phase of 5.1 surround signals. Developed by Martin Black and Keith Lane from Sky TV in London in 2004, this sequence is widely used in international broadcasting<br />\n<ul>\n<li><strong>Generate BLITS test signal</strong></li>\n<li><strong>Analyze channel allocation, phase, delay and polarity</strong></li>\n<li><strong>Use any digital input of the TouchMonitor</strong></li>\n<li><strong>Generate BLITS for surround</strong></li>\n<li><strong>Generate GLITS or EBU 3304 for stereo</strong></li>\n</ul><br /><br />\n\n<h3>Multi-channel License (optional)</h3>\nExpands routing to:\n<ul>\n<li>Mono</li>\n<li>Stereo</li>\n<li>3.1 Surround</li>\n<li>5.0 Surround</li>\n<li>5.1 Surround</li>\n<li>Multi Channel (2 to 8 Channels in One Block - Up to 4 Blocks with 3G SDI Option)</li>\n</ul><br /><br />'),(11463,85,0,1911,'TC Electronic TM9 Loudness Meter with 16 Digi I/O (Sub D), Loudness & SPL'),(11464,85,1,1911,'TC Electronic TM9 Loudness Meter with 16 Digi I/O (Sub D), Loudness & SPL'),(11465,76,0,1911,''),(11466,76,1,1911,''),(11467,75,0,1912,'<h2>TM9 Loudness Meter with 8 Ana I + 8 Digi I/O (BNC), Loudness & SPL</h2>\n<span style=\"font-size:16px; font-stylRSPE Product Description Template.html\">Loudness has never looked this good. Next Generation Loudness Metering</span><br /><br />\nYou can get TC TouchMonitor TM7 & TM9 in 6 basic configurations based on connectivity, features and physical size. Simply choose between 7” or 9” touch screen, stereo or multichannel and whether you want the Radar Meter to be included with the multichannel version or not. Further, you have a number of I/O options to choose from. As standard, TC TouchMonitor TM9 comes with 16 digital balanced I/O, and TC TouchMonitor TM7 features 8 analog plus 8 digital I/O. However, an additional number of I/O configurations on either balanced or unbalanced connectors (Sub-D or BNC) are available as well. A TM9 SDI 3G I/O card will be available in 2011. Further, you can expand or upgrade TC TouchMonitor TM7 & TM9 by installing optional software instruments (meter types) such as Real Time Analyzer or upgrade to Multichannel Mode.<br /><br />\nTouchMonitor is the ultimate, stand-alone loudness meter solution, featuring a touch screen with highly flexible layout options, an extremely consistent loudness readout and compatibility with all major  broadcast standards, including ITU-R BS.1770, EBU R128 and ATSC A/85.\n<ul>\n	<li><strong>Loudness and True-peak Level Meter</strong><br />\n	Stereo and Multichannel </li>\n	<li><strong>Use It for Everything</strong><br />\n	Broadcast Ingest, Transmission, Post, Film and Live Production</li>\n	<li><strong>Compliant with Major Broadcast Standards</strong><br />\n	ITU BS-1770, EBU R128, ATSC A/85, etc. </li>\n</ul>\n<br />\n<h3>Two Sizes Fits All</h3>\nYou can get two basic TouchMonitor variants: TM7 and TM9 featuring a 7\" and a 9\" touch screen respectively. TM7 comes with 8 analog and 8 digital I/O, and you can choose between digital I/O on BNC (unbalanced AESid) or SUB-D (balanced) connectors. TM9 has a more comprehensive set of I/O options, including 16 analog balanced, 8 analog/8 digital (bal/unbal.) and 16 digital channels. Also, a 3G SDI expansion option is available for TM9.\n<br /><br />\nFurther, you can expand or upgrade TouchMonitor by installing optional software instruments (meter types) such as the Radar Display or upgrade to Multichannel Mode.<br /><br />\n<ul>\n	<li>7\" or 9\" Touch Screen (16:9 TFT) - Loudness Has Never Looked This Good!  </li>\n	<li>Extremely Consistent Readouts - Consistent Results at All Times.         </li>\n	<li>Compliance - Conforms to All Major Broadcast Standards.                  </li>\n	<li>Easy Touch Screen Control - Context-sensitive, On-screen Help.           </li>\n	<li>Flexible Screen Layout - Resize and Reposition Any Instrument.           </li>\n	<li>Powerful DSP - Parallel Display of Multiple Instruments.                 </li>\n	<li>Comprehensive I/O Options - Including Analog, AES3, AES3id, SDI 3G, etc. </li>\n	<li>Connectivity - Ethernet/LAN, USB, VGA and GPIO.                          </li>\n	<li>Modular Software - Add Optional Instruments as the Need Arises.          </li>\n</ul>\n<br />\n<h3>Flexible Screen Layout</h3>\nTailor the screen layout to optimize it for any application, making your life easier and letting you achieve ultimate end results. For instance, let the Radar Loudness Meter fill out one side of your screen, while using the remaining space for e.g. a Phase or PPM meter. You could even have two Radar Loudness Meters running simultaneously to monitor audio loudness at different stages.\n<br /><br />\n<h2>Hardware Options</h2>\n<h3>8 Analog Inputs + 8 Digital I/O (Sub D)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>8-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 4 x AES3 In/Out, Sub-D</li>\n	<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D</li>\n</ul>\n<br />\n<h3>8 Analog Inputs + 8 Digital I/O (BNC)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D</li>\n	<li><strong>8-Channel Digital I/O</strong> - Unbalanced, 75 Ohm, 4 x AES3id In, 4 x AES3id Out, 8 x BNC</li>\n</ul>\n<br />\n<h3>16 Digital I/O (Sub D)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 2 x Sub-D</li>\n</ul>\n<br />\n<h3>16 Digital I/O (BNC)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Digital I/O</strong> - Unbal., 75 Ohm, 8 x AES3id In, 8 x AES3id Out, 16 x BNC</li>\n</ul>\n<br />\n<h3>16 Analog Inputs Balanced</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Analog Inputs</strong> - Electronically Balanced, 2 x Sub-D</li>\n</ul>\n<br />\n<h3>3G SDI Extension Card</h3>\n<ul>\n	<li><strong>3G SDI Audio Interface</strong> - Expand Inputs to 32 Channels</li>\n	<li><strong>SDI Can be Retrofitted</strong></li>\n</ul>\n<br /><br />\n<h2>Software Options</h2>\nAll TouchMonitor models come with a basic software package that includes:\n<ul>\n	<li>Stereo-PPM w/ Analog Scales - DIN5, Nordic, British IIa, British IIb</li>\n	<li>Stereo-PPM w/ Digtal Scales - 0 to -60 dB, +3 to -60 dB TruePeak, DIN5, Nordic, British IIa and IIb</li>\n	<li>Peak Hold, Peak Memory, Over Indicators and Phase Meter</li>\n	<li>Loudness & SPL License</li>\n</ul>\nOptionally, a broad variation of software modules, or \'instruments\', are available as licences. You can order optional instruments either at the point of purchase, or at a later point. If the licence was ordered at the point of purchase, the licence will be activated at delivery. If you choose to order a license after purchase, the order process starts from the \'Licences\' menu of the TouchMonitor.\n<br /><br /><br />\n<h3>Radar Loudness Display (optional)</h3>\nThe Radar Loudness Display license provides a high resolution circular Loudness history display for Momentary values, enhanced with numerical display of measuring time and two descriptors.\n<br /><br />\nThe Radar Display is compatible with all other Radar Loudness Meters from TC Electronic.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Loudness</strong> <strong>Landscape Overview</strong> - Loudness History, Momentary Loudness (M), True-peak Level, Program Loudness (I) and Loudness Range (LRA) in a Single View</li>\n	<li><strong>Extremely Consistent Loudness Readout</strong></li>\n	<li><strong>Detailed statistics view </strong></li>\n	<li><strong>Ultimate Compliance</strong> - Conforms to all major\nbroadcast standards\n	</li>\n	<li><strong>Load Two Separate Radar Displays Simultaneously</strong> - Dual 24-hour History for pre- and post processing overview</li>\n</ul>\n<br /><br />\n<h3>Loudness & SPL (included with all models)</h3>\nThis license expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB guidelines, and LRA instrument for the graphical display of the Loudness Range.\n<br /><br />\nA customer-specific mode allows the user to modify parameters.<br /><br />\nIn addition, the module provides an SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Expands the Basic Stereo PPM</strong> - Loudness Measuring as described in EBU Loudness Measuring Documents and ITU BS.1771 guidelines</li>\n	<li><strong>Parameters Can be Modified</strong></li>\n	<li><strong>SPL Display Mode</strong> - Various Weighting Filters and Integration</li>\n	<li><strong>Reference Level Adjustment</strong> - Calculate an SPL Value from an Electrical Signal</li>\n	<li><strong>Includes the LRA Instrument</strong> - Magic Eye View that Combines the Two Essential Measurements: Program Loudness and Loudness Range</li>\n</ul>\n<br /><br />\n<h3>SSA Surround Sound Analyzer (optional)</h3>\nThis license is a powerful tool for visualizing the interaction of all important parameters of surround signals.\n<br /><br />\nThe dynamic behaviour of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Powerful Visualization of Surround Signals</strong></li>\n	<li><strong>The Dynamics of all Display Elements Corresponds to the Subjective Listening Impression</strong> - See the Balance of a Surround Program Intuitively and at a Glance.</li>\n</ul>\n<br /><br />\n<h3>Premium PPM + VectorScope</h3>\nThis license expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and PPM/VU moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.\n<br />\n<ul>\n	<li><strong>Expand the Basic Stereo PPM with Additional Scales</strong> - Zoom, SMPTE, NHK, ARD+9</li>\n	<li><strong>Expand the Basic Stereo PPM with Additional Functions</strong> - Peak Hold, Peak Memory, Over indicator</li>\n	<li><strong>2-Channel Audio Vectorscope</strong></li>\n	<li><strong>PPM/VU moving coil</strong></li>\n	<li><strong>Separate Phase Meter</strong></li>\n</ul>\nAdd the Multi-channel License to extend to multi-channel PPM, to enhance the Multi-Correlator (up to 10 Phase Meters) and to add gain reduction.\n<br /><br /><br />\n<h3>RTA Real Time Analyzer (optional)</h3>\nThis license provides 31 bands of spectral distribution display for single channels, channel pairs or groups plus HP HF band. \n<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Spectral Distribution Display</strong> - 31 Bands for Single Channels, Channel Pairs or Groups Plus HP HF Band</li>\n</ul>\n<br /><br />\n<h3>BLITS</h3>\nThe instrument generates and analyzes BLITS test signals. BLITS (Black & Lane\'s Ident Tones for Surround) is a tool that allows you to test channel allocation, level and phase of 5.1 surround signals. Developed by Martin Black and Keith Lane from Sky TV in London in 2004, this sequence is widely used in international broadcasting\n<br />\n<ul>\n	<li><strong>Generate BLITS test signal</strong></li>\n	<li><strong>Analyze channel allocation, phase, delay and polarity</strong></li>\n	<li><strong>Use any digital input of the TouchMonitor</strong></li>\n	<li><strong>Generate BLITS for surround</strong></li>\n	<li><strong>Generate GLITS or EBU 3304 for stereo</strong></li>\n</ul>\n<br /><br />\n<h3>Multi-channel License (optional)</h3>\nExpands routing to:\n<ul>\n	<li>Mono</li>\n	<li>Stereo</li>\n	<li>3.1 Surround</li>\n	<li>5.0 Surround</li>\n	<li>5.1 Surround</li>\n	<li>Multi Channel (2 to 8 Channels in One Block - Up to 4 Blocks with 3G SDI Option)</li>\n</ul>\n<br />'),(11468,75,1,1912,'<h2>TM9 Loudness Meter with 8 Ana I + 8 Digi I/O (BNC), Loudness & SPL</h2>\n<span style=\"font-size:16px; font-stylRSPE Product Description Template.html\">Loudness has never looked this good. Next Generation Loudness Metering</span><br /><br />\nYou can get TC TouchMonitor TM7 & TM9 in 6 basic configurations based on connectivity, features and physical size. Simply choose between 7” or 9” touch screen, stereo or multichannel and whether you want the Radar Meter to be included with the multichannel version or not. Further, you have a number of I/O options to choose from. As standard, TC TouchMonitor TM9 comes with 16 digital balanced I/O, and TC TouchMonitor TM7 features 8 analog plus 8 digital I/O. However, an additional number of I/O configurations on either balanced or unbalanced connectors (Sub-D or BNC) are available as well. A TM9 SDI 3G I/O card will be available in 2011. Further, you can expand or upgrade TC TouchMonitor TM7 & TM9 by installing optional software instruments (meter types) such as Real Time Analyzer or upgrade to Multichannel Mode.<br /><br />\nTouchMonitor is the ultimate, stand-alone loudness meter solution, featuring a touch screen with highly flexible layout options, an extremely consistent loudness readout and compatibility with all major  broadcast standards, including ITU-R BS.1770, EBU R128 and ATSC A/85.\n<ul>\n	<li><strong>Loudness and True-peak Level Meter</strong><br />\n	Stereo and Multichannel </li>\n	<li><strong>Use It for Everything</strong><br />\n	Broadcast Ingest, Transmission, Post, Film and Live Production</li>\n	<li><strong>Compliant with Major Broadcast Standards</strong><br />\n	ITU BS-1770, EBU R128, ATSC A/85, etc. </li>\n</ul>\n<br />\n<h3>Two Sizes Fits All</h3>\nYou can get two basic TouchMonitor variants: TM7 and TM9 featuring a 7\" and a 9\" touch screen respectively. TM7 comes with 8 analog and 8 digital I/O, and you can choose between digital I/O on BNC (unbalanced AESid) or SUB-D (balanced) connectors. TM9 has a more comprehensive set of I/O options, including 16 analog balanced, 8 analog/8 digital (bal/unbal.) and 16 digital channels. Also, a 3G SDI expansion option is available for TM9.\n<br /><br />\nFurther, you can expand or upgrade TouchMonitor by installing optional software instruments (meter types) such as the Radar Display or upgrade to Multichannel Mode.<br /><br />\n<ul>\n	<li>7\" or 9\" Touch Screen (16:9 TFT) - Loudness Has Never Looked This Good!  </li>\n	<li>Extremely Consistent Readouts - Consistent Results at All Times.         </li>\n	<li>Compliance - Conforms to All Major Broadcast Standards.                  </li>\n	<li>Easy Touch Screen Control - Context-sensitive, On-screen Help.           </li>\n	<li>Flexible Screen Layout - Resize and Reposition Any Instrument.           </li>\n	<li>Powerful DSP - Parallel Display of Multiple Instruments.                 </li>\n	<li>Comprehensive I/O Options - Including Analog, AES3, AES3id, SDI 3G, etc. </li>\n	<li>Connectivity - Ethernet/LAN, USB, VGA and GPIO.                          </li>\n	<li>Modular Software - Add Optional Instruments as the Need Arises.          </li>\n</ul>\n<br />\n<h3>Flexible Screen Layout</h3>\nTailor the screen layout to optimize it for any application, making your life easier and letting you achieve ultimate end results. For instance, let the Radar Loudness Meter fill out one side of your screen, while using the remaining space for e.g. a Phase or PPM meter. You could even have two Radar Loudness Meters running simultaneously to monitor audio loudness at different stages.\n<br /><br />\n<h2>Hardware Options</h2>\n<h3>8 Analog Inputs + 8 Digital I/O (Sub D)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>8-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 4 x AES3 In/Out, Sub-D</li>\n	<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D</li>\n</ul>\n<br />\n<h3>8 Analog Inputs + 8 Digital I/O (BNC)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D</li>\n	<li><strong>8-Channel Digital I/O</strong> - Unbalanced, 75 Ohm, 4 x AES3id In, 4 x AES3id Out, 8 x BNC</li>\n</ul>\n<br />\n<h3>16 Digital I/O (Sub D)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 2 x Sub-D</li>\n</ul>\n<br />\n<h3>16 Digital I/O (BNC)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Digital I/O</strong> - Unbal., 75 Ohm, 8 x AES3id In, 8 x AES3id Out, 16 x BNC</li>\n</ul>\n<br />\n<h3>16 Analog Inputs Balanced</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Analog Inputs</strong> - Electronically Balanced, 2 x Sub-D</li>\n</ul>\n<br />\n<h3>3G SDI Extension Card</h3>\n<ul>\n	<li><strong>3G SDI Audio Interface</strong> - Expand Inputs to 32 Channels</li>\n	<li><strong>SDI Can be Retrofitted</strong></li>\n</ul>\n<br /><br />\n<h2>Software Options</h2>\nAll TouchMonitor models come with a basic software package that includes:\n<ul>\n	<li>Stereo-PPM w/ Analog Scales - DIN5, Nordic, British IIa, British IIb</li>\n	<li>Stereo-PPM w/ Digtal Scales - 0 to -60 dB, +3 to -60 dB TruePeak, DIN5, Nordic, British IIa and IIb</li>\n	<li>Peak Hold, Peak Memory, Over Indicators and Phase Meter</li>\n	<li>Loudness & SPL License</li>\n</ul>\nOptionally, a broad variation of software modules, or \'instruments\', are available as licences. You can order optional instruments either at the point of purchase, or at a later point. If the licence was ordered at the point of purchase, the licence will be activated at delivery. If you choose to order a license after purchase, the order process starts from the \'Licences\' menu of the TouchMonitor.\n<br /><br /><br />\n<h3>Radar Loudness Display (optional)</h3>\nThe Radar Loudness Display license provides a high resolution circular Loudness history display for Momentary values, enhanced with numerical display of measuring time and two descriptors.\n<br /><br />\nThe Radar Display is compatible with all other Radar Loudness Meters from TC Electronic.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Loudness</strong> <strong>Landscape Overview</strong> - Loudness History, Momentary Loudness (M), True-peak Level, Program Loudness (I) and Loudness Range (LRA) in a Single View</li>\n	<li><strong>Extremely Consistent Loudness Readout</strong></li>\n	<li><strong>Detailed statistics view </strong></li>\n	<li><strong>Ultimate Compliance</strong> - Conforms to all major\nbroadcast standards\n	</li>\n	<li><strong>Load Two Separate Radar Displays Simultaneously</strong> - Dual 24-hour History for pre- and post processing overview</li>\n</ul>\n<br /><br />\n<h3>Loudness & SPL (included with all models)</h3>\nThis license expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB guidelines, and LRA instrument for the graphical display of the Loudness Range.\n<br /><br />\nA customer-specific mode allows the user to modify parameters.<br /><br />\nIn addition, the module provides an SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Expands the Basic Stereo PPM</strong> - Loudness Measuring as described in EBU Loudness Measuring Documents and ITU BS.1771 guidelines</li>\n	<li><strong>Parameters Can be Modified</strong></li>\n	<li><strong>SPL Display Mode</strong> - Various Weighting Filters and Integration</li>\n	<li><strong>Reference Level Adjustment</strong> - Calculate an SPL Value from an Electrical Signal</li>\n	<li><strong>Includes the LRA Instrument</strong> - Magic Eye View that Combines the Two Essential Measurements: Program Loudness and Loudness Range</li>\n</ul>\n<br /><br />\n<h3>SSA Surround Sound Analyzer (optional)</h3>\nThis license is a powerful tool for visualizing the interaction of all important parameters of surround signals.\n<br /><br />\nThe dynamic behaviour of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Powerful Visualization of Surround Signals</strong></li>\n	<li><strong>The Dynamics of all Display Elements Corresponds to the Subjective Listening Impression</strong> - See the Balance of a Surround Program Intuitively and at a Glance.</li>\n</ul>\n<br /><br />\n<h3>Premium PPM + VectorScope</h3>\nThis license expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and PPM/VU moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.\n<br />\n<ul>\n	<li><strong>Expand the Basic Stereo PPM with Additional Scales</strong> - Zoom, SMPTE, NHK, ARD+9</li>\n	<li><strong>Expand the Basic Stereo PPM with Additional Functions</strong> - Peak Hold, Peak Memory, Over indicator</li>\n	<li><strong>2-Channel Audio Vectorscope</strong></li>\n	<li><strong>PPM/VU moving coil</strong></li>\n	<li><strong>Separate Phase Meter</strong></li>\n</ul>\nAdd the Multi-channel License to extend to multi-channel PPM, to enhance the Multi-Correlator (up to 10 Phase Meters) and to add gain reduction.\n<br /><br /><br />\n<h3>RTA Real Time Analyzer (optional)</h3>\nThis license provides 31 bands of spectral distribution display for single channels, channel pairs or groups plus HP HF band. \n<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Spectral Distribution Display</strong> - 31 Bands for Single Channels, Channel Pairs or Groups Plus HP HF Band</li>\n</ul>\n<br /><br />\n<h3>BLITS</h3>\nThe instrument generates and analyzes BLITS test signals. BLITS (Black & Lane\'s Ident Tones for Surround) is a tool that allows you to test channel allocation, level and phase of 5.1 surround signals. Developed by Martin Black and Keith Lane from Sky TV in London in 2004, this sequence is widely used in international broadcasting\n<br />\n<ul>\n	<li><strong>Generate BLITS test signal</strong></li>\n	<li><strong>Analyze channel allocation, phase, delay and polarity</strong></li>\n	<li><strong>Use any digital input of the TouchMonitor</strong></li>\n	<li><strong>Generate BLITS for surround</strong></li>\n	<li><strong>Generate GLITS or EBU 3304 for stereo</strong></li>\n</ul>\n<br /><br />\n<h3>Multi-channel License (optional)</h3>\nExpands routing to:\n<ul>\n	<li>Mono</li>\n	<li>Stereo</li>\n	<li>3.1 Surround</li>\n	<li>5.0 Surround</li>\n	<li>5.1 Surround</li>\n	<li>Multi Channel (2 to 8 Channels in One Block - Up to 4 Blocks with 3G SDI Option)</li>\n</ul>\n<br />'),(11469,85,0,1912,'TC Electronic TM9 Loudness Meter with 8 Ana I + 8 Digi I/O (BNC), Loudness & SPL'),(11470,85,1,1912,'TC Electronic TM9 Loudness Meter with 8 Ana I + 8 Digi I/O (BNC), Loudness & SPL'),(11471,76,0,1912,''),(11472,76,1,1912,''),(11473,75,0,1913,'<h2>TM9 Loudness Meter with 8 Ana I + 8 Digi I/O (Sub D), Loudness & SPL</h2>\n<span style=\"font-size:16px; font-stylRSPE Product Description Template.html\">Loudness has never looked this good. Next Generation Loudness Metering</span><br /><br />\nYou can get TC TouchMonitor TM7 & TM9 in 6 basic configurations based on connectivity, features and physical size. Simply choose between 7” or 9” touch screen, stereo or multichannel and whether you want the Radar Meter to be included with the multichannel version or not. Further, you have a number of I/O options to choose from. As standard, TC TouchMonitor TM9 comes with 16 digital balanced I/O, and TC TouchMonitor TM7 features 8 analog plus 8 digital I/O. However, an additional number of I/O configurations on either balanced or unbalanced connectors (Sub-D or BNC) are available as well. A TM9 SDI 3G I/O card will be available in 2011. Further, you can expand or upgrade TC TouchMonitor TM7 & TM9 by installing optional software instruments (meter types) such as Real Time Analyzer or upgrade to Multichannel Mode.<br /><br />\nTouchMonitor is the ultimate, stand-alone loudness meter solution, featuring a touch screen with highly flexible layout options, an extremely consistent loudness readout and compatibility with all major  broadcast standards, including ITU-R BS.1770, EBU R128 and ATSC A/85.\n<ul>\n	<li><strong>Loudness and True-peak Level Meter</strong><br />\n	Stereo and Multichannel </li>\n	<li><strong>Use It for Everything</strong><br />\n	Broadcast Ingest, Transmission, Post, Film and Live Production</li>\n	<li><strong>Compliant with Major Broadcast Standards</strong><br />\n	ITU BS-1770, EBU R128, ATSC A/85, etc. </li>\n</ul>\n<br />\n<h3>Two Sizes Fits All</h3>\nYou can get two basic TouchMonitor variants: TM7 and TM9 featuring a 7\" and a 9\" touch screen respectively. TM7 comes with 8 analog and 8 digital I/O, and you can choose between digital I/O on BNC (unbalanced AESid) or SUB-D (balanced) connectors. TM9 has a more comprehensive set of I/O options, including 16 analog balanced, 8 analog/8 digital (bal/unbal.) and 16 digital channels. Also, a 3G SDI expansion option is available for TM9.\n<br /><br />\nFurther, you can expand or upgrade TouchMonitor by installing optional software instruments (meter types) such as the Radar Display or upgrade to Multichannel Mode.<br /><br />\n<ul>\n	<li>7\" or 9\" Touch Screen (16:9 TFT) - Loudness Has Never Looked This Good!  </li>\n	<li>Extremely Consistent Readouts - Consistent Results at All Times.         </li>\n	<li>Compliance - Conforms to All Major Broadcast Standards.                  </li>\n	<li>Easy Touch Screen Control - Context-sensitive, On-screen Help.           </li>\n	<li>Flexible Screen Layout - Resize and Reposition Any Instrument.           </li>\n	<li>Powerful DSP - Parallel Display of Multiple Instruments.                 </li>\n	<li>Comprehensive I/O Options - Including Analog, AES3, AES3id, SDI 3G, etc. </li>\n	<li>Connectivity - Ethernet/LAN, USB, VGA and GPIO.                          </li>\n	<li>Modular Software - Add Optional Instruments as the Need Arises.          </li>\n</ul>\n<br />\n<h3>Flexible Screen Layout</h3>\nTailor the screen layout to optimize it for any application, making your life easier and letting you achieve ultimate end results. For instance, let the Radar Loudness Meter fill out one side of your screen, while using the remaining space for e.g. a Phase or PPM meter. You could even have two Radar Loudness Meters running simultaneously to monitor audio loudness at different stages.\n<br /><br />\n<h2>Hardware Options</h2>\n<h3>8 Analog Inputs + 8 Digital I/O (Sub D)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>8-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 4 x AES3 In/Out, Sub-D</li>\n	<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D</li>\n</ul>\n<br />\n<h3>8 Analog Inputs + 8 Digital I/O (BNC)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D</li>\n	<li><strong>8-Channel Digital I/O</strong> - Unbalanced, 75 Ohm, 4 x AES3id In, 4 x AES3id Out, 8 x BNC</li>\n</ul>\n<br />\n<h3>16 Digital I/O (Sub D)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 2 x Sub-D</li>\n</ul>\n<br />\n<h3>16 Digital I/O (BNC)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Digital I/O</strong> - Unbal., 75 Ohm, 8 x AES3id In, 8 x AES3id Out, 16 x BNC</li>\n</ul>\n<br />\n<h3>16 Analog Inputs Balanced</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Analog Inputs</strong> - Electronically Balanced, 2 x Sub-D</li>\n</ul>\n<br />\n<h3>3G SDI Extension Card</h3>\n<ul>\n	<li><strong>3G SDI Audio Interface</strong> - Expand Inputs to 32 Channels</li>\n	<li><strong>SDI Can be Retrofitted</strong></li>\n</ul>\n<br /><br />\n<h2>Software Options</h2>\nAll TouchMonitor models come with a basic software package that includes:\n<ul>\n	<li>Stereo-PPM w/ Analog Scales - DIN5, Nordic, British IIa, British IIb</li>\n	<li>Stereo-PPM w/ Digtal Scales - 0 to -60 dB, +3 to -60 dB TruePeak, DIN5, Nordic, British IIa and IIb</li>\n	<li>Peak Hold, Peak Memory, Over Indicators and Phase Meter</li>\n	<li>Loudness & SPL License</li>\n</ul>\nOptionally, a broad variation of software modules, or \'instruments\', are available as licences. You can order optional instruments either at the point of purchase, or at a later point. If the licence was ordered at the point of purchase, the licence will be activated at delivery. If you choose to order a license after purchase, the order process starts from the \'Licences\' menu of the TouchMonitor.\n<br /><br /><br />\n<h3>Radar Loudness Display (optional)</h3>\nThe Radar Loudness Display license provides a high resolution circular Loudness history display for Momentary values, enhanced with numerical display of measuring time and two descriptors.\n<br /><br />\nThe Radar Display is compatible with all other Radar Loudness Meters from TC Electronic.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Loudness</strong> <strong>Landscape Overview</strong> - Loudness History, Momentary Loudness (M), True-peak Level, Program Loudness (I) and Loudness Range (LRA) in a Single View</li>\n	<li><strong>Extremely Consistent Loudness Readout</strong></li>\n	<li><strong>Detailed statistics view </strong></li>\n	<li><strong>Ultimate Compliance</strong> - Conforms to all major\nbroadcast standards\n	</li>\n	<li><strong>Load Two Separate Radar Displays Simultaneously</strong> - Dual 24-hour History for pre- and post processing overview</li>\n</ul>\n<br /><br />\n<h3>Loudness & SPL (included with all models)</h3>\nThis license expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB guidelines, and LRA instrument for the graphical display of the Loudness Range.\n<br /><br />\nA customer-specific mode allows the user to modify parameters.<br /><br />\nIn addition, the module provides an SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Expands the Basic Stereo PPM</strong> - Loudness Measuring as described in EBU Loudness Measuring Documents and ITU BS.1771 guidelines</li>\n	<li><strong>Parameters Can be Modified</strong></li>\n	<li><strong>SPL Display Mode</strong> - Various Weighting Filters and Integration</li>\n	<li><strong>Reference Level Adjustment</strong> - Calculate an SPL Value from an Electrical Signal</li>\n	<li><strong>Includes the LRA Instrument</strong> - Magic Eye View that Combines the Two Essential Measurements: Program Loudness and Loudness Range</li>\n</ul>\n<br /><br />\n<h3>SSA Surround Sound Analyzer (optional)</h3>\nThis license is a powerful tool for visualizing the interaction of all important parameters of surround signals.\n<br /><br />\nThe dynamic behaviour of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Powerful Visualization of Surround Signals</strong></li>\n	<li><strong>The Dynamics of all Display Elements Corresponds to the Subjective Listening Impression</strong> - See the Balance of a Surround Program Intuitively and at a Glance.</li>\n</ul>\n<br /><br />\n<h3>Premium PPM + VectorScope</h3>\nThis license expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and PPM/VU moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.\n<br />\n<ul>\n	<li><strong>Expand the Basic Stereo PPM with Additional Scales</strong> - Zoom, SMPTE, NHK, ARD+9</li>\n	<li><strong>Expand the Basic Stereo PPM with Additional Functions</strong> - Peak Hold, Peak Memory, Over indicator</li>\n	<li><strong>2-Channel Audio Vectorscope</strong></li>\n	<li><strong>PPM/VU moving coil</strong></li>\n	<li><strong>Separate Phase Meter</strong></li>\n</ul>\nAdd the Multi-channel License to extend to multi-channel PPM, to enhance the Multi-Correlator (up to 10 Phase Meters) and to add gain reduction.\n<br /><br /><br />\n<h3>RTA Real Time Analyzer (optional)</h3>\nThis license provides 31 bands of spectral distribution display for single channels, channel pairs or groups plus HP HF band. \n<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Spectral Distribution Display</strong> - 31 Bands for Single Channels, Channel Pairs or Groups Plus HP HF Band</li>\n</ul>\n<br /><br />\n<h3>BLITS</h3>\nThe instrument generates and analyzes BLITS test signals. BLITS (Black & Lane\'s Ident Tones for Surround) is a tool that allows you to test channel allocation, level and phase of 5.1 surround signals. Developed by Martin Black and Keith Lane from Sky TV in London in 2004, this sequence is widely used in international broadcasting\n<br />\n<ul>\n	<li><strong>Generate BLITS test signal</strong></li>\n	<li><strong>Analyze channel allocation, phase, delay and polarity</strong></li>\n	<li><strong>Use any digital input of the TouchMonitor</strong></li>\n	<li><strong>Generate BLITS for surround</strong></li>\n	<li><strong>Generate GLITS or EBU 3304 for stereo</strong></li>\n</ul>\n<br /><br />\n<h3>Multi-channel License (optional)</h3>\nExpands routing to:\n<ul>\n	<li>Mono</li>\n	<li>Stereo</li>\n	<li>3.1 Surround</li>\n	<li>5.0 Surround</li>\n	<li>5.1 Surround</li>\n	<li>Multi Channel (2 to 8 Channels in One Block - Up to 4 Blocks with 3G SDI Option)</li>\n</ul>\n<br />'),(11474,75,1,1913,'<h2>TM9 Loudness Meter with 8 Ana I + 8 Digi I/O (Sub D), Loudness & SPL</h2>\n<span style=\"font-size:16px; font-stylRSPE Product Description Template.html\">Loudness has never looked this good. Next Generation Loudness Metering</span><br /><br />\nYou can get TC TouchMonitor TM7 & TM9 in 6 basic configurations based on connectivity, features and physical size. Simply choose between 7” or 9” touch screen, stereo or multichannel and whether you want the Radar Meter to be included with the multichannel version or not. Further, you have a number of I/O options to choose from. As standard, TC TouchMonitor TM9 comes with 16 digital balanced I/O, and TC TouchMonitor TM7 features 8 analog plus 8 digital I/O. However, an additional number of I/O configurations on either balanced or unbalanced connectors (Sub-D or BNC) are available as well. A TM9 SDI 3G I/O card will be available in 2011. Further, you can expand or upgrade TC TouchMonitor TM7 & TM9 by installing optional software instruments (meter types) such as Real Time Analyzer or upgrade to Multichannel Mode.<br /><br />\nTouchMonitor is the ultimate, stand-alone loudness meter solution, featuring a touch screen with highly flexible layout options, an extremely consistent loudness readout and compatibility with all major  broadcast standards, including ITU-R BS.1770, EBU R128 and ATSC A/85.\n<ul>\n	<li><strong>Loudness and True-peak Level Meter</strong><br />\n	Stereo and Multichannel </li>\n	<li><strong>Use It for Everything</strong><br />\n	Broadcast Ingest, Transmission, Post, Film and Live Production</li>\n	<li><strong>Compliant with Major Broadcast Standards</strong><br />\n	ITU BS-1770, EBU R128, ATSC A/85, etc. </li>\n</ul>\n<br />\n<h3>Two Sizes Fits All</h3>\nYou can get two basic TouchMonitor variants: TM7 and TM9 featuring a 7\" and a 9\" touch screen respectively. TM7 comes with 8 analog and 8 digital I/O, and you can choose between digital I/O on BNC (unbalanced AESid) or SUB-D (balanced) connectors. TM9 has a more comprehensive set of I/O options, including 16 analog balanced, 8 analog/8 digital (bal/unbal.) and 16 digital channels. Also, a 3G SDI expansion option is available for TM9.\n<br /><br />\nFurther, you can expand or upgrade TouchMonitor by installing optional software instruments (meter types) such as the Radar Display or upgrade to Multichannel Mode.<br /><br />\n<ul>\n	<li>7\" or 9\" Touch Screen (16:9 TFT) - Loudness Has Never Looked This Good!  </li>\n	<li>Extremely Consistent Readouts - Consistent Results at All Times.         </li>\n	<li>Compliance - Conforms to All Major Broadcast Standards.                  </li>\n	<li>Easy Touch Screen Control - Context-sensitive, On-screen Help.           </li>\n	<li>Flexible Screen Layout - Resize and Reposition Any Instrument.           </li>\n	<li>Powerful DSP - Parallel Display of Multiple Instruments.                 </li>\n	<li>Comprehensive I/O Options - Including Analog, AES3, AES3id, SDI 3G, etc. </li>\n	<li>Connectivity - Ethernet/LAN, USB, VGA and GPIO.                          </li>\n	<li>Modular Software - Add Optional Instruments as the Need Arises.          </li>\n</ul>\n<br />\n<h3>Flexible Screen Layout</h3>\nTailor the screen layout to optimize it for any application, making your life easier and letting you achieve ultimate end results. For instance, let the Radar Loudness Meter fill out one side of your screen, while using the remaining space for e.g. a Phase or PPM meter. You could even have two Radar Loudness Meters running simultaneously to monitor audio loudness at different stages.\n<br /><br />\n<h2>Hardware Options</h2>\n<h3>8 Analog Inputs + 8 Digital I/O (Sub D)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>8-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 4 x AES3 In/Out, Sub-D</li>\n	<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D</li>\n</ul>\n<br />\n<h3>8 Analog Inputs + 8 Digital I/O (BNC)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>8-Channel Analog Input</strong> - Electronically Balanced, Sub-D</li>\n	<li><strong>8-Channel Digital I/O</strong> - Unbalanced, 75 Ohm, 4 x AES3id In, 4 x AES3id Out, 8 x BNC</li>\n</ul>\n<br />\n<h3>16 Digital I/O (Sub D)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Digital I/O</strong> - Transformer Balanced, 110 Ohm, 2 x Sub-D</li>\n</ul>\n<br />\n<h3>16 Digital I/O (BNC)</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Digital I/O</strong> - Unbal., 75 Ohm, 8 x AES3id In, 8 x AES3id Out, 16 x BNC</li>\n</ul>\n<br />\n<h3>16 Analog Inputs Balanced</h3>\n<ul>\n	<li><strong>16 Channels of Audio</strong></li>\n	<li><strong>16-Channel Analog Inputs</strong> - Electronically Balanced, 2 x Sub-D</li>\n</ul>\n<br />\n<h3>3G SDI Extension Card</h3>\n<ul>\n	<li><strong>3G SDI Audio Interface</strong> - Expand Inputs to 32 Channels</li>\n	<li><strong>SDI Can be Retrofitted</strong></li>\n</ul>\n<br /><br />\n<h2>Software Options</h2>\nAll TouchMonitor models come with a basic software package that includes:\n<ul>\n	<li>Stereo-PPM w/ Analog Scales - DIN5, Nordic, British IIa, British IIb</li>\n	<li>Stereo-PPM w/ Digtal Scales - 0 to -60 dB, +3 to -60 dB TruePeak, DIN5, Nordic, British IIa and IIb</li>\n	<li>Peak Hold, Peak Memory, Over Indicators and Phase Meter</li>\n	<li>Loudness & SPL License</li>\n</ul>\nOptionally, a broad variation of software modules, or \'instruments\', are available as licences. You can order optional instruments either at the point of purchase, or at a later point. If the licence was ordered at the point of purchase, the licence will be activated at delivery. If you choose to order a license after purchase, the order process starts from the \'Licences\' menu of the TouchMonitor.\n<br /><br /><br />\n<h3>Radar Loudness Display (optional)</h3>\nThe Radar Loudness Display license provides a high resolution circular Loudness history display for Momentary values, enhanced with numerical display of measuring time and two descriptors.\n<br /><br />\nThe Radar Display is compatible with all other Radar Loudness Meters from TC Electronic.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Loudness</strong> <strong>Landscape Overview</strong> - Loudness History, Momentary Loudness (M), True-peak Level, Program Loudness (I) and Loudness Range (LRA) in a Single View</li>\n	<li><strong>Extremely Consistent Loudness Readout</strong></li>\n	<li><strong>Detailed statistics view </strong></li>\n	<li><strong>Ultimate Compliance</strong> - Conforms to all major\nbroadcast standards\n	</li>\n	<li><strong>Load Two Separate Radar Displays Simultaneously</strong> - Dual 24-hour History for pre- and post processing overview</li>\n</ul>\n<br /><br />\n<h3>Loudness & SPL (included with all models)</h3>\nThis license expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB guidelines, and LRA instrument for the graphical display of the Loudness Range.\n<br /><br />\nA customer-specific mode allows the user to modify parameters.<br /><br />\nIn addition, the module provides an SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Expands the Basic Stereo PPM</strong> - Loudness Measuring as described in EBU Loudness Measuring Documents and ITU BS.1771 guidelines</li>\n	<li><strong>Parameters Can be Modified</strong></li>\n	<li><strong>SPL Display Mode</strong> - Various Weighting Filters and Integration</li>\n	<li><strong>Reference Level Adjustment</strong> - Calculate an SPL Value from an Electrical Signal</li>\n	<li><strong>Includes the LRA Instrument</strong> - Magic Eye View that Combines the Two Essential Measurements: Program Loudness and Loudness Range</li>\n</ul>\n<br /><br />\n<h3>SSA Surround Sound Analyzer (optional)</h3>\nThis license is a powerful tool for visualizing the interaction of all important parameters of surround signals.\n<br /><br />\nThe dynamic behaviour of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Powerful Visualization of Surround Signals</strong></li>\n	<li><strong>The Dynamics of all Display Elements Corresponds to the Subjective Listening Impression</strong> - See the Balance of a Surround Program Intuitively and at a Glance.</li>\n</ul>\n<br /><br />\n<h3>Premium PPM + VectorScope</h3>\nThis license expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and PPM/VU moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.\n<br />\n<ul>\n	<li><strong>Expand the Basic Stereo PPM with Additional Scales</strong> - Zoom, SMPTE, NHK, ARD+9</li>\n	<li><strong>Expand the Basic Stereo PPM with Additional Functions</strong> - Peak Hold, Peak Memory, Over indicator</li>\n	<li><strong>2-Channel Audio Vectorscope</strong></li>\n	<li><strong>PPM/VU moving coil</strong></li>\n	<li><strong>Separate Phase Meter</strong></li>\n</ul>\nAdd the Multi-channel License to extend to multi-channel PPM, to enhance the Multi-Correlator (up to 10 Phase Meters) and to add gain reduction.\n<br /><br /><br />\n<h3>RTA Real Time Analyzer (optional)</h3>\nThis license provides 31 bands of spectral distribution display for single channels, channel pairs or groups plus HP HF band. \n<br /><br />\nIf you need to measure more than two audio channels, the Multi-channel License is required.<br />\n<ul>\n	<li><strong>Spectral Distribution Display</strong> - 31 Bands for Single Channels, Channel Pairs or Groups Plus HP HF Band</li>\n</ul>\n<br /><br />\n<h3>BLITS</h3>\nThe instrument generates and analyzes BLITS test signals. BLITS (Black & Lane\'s Ident Tones for Surround) is a tool that allows you to test channel allocation, level and phase of 5.1 surround signals. Developed by Martin Black and Keith Lane from Sky TV in London in 2004, this sequence is widely used in international broadcasting\n<br />\n<ul>\n	<li><strong>Generate BLITS test signal</strong></li>\n	<li><strong>Analyze channel allocation, phase, delay and polarity</strong></li>\n	<li><strong>Use any digital input of the TouchMonitor</strong></li>\n	<li><strong>Generate BLITS for surround</strong></li>\n	<li><strong>Generate GLITS or EBU 3304 for stereo</strong></li>\n</ul>\n<br /><br />\n<h3>Multi-channel License (optional)</h3>\nExpands routing to:\n<ul>\n	<li>Mono</li>\n	<li>Stereo</li>\n	<li>3.1 Surround</li>\n	<li>5.0 Surround</li>\n	<li>5.1 Surround</li>\n	<li>Multi Channel (2 to 8 Channels in One Block - Up to 4 Blocks with 3G SDI Option)</li>\n</ul>\n<br />'),(11475,85,0,1913,'TC Electronic TM9 Loudness Meter with 8 Ana I + 8 Digi I/O (Sub D), Loudness & SPL'),(11476,85,1,1913,'TC Electronic TM9 Loudness Meter with 8 Ana I + 8 Digi I/O (Sub D), Loudness & SPL'),(11477,76,0,1913,''),(11478,76,1,1913,''),(11479,75,0,1914,'This full version mastering and film up-converter algorithm gives you a high level of sophistication with unprecedented control and resolution. An abundance of parameters facilitates the conversion of stereo and LtRt sources to 5.1 while remaining faithful to the original mix\'s width, timbre, spaciousness and other significant factors.\n\nWith its wealth of controls, UnWrap™ is a benchmark in film and music production. Whether you lack time to do a conventional 5.1 mix or a multitrack source simply doesn\'t exist - UnWrap™ facilitates smooth and fast stereo to 5.1 up-conversion.\n\nOnce processed, you can subsequently down-mix the 5.1 output to stereo again with no sonic penalties. Take a preset tour to spark your creativity, or start a new up-mix from scratch. Processing is double precision, capable of running at any sample rate between 44.1 and 96 kHz.\n\nUnWrap™ includes customized up-conversion presets for film production and music mastering and comes with settings to complement it all.\n\nAdd to the default presets the ability to time-align all channels at sample precision, widen or narrow the image, control the amount of Center and LFE channel to be used, change filters and envelopes, and you begin to get an idea of the power of this plug-in.'),(11480,75,1,1914,'This full version mastering and film up-converter algorithm gives you a high level of sophistication with unprecedented control and resolution. An abundance of parameters facilitates the conversion of stereo and LtRt sources to 5.1 while remaining faithful to the original mix\'s width, timbre, spaciousness and other significant factors.\n\nWith its wealth of controls, UnWrap™ is a benchmark in film and music production. Whether you lack time to do a conventional 5.1 mix or a multitrack source simply doesn\'t exist - UnWrap™ facilitates smooth and fast stereo to 5.1 up-conversion.\n\nOnce processed, you can subsequently down-mix the 5.1 output to stereo again with no sonic penalties. Take a preset tour to spark your creativity, or start a new up-mix from scratch. Processing is double precision, capable of running at any sample rate between 44.1 and 96 kHz.\n\nUnWrap™ includes customized up-conversion presets for film production and music mastering and comes with settings to complement it all.\n\nAdd to the default presets the ability to time-align all channels at sample precision, widen or narrow the image, control the amount of Center and LFE channel to be used, change filters and envelopes, and you begin to get an idea of the power of this plug-in.'),(11481,85,0,1914,'TC Electronic Unwrap 2'),(11482,85,1,1914,'TC Electronic Unwrap 2'),(11483,76,0,1914,''),(11484,76,1,1914,''),(11485,75,0,1915,'Pure & Authentic Space\nVSS™4 is a genuine Stereo Reverb that radically departs from blurry sustain concepts of the past. Based on source-related reflections from multiple angles, the precision of VSS 4 is comparable to real-world mono or stereo sources positioned in an authentic space.\n\nVSS 4 is your first choice for spot and close microphone pick-ups as well as synthetic sources. It is not only capable of adding spaciousness, but also distinctive character, localization and depth to the source. If the reflection patterns are too immense for a particular situation, you can tailor it to precisely complement the material processed.\n\nIf you use it for mastering, VSS 4 features full 24-bit transparency, and the wet output is de-correlated similarly to a good recording of a natural room. Therefore, the wet/dry balance is not compromised when you listen in mono.\n\nDependent on plenty of RAM and a fast infrastructure, VSS 4 is only available with Reverb 4000 and Reverb 6000 and not as a DAW plug-in or in other hardware processors.'),(11486,75,1,1915,'Pure & Authentic Space\nVSS™4 is a genuine Stereo Reverb that radically departs from blurry sustain concepts of the past. Based on source-related reflections from multiple angles, the precision of VSS 4 is comparable to real-world mono or stereo sources positioned in an authentic space.\n\nVSS 4 is your first choice for spot and close microphone pick-ups as well as synthetic sources. It is not only capable of adding spaciousness, but also distinctive character, localization and depth to the source. If the reflection patterns are too immense for a particular situation, you can tailor it to precisely complement the material processed.\n\nIf you use it for mastering, VSS 4 features full 24-bit transparency, and the wet output is de-correlated similarly to a good recording of a natural room. Therefore, the wet/dry balance is not compromised when you listen in mono.\n\nDependent on plenty of RAM and a fast infrastructure, VSS 4 is only available with Reverb 4000 and Reverb 6000 and not as a DAW plug-in or in other hardware processors.'),(11487,85,0,1915,'TC Electronic VSS4'),(11488,85,1,1915,'TC Electronic VSS4'),(11489,76,0,1915,''),(11490,76,1,1915,''),(11491,75,0,1916,'If you need to add reverb to an existing 5.1 or 6.1 signal or move sources around with a joystick, VSS™ 6.1 Reverb is your algorithm. \n\nFive Uncorrelated Reverbs\nYou get multi-directional reflection patterns and five uncorrelated reverbs, plus the ability to control positioning directly from your console, our external joystick or from the TC ICON touch screen.\n\nUnprocessed LFE Signal\nOn requests from world-famous mastering engineers, we designed the LFE signal to pass through unprocessed, but absolutely time-aligned with the 6 main channels.\n\nPhantom Simulation\nIf needed, you can incorporate the center channel including our phantom simulation in a number of different ways.\n\nMix down\nYou can fold down to matrixed surround, stereo and mono perfectly thanks to the fully de-correlated rendering used in VSS™ 6.1 Reverb - you can even specify different decay times per channel.'),(11492,75,1,1916,'If you need to add reverb to an existing 5.1 or 6.1 signal or move sources around with a joystick, VSS™ 6.1 Reverb is your algorithm. \n\nFive Uncorrelated Reverbs\nYou get multi-directional reflection patterns and five uncorrelated reverbs, plus the ability to control positioning directly from your console, our external joystick or from the TC ICON touch screen.\n\nUnprocessed LFE Signal\nOn requests from world-famous mastering engineers, we designed the LFE signal to pass through unprocessed, but absolutely time-aligned with the 6 main channels.\n\nPhantom Simulation\nIf needed, you can incorporate the center channel including our phantom simulation in a number of different ways.\n\nMix down\nYou can fold down to matrixed surround, stereo and mono perfectly thanks to the fully de-correlated rendering used in VSS™ 6.1 Reverb - you can even specify different decay times per channel.'),(11493,85,0,1916,'TC Electronic VSS6.1'),(11494,85,1,1916,'TC Electronic VSS6.1'),(11495,76,0,1916,''),(11496,76,1,1916,''),(11497,75,0,1917,'<h1>Telefunken AR70 Stereo Large-diaphragm Condenser Microphone</h1>\n<i>An advanced stereo version of the AR-51 tube condenser microphone, capable of X/Y, Mid-Side and dual mono recording configurations.</i><br /><br />\nThe TELEFUNKEN AR-70 is an advanced stereo version of the popular AR-51 tube condenser microphone, capable of X/Y, Mid-Side and dual mono recording configurations.<br /><br />\n<h3>Sonic Characteristic</h3>\nThe AR-70 Stereo features a matched pair of large diaphragm dual sided TK51D capsules (the same newly implemented edge-terminated type 26.5 mm dual-membrane design) found in the AR-51, a New Old Stock ECC81 / 12AT7 vacuum tube (the same tube found in the AR-51), and a matched pair of European made custom wound T14/1 output transformers (the same transformers found in ELA M 250/251 and AR-51 microphones) all in a single, easy to setup system.\n<br /><br />\n<h3>Circuit Design</h3>\nThe AR-70 Stereo includes one fixed cardioid capsule on the bottom, and on top, a capsule wired for remote multi-polar pattern capabilities. This allows the microphone to perform multiple stereo recording techniques, as well as a standard single channel monophonic recording, all in one package. In stereo mode, the AR-70 Stereo can be set up in a standard X/Y configuration, with each capsule orientated 90 degrees away from each other, resulting in a perfectly co-incidental pair. With the option of the multi-pattern functionality of the top capsule, the microphone can also be used in Mid-Side (M/S) technique, where the lower capsule is fixed in cardioid, and the upper capsule is rotated 90 degrees and set to the Figure 8 polar pattern.\n<br /><br />\n<h3>Construction</h3>\nThe AR-70 Stereo’s rotating steel headgrille mesh and brass base ring are finished in nickel plating, giving the microphone a unique look and vibe. The aluminum body tube is finished in a grey protective hard coat and is engraved with the microphone model name and serial number. An antique nickel plated TELEFUNKEN diamond logo badge is featured on the front of the microphone. The power supply is also finished in a grey protective coating.<br /><br />\n<h3>AR70 Microphone Includes:</h3>\n<ul>\n	<li>AR-70 Stereo microphone</li>\n	<li>M970AR power supply</li>\n	<li>M801 25’ dual-shielded TX-7 tube microphone cable</li>\n	<li>M701 elastic shockmount</li>\n	<li>Wooden microphone box</li>\n	<li>FC70 locking flight case</li>\n</ul>\n<br />'),(11498,75,1,1917,'<h1>Telefunken AR70 Stereo Large-diaphragm Condenser Microphone</h1>\n<i>An advanced stereo version of the AR-51 tube condenser microphone, capable of X/Y, Mid-Side and dual mono recording configurations.</i><br /><br />\nThe TELEFUNKEN AR-70 is an advanced stereo version of the popular AR-51 tube condenser microphone, capable of X/Y, Mid-Side and dual mono recording configurations.<br /><br />\n<h3>Sonic Characteristic</h3>\nThe AR-70 Stereo features a matched pair of large diaphragm dual sided TK51D capsules (the same newly implemented edge-terminated type 26.5 mm dual-membrane design) found in the AR-51, a New Old Stock ECC81 / 12AT7 vacuum tube (the same tube found in the AR-51), and a matched pair of European made custom wound T14/1 output transformers (the same transformers found in ELA M 250/251 and AR-51 microphones) all in a single, easy to setup system.\n<br /><br />\n<h3>Circuit Design</h3>\nThe AR-70 Stereo includes one fixed cardioid capsule on the bottom, and on top, a capsule wired for remote multi-polar pattern capabilities. This allows the microphone to perform multiple stereo recording techniques, as well as a standard single channel monophonic recording, all in one package. In stereo mode, the AR-70 Stereo can be set up in a standard X/Y configuration, with each capsule orientated 90 degrees away from each other, resulting in a perfectly co-incidental pair. With the option of the multi-pattern functionality of the top capsule, the microphone can also be used in Mid-Side (M/S) technique, where the lower capsule is fixed in cardioid, and the upper capsule is rotated 90 degrees and set to the Figure 8 polar pattern.\n<br /><br />\n<h3>Construction</h3>\nThe AR-70 Stereo’s rotating steel headgrille mesh and brass base ring are finished in nickel plating, giving the microphone a unique look and vibe. The aluminum body tube is finished in a grey protective hard coat and is engraved with the microphone model name and serial number. An antique nickel plated TELEFUNKEN diamond logo badge is featured on the front of the microphone. The power supply is also finished in a grey protective coating.<br /><br />\n<h3>AR70 Microphone Includes:</h3>\n<ul>\n	<li>AR-70 Stereo microphone</li>\n	<li>M970AR power supply</li>\n	<li>M801 25’ dual-shielded TX-7 tube microphone cable</li>\n	<li>M701 elastic shockmount</li>\n	<li>Wooden microphone box</li>\n	<li>FC70 locking flight case</li>\n</ul>\n<br />'),(11499,85,0,1917,'Telefunken AR-70 Stereo Condenser Microphone'),(11500,85,1,1917,'Telefunken AR-70 Stereo Condenser Microphone'),(11501,76,0,1917,''),(11502,76,1,1917,''),(11503,75,0,1918,'<h1>Telefunken ELA M 251E Large-Diaphragm Tube Condenser Microphone</h1>\n<i>The ELA M 251E is not a copy or clone, this is the real deal—a meticulously accurate reissue of one of the most legendary and sought after microphones of all time.</i><br /><br />\nThe Telefunken the ELA M 251E <span style=\"background-color: initial;\">Large-Diaphragm Tube Condenser Microphone </span>is an extremely accurate reissue of the historic original ELA M 251, which has been featured on countless hits and classic recordings over the decades. Featuring a smooth, yet present and open sonic character, the ELA M 251E large diaphragm tube microphone is a true classic with very few rivals. Ideal for vocals and acoustic instruments, the ELA M 251E offers an extended and focused low end, a detailed mid-range response and a silky top-end. Each microphone is 100% true in every detail to the original (even the parts are interchangeable with the 50+ year old originals) and will deliver the same sonically opulent response that has made the ELA M 251E one of the world\'s most sought after recording tools.<br /><br /><h3>ELA M 251E <span style=\"background-color: initial;\">Key Features</span></h3><ul style=\"\"><li style=\"letter-spacing: normal;\"><span style=\"background-color: initial; letter-spacing: 0px;\">Meticulously accurate recreation of the legendary ELA M 251E</span></li><li style=\"letter-spacing: normal;\">Airy and smooth top end</li><li style=\"letter-spacing: normal;\">Balanced low end and natural mid range</li><li>6072A vacuum tube</li><li>Haufe T14/1 output transformer</li><li>CK12 capsule capable of cardioid, omnidirectional and bidirectional polar patterns</li><li>Hand assembled in the USA</li></ul>\n<h3>ELA M 251E Circuit Design</h3>\nThe TELEFUNKEN ELA M 251E includes an edge terminated, dual backplate CK12 capsule capable of cardioid, omnidirectional and bidirectional polar patterns, a 6072A vacuum tube and a Haufe T14/1 output transformer (the same found in the AKG Acoustics GmbH C12). Modern component choices allow for tighter tolerance specifications, better current handling and a lower self-noise than their vintage counterpart. Each reissue is 100% true in every detail to the original (the parts are interchangeable with the 50+ year old originals), and will deliver the same sonically opulent response that made the ELA M 251E one of the world’s most sought after recording tools.<br /><br />\n\n\n<h3>Construction</h3>\nThe TELEFUNKEN Elektroakustik recreation of the ELA M 251E large diaphragm tube microphone is exact in every detail, down to the historically accurate cosmetic finish and structural design. The amplifier circuit containing the vacuum tube and output transformer is housed in a molded plastic enclosure, while the capsule is suspended upon a moving polar pattern switch within the head grille. The classic diamond shaped TELEFUNKEN logo badge is attached to the front of the microphone with the ELA M model name engraved at the base of the headgrille. <br /><ul style=\"\">\n</ul>\n<br />\n<h3>Accessories</h3>\n	Each ELA M 251E microphone comes complete with M 950E power supply, M 850E 25’ Sommer tube microphone cable, Rycote shockmount, FC50 locking flight case and WB50 wooden microphone box.<br /><br />'),(11504,75,1,1918,'<h1>Telefunken ELA M 251E Large-Diaphragm Tube Condenser Microphone</h1>\n<i>The ELA M 251E is not a copy or clone, this is the real deal—a meticulously accurate reissue of one of the most legendary and sought after microphones of all time.</i><br /><br />\nThe Telefunken the ELA M 251E <span style=\"background-color: initial;\">Large-Diaphragm Tube Condenser Microphone </span>is an extremely accurate reissue of the historic original ELA M 251, which has been featured on countless hits and classic recordings over the decades. Featuring a smooth, yet present and open sonic character, the ELA M 251E large diaphragm tube microphone is a true classic with very few rivals. Ideal for vocals and acoustic instruments, the ELA M 251E offers an extended and focused low end, a detailed mid-range response and a silky top-end. Each microphone is 100% true in every detail to the original (even the parts are interchangeable with the 50+ year old originals) and will deliver the same sonically opulent response that has made the ELA M 251E one of the world\'s most sought after recording tools.<br /><br /><h3>ELA M 251E <span style=\"background-color: initial;\">Key Features</span></h3><ul style=\"\"><li style=\"letter-spacing: normal;\"><span style=\"background-color: initial; letter-spacing: 0px;\">Meticulously accurate recreation of the legendary ELA M 251E</span></li><li style=\"letter-spacing: normal;\">Airy and smooth top end</li><li style=\"letter-spacing: normal;\">Balanced low end and natural mid range</li><li>6072A vacuum tube</li><li>Haufe T14/1 output transformer</li><li>CK12 capsule capable of cardioid, omnidirectional and bidirectional polar patterns</li><li>Hand assembled in the USA</li></ul>\n<h3>ELA M 251E Circuit Design</h3>\nThe TELEFUNKEN ELA M 251E includes an edge terminated, dual backplate CK12 capsule capable of cardioid, omnidirectional and bidirectional polar patterns, a 6072A vacuum tube and a Haufe T14/1 output transformer (the same found in the AKG Acoustics GmbH C12). Modern component choices allow for tighter tolerance specifications, better current handling and a lower self-noise than their vintage counterpart. Each reissue is 100% true in every detail to the original (the parts are interchangeable with the 50+ year old originals), and will deliver the same sonically opulent response that made the ELA M 251E one of the world’s most sought after recording tools.<br /><br />\n\n\n<h3>Construction</h3>\nThe TELEFUNKEN Elektroakustik recreation of the ELA M 251E large diaphragm tube microphone is exact in every detail, down to the historically accurate cosmetic finish and structural design. The amplifier circuit containing the vacuum tube and output transformer is housed in a molded plastic enclosure, while the capsule is suspended upon a moving polar pattern switch within the head grille. The classic diamond shaped TELEFUNKEN logo badge is attached to the front of the microphone with the ELA M model name engraved at the base of the headgrille. <br /><ul style=\"\">\n</ul>\n<br />\n<h3>Accessories</h3>\n	Each ELA M 251E microphone comes complete with M 950E power supply, M 850E 25’ Sommer tube microphone cable, Rycote shockmount, FC50 locking flight case and WB50 wooden microphone box.<br /><br />'),(11505,85,0,1918,'Telefunken ELA M 251E Large-Diaphragm Tube Condenser Microphone'),(11506,85,1,1918,'Telefunken ELA M 251E Large-Diaphragm Tube Condenser Microphone'),(11507,76,0,1918,''),(11508,76,1,1918,''),(11509,75,0,1919,'<h1>Telefunken ELA M 251T Large-Diaphragm Tube Condenser Microphone</h1>\n<i>Based upon the classic ELA M 251E microphone, but with a modern twist: The 251T utilizes Titanium-Aluminum Alloy 2213™ as the diaphragm membrane material instead of gold.</i><br /><br />\nThe Telefunken ELA M 251T is a large-diaphragm condenser mic based upon the legendary ELA M 251, but with a newly developed CK-13™ capsule. This modern upgrade features the implementation of Alloy 2213™ as the diaphragm membrane material for the CK-13™ capsule. Alloy 2213™ is an amalgam of Titanium and Aluminum, which was originally developed for the aerospace industry.<br /><br /><h3>ELA M 251T <span style=\"background-color: initial;\">Key Features</span></h3><ul style=\"\"><li style=\"letter-spacing: normal;\"><span style=\"background-color: initial; letter-spacing: 0px;\">CK-13 Alloy 2213 capsule provides greater accuracy in the low frequency range</span></li><li style=\"letter-spacing: normal;\">Airy and delicate top end</li><li style=\"letter-spacing: normal;\">Balanced low end and natural mid range</li><li>ECC801S vacuum tube</li><li>Haufe T14/1 output transformer</li><li>CK-13 capsule capable of cardioid, omnidirectional and bidirectional polar patterns</li><li>Hand assembled in the USA</li></ul><br />\n<h3>ELA M 251T Sonic Characteristics</h3>\nTraditionally gold has been sputtered onto Mylar™ for the diaphragms of the historic CK-12 capsule. By employing Alloy 2213™, which is far more rigid than gold, the capsule that provides greater accuracy in the low frequency range by attaining a higher damping factor to the motion of the membrane. Alloy 2213™ is lighter than gold, and when combined with the edge terminated CK-12 system provides an \"airy\" and \"delicate\" representation of the upper frequencies. This affords the user a higher degree of detail in the recorded sound while still providing the depth of audio for which ELA M 251 microphones have been associated for decades.<br /><br />\n\n\n<h3>Design & Construction</h3>\nThe TELEFUNKEN ELA M 251T includes an edge terminated, dual backplate CK13 capsule, a variation of the traditional CK12. The 251T is capable of cardioid, omnidirectional and bidirectional polar patterns, just like the ELA M 251E. The amplifier circuit features a premium New Old Stock ECC801S vacuum tube and a Haufe T14/1 output transformer, the same found in the 251E and C12.<br /><br />Though the 251T shares the same basic vintage-accurate construction of the 251E, it is wrapped in a sleek sulfamate nickel-plated finish to reflect the proprietary capsule technology.<br /><ul style=\"\">\n</ul>\n<br />\n<h3>Accessories</h3>\n	Each ELA M 251T microphone comes complete with M 950T power supply, M 850T 25\' Sommer tube microphone cable, Rycote shockmount, FC50 locking flight case and WB50 wooden microphone box.<br /><br />'),(11510,75,1,1919,'<h1>Telefunken ELA M 251T Large-Diaphragm Tube Condenser Microphone</h1>\n<i>Based upon the classic ELA M 251E microphone, but with a modern twist: The 251T utilizes Titanium-Aluminum Alloy 2213™ as the diaphragm membrane material instead of gold.</i><br /><br />\nThe Telefunken ELA M 251T is a large-diaphragm condenser mic based upon the legendary ELA M 251, but with a newly developed CK-13™ capsule. This modern upgrade features the implementation of Alloy 2213™ as the diaphragm membrane material for the CK-13™ capsule. Alloy 2213™ is an amalgam of Titanium and Aluminum, which was originally developed for the aerospace industry.<br /><br /><h3>ELA M 251T <span style=\"background-color: initial;\">Key Features</span></h3><ul style=\"\"><li style=\"letter-spacing: normal;\"><span style=\"background-color: initial; letter-spacing: 0px;\">CK-13 Alloy 2213 capsule provides greater accuracy in the low frequency range</span></li><li style=\"letter-spacing: normal;\">Airy and delicate top end</li><li style=\"letter-spacing: normal;\">Balanced low end and natural mid range</li><li>ECC801S vacuum tube</li><li>Haufe T14/1 output transformer</li><li>CK-13 capsule capable of cardioid, omnidirectional and bidirectional polar patterns</li><li>Hand assembled in the USA</li></ul><br />\n<h3>ELA M 251T Sonic Characteristics</h3>\nTraditionally gold has been sputtered onto Mylar™ for the diaphragms of the historic CK-12 capsule. By employing Alloy 2213™, which is far more rigid than gold, the capsule that provides greater accuracy in the low frequency range by attaining a higher damping factor to the motion of the membrane. Alloy 2213™ is lighter than gold, and when combined with the edge terminated CK-12 system provides an \"airy\" and \"delicate\" representation of the upper frequencies. This affords the user a higher degree of detail in the recorded sound while still providing the depth of audio for which ELA M 251 microphones have been associated for decades.<br /><br />\n\n\n<h3>Design & Construction</h3>\nThe TELEFUNKEN ELA M 251T includes an edge terminated, dual backplate CK13 capsule, a variation of the traditional CK12. The 251T is capable of cardioid, omnidirectional and bidirectional polar patterns, just like the ELA M 251E. The amplifier circuit features a premium New Old Stock ECC801S vacuum tube and a Haufe T14/1 output transformer, the same found in the 251E and C12.<br /><br />Though the 251T shares the same basic vintage-accurate construction of the 251E, it is wrapped in a sleek sulfamate nickel-plated finish to reflect the proprietary capsule technology.<br /><ul style=\"\">\n</ul>\n<br />\n<h3>Accessories</h3>\n	Each ELA M 251T microphone comes complete with M 950T power supply, M 850T 25\' Sommer tube microphone cable, Rycote shockmount, FC50 locking flight case and WB50 wooden microphone box.<br /><br />'),(11511,85,0,1919,'Telefunken ELA M 251T Large-Diaphragm Tube Condenser Microphone'),(11512,85,1,1919,'Telefunken ELA M 251T Large-Diaphragm Tube Condenser Microphone'),(11513,76,0,1919,''),(11514,76,1,1919,''),(11515,75,0,1920,'<h1>Telefunken ELA M 260 Small Diaphragm Tube Condenser Microphone</h1><i>\nSmall-diaphragm Tube Condenser Microphone with 3 Interchangeable Capsules for Cardioid, Omnidirectional, and Hypercardioid Polar Patterns\n<br /></i><br />The Telefunken ELA M 260 is a small diaphragm condenser mic and arguably one of the industry\'s finest acoustic and classical recording tube microphones, offering plenty of tone with excellent detail and clarity. While not a historically accurate reproduction of the original ELA M 260 like the Diamond Series microphones, TELEFUNKEN Elektroakustik’s version of the ELA M 260 is still built with the same attention to detail and level of quality that would be expected from a TELEFUNKEN Elektroakustik microphone.<br /><br />\n<h3>Sonic Characteristic</h3>\nIn use, the ELA M 260 has plenty of tone with excellent detail and clarity. It captures sources with a natural presence, making it a fantastic tool for recording acoustic instruments of all types. Violin, cello, upright bass, drum overheads, percussion, woodwinds, saxophones, strings, and especially acoustic guitar all shine through the ELA M 260. Also, despite its size, it has also served well on vocal applications. Its unique tonal character is very well suited for a myriad of applications, both traditional and not.\n<br /><br />\n<h3>Circuit Design</h3>\nThe ELA M 260 system features a new circuit design based around a New Old Stock (NOS) EF732 / 5840W vacuum tube and a custom output transformer that is wound to exacting specification in the United States. The combination of these features yields a small diaphragm microphone that is unique while also bearing the qualities of the vintage microphones that it was based upon.\n<br /><h3><br class=\"Apple-interchange-newline\" />TK60 Cardioid Capsule</h3>The TELEFUNKEN TK60 is a small diaphragm cardioid capsule used with the ELA M 260 tube microphone and the M60 FET microphone. Featuring a 6-micron gold-sputtered membrane measuring 15mm in diameter, the TK60 has a surprisingly full low end for a small diaphragm capsule, and offers a quick and accurate transient response. These small diaphragm capsules are tested to a strict ±1dB sensitivity tolerance. The frequency response is flat from 150 Hz to 7 kHz, with a smooth, airy presence peak at 8 kHz making it ideal for drum overheads, acoustic guitar, and other acoustic instruments. <br /><br /><h3>TK61 Omni Capsule</h3>The TELEFUNKEN TK61 is a small diaphragm omnidirectional capsule used with the ELA M 260 tube microphone and the M60 FET microphone. Featuring a 6-micron gold-sputtered membrane measuring 15mm in diameter, the TK61 offers a large, open sound perfect for capturing the subtle nuances and space of your recording environment. The frequency response is flat from 20 Hz to 5 kHz, with a smooth, airy presence peak at 8 kHz. These small diaphragm capsules are tested to a strict ±1dB sensitivity tolerance. When used with the diffuse field spheres in the ELA M 260 Tri-Mono system, the TK61 omnidirectional capsule captures the ambience and vibe of your room to breathe life into any recording. <br /><br /><h3>TK62 Hypercardioid Capsule</h3>The TELEFUNKEN TK62 is a small diaphragm hypercardioid capsule used with the ELA M 260 tube microphone and the M60 FET microphone. Featuring a 6-micron gold-sputtered membrane measuring 15mm in diameter, the TK62 provides a wide cardioid pattern flat in response from 150 Hz to 3 kHz, with a dip at 6 kHz and a smooth, airy presence peak at 8 kHz. These small diaphragm capsules are tested to a strict ±1dB sensitivity tolerance. This tightened polar pattern is great for use on cymbals, percussion, and as a stereo pair for live performance recording. <br /><br />\n<h3>ELA M 260 Includes:</h3><ul><li>ELA M 260 Tube Microphone</li><li>TK60 cardioid capsule </li><li>TK61 omni capsule</li><li>TK62 hyper-cardioid capsule</li><li>M 960 power supply</li><li>M 801 25’ dual-shielded TX-7 tube microphone cable</li><li>M761 elastic shock mount</li><li>Wooden microphone box.</li></ul><br />'),(11516,75,1,1920,'<h1>Telefunken ELA M 260 Small Diaphragm Tube Condenser Microphone</h1><i>\nSmall-diaphragm Tube Condenser Microphone with 3 Interchangeable Capsules for Cardioid, Omnidirectional, and Hypercardioid Polar Patterns\n<br /></i><br />The Telefunken ELA M 260 is a small diaphragm condenser mic and arguably one of the industry\'s finest acoustic and classical recording tube microphones, offering plenty of tone with excellent detail and clarity. While not a historically accurate reproduction of the original ELA M 260 like the Diamond Series microphones, TELEFUNKEN Elektroakustik’s version of the ELA M 260 is still built with the same attention to detail and level of quality that would be expected from a TELEFUNKEN Elektroakustik microphone.<br /><br />\n<h3>Sonic Characteristic</h3>\nIn use, the ELA M 260 has plenty of tone with excellent detail and clarity. It captures sources with a natural presence, making it a fantastic tool for recording acoustic instruments of all types. Violin, cello, upright bass, drum overheads, percussion, woodwinds, saxophones, strings, and especially acoustic guitar all shine through the ELA M 260. Also, despite its size, it has also served well on vocal applications. Its unique tonal character is very well suited for a myriad of applications, both traditional and not.\n<br /><br />\n<h3>Circuit Design</h3>\nThe ELA M 260 system features a new circuit design based around a New Old Stock (NOS) EF732 / 5840W vacuum tube and a custom output transformer that is wound to exacting specification in the United States. The combination of these features yields a small diaphragm microphone that is unique while also bearing the qualities of the vintage microphones that it was based upon.\n<br /><h3><br class=\"Apple-interchange-newline\" />TK60 Cardioid Capsule</h3>The TELEFUNKEN TK60 is a small diaphragm cardioid capsule used with the ELA M 260 tube microphone and the M60 FET microphone. Featuring a 6-micron gold-sputtered membrane measuring 15mm in diameter, the TK60 has a surprisingly full low end for a small diaphragm capsule, and offers a quick and accurate transient response. These small diaphragm capsules are tested to a strict ±1dB sensitivity tolerance. The frequency response is flat from 150 Hz to 7 kHz, with a smooth, airy presence peak at 8 kHz making it ideal for drum overheads, acoustic guitar, and other acoustic instruments. <br /><br /><h3>TK61 Omni Capsule</h3>The TELEFUNKEN TK61 is a small diaphragm omnidirectional capsule used with the ELA M 260 tube microphone and the M60 FET microphone. Featuring a 6-micron gold-sputtered membrane measuring 15mm in diameter, the TK61 offers a large, open sound perfect for capturing the subtle nuances and space of your recording environment. The frequency response is flat from 20 Hz to 5 kHz, with a smooth, airy presence peak at 8 kHz. These small diaphragm capsules are tested to a strict ±1dB sensitivity tolerance. When used with the diffuse field spheres in the ELA M 260 Tri-Mono system, the TK61 omnidirectional capsule captures the ambience and vibe of your room to breathe life into any recording. <br /><br /><h3>TK62 Hypercardioid Capsule</h3>The TELEFUNKEN TK62 is a small diaphragm hypercardioid capsule used with the ELA M 260 tube microphone and the M60 FET microphone. Featuring a 6-micron gold-sputtered membrane measuring 15mm in diameter, the TK62 provides a wide cardioid pattern flat in response from 150 Hz to 3 kHz, with a dip at 6 kHz and a smooth, airy presence peak at 8 kHz. These small diaphragm capsules are tested to a strict ±1dB sensitivity tolerance. This tightened polar pattern is great for use on cymbals, percussion, and as a stereo pair for live performance recording. <br /><br />\n<h3>ELA M 260 Includes:</h3><ul><li>ELA M 260 Tube Microphone</li><li>TK60 cardioid capsule </li><li>TK61 omni capsule</li><li>TK62 hyper-cardioid capsule</li><li>M 960 power supply</li><li>M 801 25’ dual-shielded TX-7 tube microphone cable</li><li>M761 elastic shock mount</li><li>Wooden microphone box.</li></ul><br />'),(11517,85,0,1920,'Telefunken ELA M 260 Small Diaphragm Tube Condenser Microphone'),(11518,85,1,1920,'Telefunken ELA M 260 Small Diaphragm Tube Condenser Microphone'),(11519,76,0,1920,''),(11520,76,1,1920,''),(11521,75,0,1921,'<h1>Telefunken ELA M 260 Small Diaphragm Tube Condenser Microphone - Stereo Set</h1>\n<i>Matched Set of Small-diaphragm Tube Condenser Microphone with 3 Interchangeable Capsules for Cardioid, Omnidirectional, and Hypercardioid Polar Patterns, Dual Power Supply and Locking Flight Case.<br /></i><br />The Telefunken ELA M 260 is a small diaphragm condenser mic and arguably one of the industry\'s finest acoustic and classical recording tube microphones, offering plenty of tone with excellent detail and clarity. While not a historically accurate reproduction of the original ELA M 260 like the Diamond Series microphones, TELEFUNKEN Elektroakustik’s version of the ELA M 260 is still built with the same attention to detail and level of quality that would be expected from a TELEFUNKEN Elektroakustik microphone.<br /><br /><span style=\"background-color: initial;\">The matched ELA M 260 Stereo Set comes in a custom locking flight case that carries both M801 cables, M761 shock mounts, microphones, wooden boxes, and an American-made dual-channel M960S power supply unit. This power supply is fully regulated and will power one or both microphones simultaneously, and features a slow-ramping heater voltage to ensure vacuum tube longevity.</span>\n<div>\n	<br />\n</div>\n<div>\n	The ELA M 260 Stereo Set also features two sets of 3 interchangeable capsules: the TK60 cardioid, TK61 omni, and TK62 hypercardioid, so the user can have the flexibility to record their source material in any way they wish. The ELA M 260 Stereo Set offers the user the knowledge and comfort that the tools they are using will give identical responses for their most important stereo recording.\n</div>\n<br />\n<h3>Sonic Characteristic</h3>\nIn use, the ELA M 260 has plenty of tone with excellent detail and clarity. It captures sources with a natural presence, making it a fantastic tool for recording acoustic instruments of all types. Violin, cello, upright bass, drum overheads, percussion, woodwinds, saxophones, strings, and especially acoustic guitar all shine through the ELA M 260. Also, despite its size, it has also served well on vocal applications. Its unique tonal character is very well suited for a myriad of applications, both traditional and not.\n<br /><br />\n<h3>Circuit Design</h3>\nThe ELA M 260 system features a new circuit design based around a New Old Stock (NOS) EF732 / 5840W vacuum tube and a custom output transformer that is wound to exacting specification in the United States. The combination of these features yields a small diaphragm microphone that is unique while also bearing the qualities of the vintage microphones that it was based upon.\n<br /><br />\n<h3>TK60 Cardioid Capsule</h3>\nThe TELEFUNKEN TK60 is a small diaphragm cardioid capsule used with the ELA M 260 tube microphone and the M60 FET microphone.  Featuring a 6-micron gold-sputtered membrane measuring 15mm in diameter, the TK60 has a surprisingly full low end for a small diaphragm capsule, and offers a quick and accurate transient response.  These small diaphragm capsules are tested to a strict ±1dB sensitivity tolerance.  The frequency response is flat from 150 Hz to 7 kHz, with a smooth, airy presence peak at 8 kHz making it ideal for drum overheads, acoustic guitar, and other acoustic instruments.\n<br /><br />\n<h3>TK61 Omni Capsule</h3>\nThe TELEFUNKEN TK61 is a small diaphragm omnidirectional capsule used with the ELA M 260 tube microphone and the M60 FET microphone.  Featuring a 6-micron gold-sputtered membrane measuring 15mm in diameter, the TK61 offers a large, open sound perfect for capturing the subtle nuances and space of your recording environment.  The frequency response is flat from 20 Hz to 5 kHz, with a smooth, airy presence peak at 8 kHz. These small diaphragm capsules are tested to a strict ±1dB sensitivity tolerance.  When used with the diffuse field spheres in the ELA M 260 Tri-Mono system, the TK61 omnidirectional capsule captures the ambience and vibe of your room to breathe life into any recording.\n<br /><br />\n<h3>TK62 Hypercardioid Capsule</h3>\nThe TELEFUNKEN TK62 is a small diaphragm hypercardioid capsule used with the ELA M 260 tube microphone and the M60 FET microphone.  Featuring a 6-micron gold-sputtered membrane measuring 15mm in diameter, the TK62 provides a wide cardioid pattern flat in response from 150 Hz to 3 kHz, with a dip at 6 kHz and a smooth, airy presence peak at 8 kHz. These small diaphragm capsules are tested to a strict ±1dB sensitivity tolerance.  This tightened polar pattern is great for use on cymbals, percussion, and as a stereo pair for live performance recording.\n<br /><br />\n<h3>ELA M 260 Stereo Set Includes:</h3>\n<ul style=\"letter-spacing: normal;\">\n	<li>Two ELA M 260 Tube Microphone</li>\n	<li>Two TK60 cardioid capsule</li>\n	<li>Two TK61 omni capsule</li>\n	<li>Two TK62 hyper-cardioid capsule</li>\n	<li>Two M 960 power supply</li>\n	<li>Two M 801 25’ dual-shielded TX-7 tube microphone cable</li>\n	<li>Two M761 elastic shock mount</li>\n	<li>Two Wooden microphone box.</li>\n</ul>\n<br />'),(11522,75,1,1921,'<h1>Telefunken ELA M 260 Small Diaphragm Tube Condenser Microphone - Stereo Set</h1>\n<i>Matched Set of Small-diaphragm Tube Condenser Microphone with 3 Interchangeable Capsules for Cardioid, Omnidirectional, and Hypercardioid Polar Patterns, Dual Power Supply and Locking Flight Case.<br /></i><br />The Telefunken ELA M 260 is a small diaphragm condenser mic and arguably one of the industry\'s finest acoustic and classical recording tube microphones, offering plenty of tone with excellent detail and clarity. While not a historically accurate reproduction of the original ELA M 260 like the Diamond Series microphones, TELEFUNKEN Elektroakustik’s version of the ELA M 260 is still built with the same attention to detail and level of quality that would be expected from a TELEFUNKEN Elektroakustik microphone.<br /><br /><span style=\"background-color: initial;\">The matched ELA M 260 Stereo Set comes in a custom locking flight case that carries both M801 cables, M761 shock mounts, microphones, wooden boxes, and an American-made dual-channel M960S power supply unit. This power supply is fully regulated and will power one or both microphones simultaneously, and features a slow-ramping heater voltage to ensure vacuum tube longevity.</span>\n<div>\n	<br />\n</div>\n<div>\n	The ELA M 260 Stereo Set also features two sets of 3 interchangeable capsules: the TK60 cardioid, TK61 omni, and TK62 hypercardioid, so the user can have the flexibility to record their source material in any way they wish. The ELA M 260 Stereo Set offers the user the knowledge and comfort that the tools they are using will give identical responses for their most important stereo recording.\n</div>\n<br />\n<h3>Sonic Characteristic</h3>\nIn use, the ELA M 260 has plenty of tone with excellent detail and clarity. It captures sources with a natural presence, making it a fantastic tool for recording acoustic instruments of all types. Violin, cello, upright bass, drum overheads, percussion, woodwinds, saxophones, strings, and especially acoustic guitar all shine through the ELA M 260. Also, despite its size, it has also served well on vocal applications. Its unique tonal character is very well suited for a myriad of applications, both traditional and not.\n<br /><br />\n<h3>Circuit Design</h3>\nThe ELA M 260 system features a new circuit design based around a New Old Stock (NOS) EF732 / 5840W vacuum tube and a custom output transformer that is wound to exacting specification in the United States. The combination of these features yields a small diaphragm microphone that is unique while also bearing the qualities of the vintage microphones that it was based upon.\n<br /><br />\n<h3>TK60 Cardioid Capsule</h3>\nThe TELEFUNKEN TK60 is a small diaphragm cardioid capsule used with the ELA M 260 tube microphone and the M60 FET microphone.  Featuring a 6-micron gold-sputtered membrane measuring 15mm in diameter, the TK60 has a surprisingly full low end for a small diaphragm capsule, and offers a quick and accurate transient response.  These small diaphragm capsules are tested to a strict ±1dB sensitivity tolerance.  The frequency response is flat from 150 Hz to 7 kHz, with a smooth, airy presence peak at 8 kHz making it ideal for drum overheads, acoustic guitar, and other acoustic instruments.\n<br /><br />\n<h3>TK61 Omni Capsule</h3>\nThe TELEFUNKEN TK61 is a small diaphragm omnidirectional capsule used with the ELA M 260 tube microphone and the M60 FET microphone.  Featuring a 6-micron gold-sputtered membrane measuring 15mm in diameter, the TK61 offers a large, open sound perfect for capturing the subtle nuances and space of your recording environment.  The frequency response is flat from 20 Hz to 5 kHz, with a smooth, airy presence peak at 8 kHz. These small diaphragm capsules are tested to a strict ±1dB sensitivity tolerance.  When used with the diffuse field spheres in the ELA M 260 Tri-Mono system, the TK61 omnidirectional capsule captures the ambience and vibe of your room to breathe life into any recording.\n<br /><br />\n<h3>TK62 Hypercardioid Capsule</h3>\nThe TELEFUNKEN TK62 is a small diaphragm hypercardioid capsule used with the ELA M 260 tube microphone and the M60 FET microphone.  Featuring a 6-micron gold-sputtered membrane measuring 15mm in diameter, the TK62 provides a wide cardioid pattern flat in response from 150 Hz to 3 kHz, with a dip at 6 kHz and a smooth, airy presence peak at 8 kHz. These small diaphragm capsules are tested to a strict ±1dB sensitivity tolerance.  This tightened polar pattern is great for use on cymbals, percussion, and as a stereo pair for live performance recording.\n<br /><br />\n<h3>ELA M 260 Stereo Set Includes:</h3>\n<ul style=\"letter-spacing: normal;\">\n	<li>Two ELA M 260 Tube Microphone</li>\n	<li>Two TK60 cardioid capsule</li>\n	<li>Two TK61 omni capsule</li>\n	<li>Two TK62 hyper-cardioid capsule</li>\n	<li>Two M 960 power supply</li>\n	<li>Two M 801 25’ dual-shielded TX-7 tube microphone cable</li>\n	<li>Two M761 elastic shock mount</li>\n	<li>Two Wooden microphone box.</li>\n</ul>\n<br />'),(11523,85,0,1921,'Telefunken ELA M 260 Stereo Set'),(11524,85,1,1921,'Telefunken ELA M 260 Stereo Set'),(11525,76,0,1921,''),(11526,76,1,1921,''),(11527,75,0,1922,'<h1>Telefunken M60 FET Cardioid Microphone</h1>\n<span style=\"font-size:16px; font-style:italic;\">Ideal for acoustic and percussive instruments, featuring one M60 FET amplifier paired with a TK60 cardioid polar pattern capsule.</span><br /><br />\nThe Telefunken M60 FET Cardioid package includes one M60 amplifier paired with a TK60 cardioid polar pattern capsule. The TK60 features a 6-micron gold-sputtered membrane measuring 15mm in diameter, with a surprisingly full low end, and a quick and accurate transient response. The frequency response is flat from 150 Hz to 7 kHz, with a smooth, airy presence peak at 8 kHz making it ideal for drum overheads, hi-hat and ride cymbals, piano, acoustic guitar, and other acoustic instruments.<br /><br /><h3>Sonic Characteristic</h3>The M60 FET’s incredibly quick transient response captures nuances and subtleties with impressive precision and clarity. This results in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources. <br /><br /><h3>Circuit Design</h3>Utilizing a unique proprietary circuit topology, this re-interpretation of the classic FET mic amplifier produces an exceptional transient response and SPL handling capabilities. Carefully selected and tested components are hand-plugged into gold-plated circuit board traces to provide an ultra-clean true Class A discrete amplifier with a frequency response of +/- 2dB from 20 Hz to 50 kHz. The output is matched with a custom American-made transformer that offers an especially low self-noise and a typical THD+N of 0.015% or better, making it ideal for critical recording applications. <br /><br /><h3>Construction</h3>The M60 FET amplifier body is finished in a durable, lightly textured black powder coat adorned with the historic TELEFUNKEN diamond badge. The microphone’s XLR connector shell complements the look with a matte black nickel plated finish engraved with the model and serial number. The TK6x capsules feature a bright nickel plated enclosure with a fine gold mesh pattern. <br /><br /><h3>M60 FET Includes</h3><ul style=\"letter-spacing: normal;\"><li>M60 Microphone Amplifier</li><li>TK60 Cardioid Polar Pattern Capsule</li><li>SGMC-5R 5-meter XLR cable with right angle female connector</li><li>M761 elastic shock mount</li><li>Foam windscreen</li><li>ZC61 zipper carrying case.</li></ul>'),(11528,75,1,1922,'<h1>Telefunken M60 FET Cardioid Microphone</h1>\n<span style=\"font-size:16px; font-style:italic;\">Ideal for acoustic and percussive instruments, featuring one M60 FET amplifier paired with a TK60 cardioid polar pattern capsule.</span><br /><br />\nThe Telefunken M60 FET Cardioid package includes one M60 amplifier paired with a TK60 cardioid polar pattern capsule. The TK60 features a 6-micron gold-sputtered membrane measuring 15mm in diameter, with a surprisingly full low end, and a quick and accurate transient response. The frequency response is flat from 150 Hz to 7 kHz, with a smooth, airy presence peak at 8 kHz making it ideal for drum overheads, hi-hat and ride cymbals, piano, acoustic guitar, and other acoustic instruments.<br /><br /><h3>Sonic Characteristic</h3>The M60 FET’s incredibly quick transient response captures nuances and subtleties with impressive precision and clarity. This results in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources. <br /><br /><h3>Circuit Design</h3>Utilizing a unique proprietary circuit topology, this re-interpretation of the classic FET mic amplifier produces an exceptional transient response and SPL handling capabilities. Carefully selected and tested components are hand-plugged into gold-plated circuit board traces to provide an ultra-clean true Class A discrete amplifier with a frequency response of +/- 2dB from 20 Hz to 50 kHz. The output is matched with a custom American-made transformer that offers an especially low self-noise and a typical THD+N of 0.015% or better, making it ideal for critical recording applications. <br /><br /><h3>Construction</h3>The M60 FET amplifier body is finished in a durable, lightly textured black powder coat adorned with the historic TELEFUNKEN diamond badge. The microphone’s XLR connector shell complements the look with a matte black nickel plated finish engraved with the model and serial number. The TK6x capsules feature a bright nickel plated enclosure with a fine gold mesh pattern. <br /><br /><h3>M60 FET Includes</h3><ul style=\"letter-spacing: normal;\"><li>M60 Microphone Amplifier</li><li>TK60 Cardioid Polar Pattern Capsule</li><li>SGMC-5R 5-meter XLR cable with right angle female connector</li><li>M761 elastic shock mount</li><li>Foam windscreen</li><li>ZC61 zipper carrying case.</li></ul>'),(11529,85,0,1922,'Telefunken M60 FET Cardioid Microphone'),(11530,85,1,1922,'Telefunken M60 FET Cardioid Microphone'),(11531,76,0,1922,''),(11532,76,1,1922,''),(11533,75,0,1923,'<h1>Telefunken M60 FET Microphone Master Set</h1>\n<i><span style=\"font-size: 16px;\">The M60 Master set includes the M60 Microphone and three interchangeable capsules, TK60 cardioid, TK61 omni-directional and TK62 hyper-cardioid.</span></i><br /><br />\nThe Telefunken M60 FET Series is designed to utilize the same interchangeable TK6x capsules as the TEC Award-winning ELA M 260 small diaphragm tube microphone. The M60 FET Master Set features one M60 amplifier paired with three interchangeable capsules, including the TK60 cardioid, TK61 omnidirectional and TK62 hypercardioid.<br /><br />The frequency response of the <b>TK60 cardioid</b> is flat from 150 Hz to 7 kHz, with a smooth, airy presence peak at 8 kHz, making it ideal for drum overheads, hi-hat and ride cymbals, piano, acoustic guitar, and other acoustic instruments.<br /><br />The <b>TK61 omni-directional</b> features a 6-micron gold-sputtered membrane measuring 15mm in diameter, and offers a large, open sound perfect for capturing the ambience and vibe of your instrument or recording environment to breathe life into any recording. The frequency response is flat from 20 Hz to 5 kHz, with a smooth, airy presence peak at 8 kHz.<br /><br />The tightened and focused polar pattern of the <b>TK62 hyper-cardioid</b> is great for use on cymbals, percussion, and as a stereo pair for live performance recording. Its frequency response is flat from 150 Hz to 3 kHz, with a dip at 6 kHz and a smooth, airy presence peak at 8 kHz.<br /><br /><h3>Sonic Characteristic</h3>The M60 FET’s incredibly quick transient response captures nuances and subtleties with impressive precision and clarity. This results in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources.<br /><br /><h3>Circuit Design</h3>Utilizing a unique proprietary circuit topology, this re-interpretation of the classic FET mic amplifier produces an exceptional transient response and SPL handling capabilities. Carefully selected and tested components are hand-plugged into gold-plated circuit board traces to provide an ultra-clean true Class A discrete amplifier with a frequency response of +/- 2dB from 20 Hz to 50 kHz. The output is matched with a custom American-made transformer that offers an especially low self-noise and a typical THD+N of 0.015% or better, making it ideal for critical recording applications. <br /><br /><h3>Construction</h3>The M60 FET amplifier body is finished in a durable, lightly textured black powder coat adorned with the historic TELEFUNKEN diamond badge. The microphone’s XLR connector shell complements the look with a matte black nickel plated finish engraved with the model and serial number. The TK6x capsules feature a bright nickel plated enclosure with a fine gold mesh pattern. <br /><br /><h3>M60 FET Master Set Includes</h3><ul style=\"letter-spacing: normal;\"><li>M60 Microphone Amplifier</li><li>TK60 cardioid capsule</li><li>TK61 omnidirectional capsule</li><li>TK62 hypercardioid capsules</li><li>SGMC-5R 5-meter XLR cable with right angle female connector</li><li>M761 elastic shock mount</li><li>Foam windscreen</li><li>ZC61 zipper carrying case.</li></ul><br />'),(11534,75,1,1923,'<h1>Telefunken M60 FET Microphone Master Set</h1>\n<i><span style=\"font-size: 16px;\">The M60 Master set includes the M60 Microphone and three interchangeable capsules, TK60 cardioid, TK61 omni-directional and TK62 hyper-cardioid.</span></i><br /><br />\nThe Telefunken M60 FET Series is designed to utilize the same interchangeable TK6x capsules as the TEC Award-winning ELA M 260 small diaphragm tube microphone. The M60 FET Master Set features one M60 amplifier paired with three interchangeable capsules, including the TK60 cardioid, TK61 omnidirectional and TK62 hypercardioid.<br /><br />The frequency response of the <b>TK60 cardioid</b> is flat from 150 Hz to 7 kHz, with a smooth, airy presence peak at 8 kHz, making it ideal for drum overheads, hi-hat and ride cymbals, piano, acoustic guitar, and other acoustic instruments.<br /><br />The <b>TK61 omni-directional</b> features a 6-micron gold-sputtered membrane measuring 15mm in diameter, and offers a large, open sound perfect for capturing the ambience and vibe of your instrument or recording environment to breathe life into any recording. The frequency response is flat from 20 Hz to 5 kHz, with a smooth, airy presence peak at 8 kHz.<br /><br />The tightened and focused polar pattern of the <b>TK62 hyper-cardioid</b> is great for use on cymbals, percussion, and as a stereo pair for live performance recording. Its frequency response is flat from 150 Hz to 3 kHz, with a dip at 6 kHz and a smooth, airy presence peak at 8 kHz.<br /><br /><h3>Sonic Characteristic</h3>The M60 FET’s incredibly quick transient response captures nuances and subtleties with impressive precision and clarity. This results in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources.<br /><br /><h3>Circuit Design</h3>Utilizing a unique proprietary circuit topology, this re-interpretation of the classic FET mic amplifier produces an exceptional transient response and SPL handling capabilities. Carefully selected and tested components are hand-plugged into gold-plated circuit board traces to provide an ultra-clean true Class A discrete amplifier with a frequency response of +/- 2dB from 20 Hz to 50 kHz. The output is matched with a custom American-made transformer that offers an especially low self-noise and a typical THD+N of 0.015% or better, making it ideal for critical recording applications. <br /><br /><h3>Construction</h3>The M60 FET amplifier body is finished in a durable, lightly textured black powder coat adorned with the historic TELEFUNKEN diamond badge. The microphone’s XLR connector shell complements the look with a matte black nickel plated finish engraved with the model and serial number. The TK6x capsules feature a bright nickel plated enclosure with a fine gold mesh pattern. <br /><br /><h3>M60 FET Master Set Includes</h3><ul style=\"letter-spacing: normal;\"><li>M60 Microphone Amplifier</li><li>TK60 cardioid capsule</li><li>TK61 omnidirectional capsule</li><li>TK62 hypercardioid capsules</li><li>SGMC-5R 5-meter XLR cable with right angle female connector</li><li>M761 elastic shock mount</li><li>Foam windscreen</li><li>ZC61 zipper carrying case.</li></ul><br />'),(11535,85,0,1923,'Telefunken M60 FET Microphone Master Set'),(11536,85,1,1923,'Telefunken M60 FET Microphone Master Set'),(11537,76,0,1923,''),(11538,76,1,1923,''),(11539,75,0,1924,'<h1>Telefunken M60 FET Microphone Master - Stereo Set</h1>\n<span style=\"font-size: 16px;\"><i>A stereo pair of M60 FET microphones that includes two matched TK60 cardioid, TK61 omni-directional and TK62 hyper-cardioid capsules.</i></span><br /><br />The Telefeunken <span style=\"background-color: initial;\">M60 FET Master Stereo Set comes with two identical M60 FET amplifiers paired with matched sets of TK60 cardioid, TK61 omnidirectional and TK62 hypercardioid capsules, all which have been measured within a strict 1dB sensitivity tolerance. This is the most thorough package of the M60 FET Series, giving you the tools and options for any small diaphragm microphone application.</span><div><br /></div><div>The M60 FET\'s incredibly quick transient response captures nuances and subtleties with impressive precision and clarity. This results in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources.</div><br />The frequency response of the <b>TK60 cardioid</b> is flat from 150 Hz to 7 kHz, with a smooth, airy presence peak at 8 kHz, making it ideal for drum overheads, hi-hat and ride cymbals, piano, acoustic guitar, and other acoustic instruments.<br /><br />The <b>TK61 omni-directional</b> features a 6-micron gold-sputtered membrane measuring 15mm in diameter, and offers a large, open sound perfect for capturing the ambience and vibe of your instrument or recording environment to breathe life into any recording. The frequency response is flat from 20 Hz to 5 kHz, with a smooth, airy presence peak at 8 kHz.<br /><br />The tightened and focused polar pattern of the <b>TK62 hyper-cardioid</b> is great for use on cymbals, percussion, and as a stereo pair for live performance recording. Its frequency response is flat from 150 Hz to 3 kHz, with a dip at 6 kHz and a smooth, airy presence peak at 8 kHz.<br /><br /><h3>Sonic Characteristic</h3>The M60 FET’s incredibly quick transient response captures nuances and subtleties with impressive precision and clarity. This results in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources.<br /><br /><h3>Circuit Design</h3>Utilizing a unique proprietary circuit topology, this re-interpretation of the classic FET mic amplifier produces an exceptional transient response and SPL handling capabilities. Carefully selected and tested components are hand-plugged into gold-plated circuit board traces to provide an ultra-clean true Class A discrete amplifier with a frequency response of +/- 2dB from 20 Hz to 50 kHz. The output is matched with a custom American-made transformer that offers an especially low self-noise and a typical THD+N of 0.015% or better, making it ideal for critical recording applications. <br /><br /><h3>Construction</h3>The M60 FET amplifier body is finished in a durable, lightly textured black powder coat adorned with the historic TELEFUNKEN diamond badge. The microphone’s XLR connector shell complements the look with a matte black nickel plated finish engraved with the model and serial number. The TK6x capsules feature a bright nickel plated enclosure with a fine gold mesh pattern. <br /><br /><h3>M60 FET Master Stereo Set Includes</h3><ul style=\"letter-spacing: normal;\"><li>Two M60 Microphone Amplifier</li><li>Two TK60 cardioid capsule</li><li>Two TK61 omnidirectional capsule</li><li>Two TK62 hypercardioid capsules</li><li>Two SGMC-5R 5-meter XLR cable with right angle female connector</li><li>Two M761 elastic shock mount</li><li>Two Foam windscreen</li><li>ZC62 Dual Mic zipper carrying case.</li></ul>\n<br />'),(11540,75,1,1924,'<h1>Telefunken M60 FET Microphone Master - Stereo Set</h1>\n<span style=\"font-size: 16px;\"><i>A stereo pair of M60 FET microphones that includes two matched TK60 cardioid, TK61 omni-directional and TK62 hyper-cardioid capsules.</i></span><br /><br />The Telefeunken <span style=\"background-color: initial;\">M60 FET Master Stereo Set comes with two identical M60 FET amplifiers paired with matched sets of TK60 cardioid, TK61 omnidirectional and TK62 hypercardioid capsules, all which have been measured within a strict 1dB sensitivity tolerance. This is the most thorough package of the M60 FET Series, giving you the tools and options for any small diaphragm microphone application.</span><div><br /></div><div>The M60 FET\'s incredibly quick transient response captures nuances and subtleties with impressive precision and clarity. This results in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources.</div><br />The frequency response of the <b>TK60 cardioid</b> is flat from 150 Hz to 7 kHz, with a smooth, airy presence peak at 8 kHz, making it ideal for drum overheads, hi-hat and ride cymbals, piano, acoustic guitar, and other acoustic instruments.<br /><br />The <b>TK61 omni-directional</b> features a 6-micron gold-sputtered membrane measuring 15mm in diameter, and offers a large, open sound perfect for capturing the ambience and vibe of your instrument or recording environment to breathe life into any recording. The frequency response is flat from 20 Hz to 5 kHz, with a smooth, airy presence peak at 8 kHz.<br /><br />The tightened and focused polar pattern of the <b>TK62 hyper-cardioid</b> is great for use on cymbals, percussion, and as a stereo pair for live performance recording. Its frequency response is flat from 150 Hz to 3 kHz, with a dip at 6 kHz and a smooth, airy presence peak at 8 kHz.<br /><br /><h3>Sonic Characteristic</h3>The M60 FET’s incredibly quick transient response captures nuances and subtleties with impressive precision and clarity. This results in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources.<br /><br /><h3>Circuit Design</h3>Utilizing a unique proprietary circuit topology, this re-interpretation of the classic FET mic amplifier produces an exceptional transient response and SPL handling capabilities. Carefully selected and tested components are hand-plugged into gold-plated circuit board traces to provide an ultra-clean true Class A discrete amplifier with a frequency response of +/- 2dB from 20 Hz to 50 kHz. The output is matched with a custom American-made transformer that offers an especially low self-noise and a typical THD+N of 0.015% or better, making it ideal for critical recording applications. <br /><br /><h3>Construction</h3>The M60 FET amplifier body is finished in a durable, lightly textured black powder coat adorned with the historic TELEFUNKEN diamond badge. The microphone’s XLR connector shell complements the look with a matte black nickel plated finish engraved with the model and serial number. The TK6x capsules feature a bright nickel plated enclosure with a fine gold mesh pattern. <br /><br /><h3>M60 FET Master Stereo Set Includes</h3><ul style=\"letter-spacing: normal;\"><li>Two M60 Microphone Amplifier</li><li>Two TK60 cardioid capsule</li><li>Two TK61 omnidirectional capsule</li><li>Two TK62 hypercardioid capsules</li><li>Two SGMC-5R 5-meter XLR cable with right angle female connector</li><li>Two M761 elastic shock mount</li><li>Two Foam windscreen</li><li>ZC62 Dual Mic zipper carrying case.</li></ul>\n<br />'),(11541,85,0,1924,'Telefunken M60 FET Microphone Master - Stereo Set'),(11542,85,1,1924,'Telefunken M60 FET Microphone Master - Stereo Set'),(11543,76,0,1924,''),(11544,76,1,1924,''),(11545,75,0,1925,'<h1>Telefunken M60 FET Cardioid Microphone - Stereo Set</h1>\n<span style=\"font-size: 16px;\"><i>A set of M60 FET amplifiers paired with two matched TK60 cardioid polar pattern capsules, ideal for  for acoustic and percussive instruments.</i></span><br /><br />\nThe Telefunken <b>M60 FET Cardioid Stereo Set</b> comes with two identical M60 FET amplifiers paired with a matched set of TK60 cardioid polar pattern capsules. The TK60 features a 6-micron gold-sputtered membrane measuring 15mm in diameter, with a surprisingly full low end, and a quick and accurate transient response. The frequency response is flat from 150 Hz to 7 kHz, with a smooth, airy presence peak at 8 kHz making it ideal for drum overheads, hi-hat and ride cymbals, piano, acoustic guitar, and other acoustic instruments.<br /><br /><h3>Sonic Characteristic</h3>The M60 FET’s incredibly quick transient response captures nuances and subtleties with impressive precision and clarity. This results in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources. <br /><br /><h3>Circuit Design</h3>Utilizing a unique proprietary circuit topology, this re-interpretation of the classic FET mic amplifier produces an exceptional transient response and SPL handling capabilities. Carefully selected and tested components are hand-plugged into gold-plated circuit board traces to provide an ultra-clean true Class A discrete amplifier with a frequency response of +/- 2dB from 20 Hz to 50 kHz. The output is matched with a custom American-made transformer that offers an especially low self-noise and a typical THD+N of 0.015% or better, making it ideal for critical recording applications. <br /><br /><h3>Construction</h3>The M60 FET amplifier body is finished in a durable, lightly textured black powder coat adorned with the historic TELEFUNKEN diamond badge. The microphone’s XLR connector shell complements the look with a matte black nickel plated finish engraved with the model and serial number. The TK6x capsules feature a bright nickel plated enclosure with a fine gold mesh pattern. <br /><br /><h3>M60 FET Stereo Set Includes</h3><ul style=\"letter-spacing: normal;\"><li>Two M60 Microphone Amplifier</li><li>Two TK60 Cardioid Polar Pattern Capsule</li><li>Two SGMC-5R 5-meter XLR cable with right angle female connector</li><li>Two M761 elastic shock mount</li><li>Two Foam windscreen</li><li>Two ZC61 zipper carrying case.</li></ul>'),(11546,75,1,1925,'<h1>Telefunken M60 FET Cardioid Microphone - Stereo Set</h1>\n<span style=\"font-size: 16px;\"><i>A set of M60 FET amplifiers paired with two matched TK60 cardioid polar pattern capsules, ideal for  for acoustic and percussive instruments.</i></span><br /><br />\nThe Telefunken <b>M60 FET Cardioid Stereo Set</b> comes with two identical M60 FET amplifiers paired with a matched set of TK60 cardioid polar pattern capsules. The TK60 features a 6-micron gold-sputtered membrane measuring 15mm in diameter, with a surprisingly full low end, and a quick and accurate transient response. The frequency response is flat from 150 Hz to 7 kHz, with a smooth, airy presence peak at 8 kHz making it ideal for drum overheads, hi-hat and ride cymbals, piano, acoustic guitar, and other acoustic instruments.<br /><br /><h3>Sonic Characteristic</h3>The M60 FET’s incredibly quick transient response captures nuances and subtleties with impressive precision and clarity. This results in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources. <br /><br /><h3>Circuit Design</h3>Utilizing a unique proprietary circuit topology, this re-interpretation of the classic FET mic amplifier produces an exceptional transient response and SPL handling capabilities. Carefully selected and tested components are hand-plugged into gold-plated circuit board traces to provide an ultra-clean true Class A discrete amplifier with a frequency response of +/- 2dB from 20 Hz to 50 kHz. The output is matched with a custom American-made transformer that offers an especially low self-noise and a typical THD+N of 0.015% or better, making it ideal for critical recording applications. <br /><br /><h3>Construction</h3>The M60 FET amplifier body is finished in a durable, lightly textured black powder coat adorned with the historic TELEFUNKEN diamond badge. The microphone’s XLR connector shell complements the look with a matte black nickel plated finish engraved with the model and serial number. The TK6x capsules feature a bright nickel plated enclosure with a fine gold mesh pattern. <br /><br /><h3>M60 FET Stereo Set Includes</h3><ul style=\"letter-spacing: normal;\"><li>Two M60 Microphone Amplifier</li><li>Two TK60 Cardioid Polar Pattern Capsule</li><li>Two SGMC-5R 5-meter XLR cable with right angle female connector</li><li>Two M761 elastic shock mount</li><li>Two Foam windscreen</li><li>Two ZC61 zipper carrying case.</li></ul>'),(11547,85,0,1925,'Telefunken M60 FET Cardioid Microphone - Stereo Set'),(11548,85,1,1925,'Telefunken M60 FET Cardioid Microphone - Stereo Set'),(11549,76,0,1925,''),(11550,76,1,1925,''),(11551,75,0,1926,'<h1>Telefunken M61 FET Omni-Directional Microphone</h1>\n<span style=\"font-style:italic;\">Ideal for room and ambience recording and includes one M60 FET amplifier paired with a TK61 omni-directional polar pattern capsule.</span><br /><br />\nThe Telefunken M61 FET Omnidirectional microphone package includes one M60 amplifier paired with a TK61 omnidirectional polar pattern capsule.  The TK61 features a 6-micron gold-sputtered membrane measuring 15mm in diameter, and offers a large, open sound perfect for capturing the ambience and vibe of your instrument or recording environment to breathe life into any recording. The frequency response is flat from 20 Hz to 5 kHz, with a smooth, airy presence peak at 8 kHz.<br /><br />\n<h3>Sonic Characteristic</h3>\nThe M60 FET’s incredibly quick transient response captures nuances and subtleties with impressive precision and clarity. This results in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources.\n<br /><br />\n<h3>Circuit Design</h3>\nUtilizing a unique proprietary circuit topology, this re-interpretation of the classic FET mic amplifier produces an exceptional transient response and SPL handling capabilities. Carefully selected and tested components are hand-plugged into gold-plated circuit board traces to provide an ultra-clean true Class A discrete amplifier with a frequency response of +/- 2dB from 20 Hz to 50 kHz. The output is matched with a custom American-made transformer that offers an especially low self-noise and a typical THD+N of 0.015% or better, making it ideal for critical recording applications.\n<br /><br />\n<h3>Construction</h3>\nThe M60 FET amplifier body is finished in a durable, lightly textured black powder coat adorned with the historic TELEFUNKEN diamond badge. The microphone’s XLR connector shell complements the look with a matte black nickel plated finish engraved with the model and serial number. The TK6x capsules feature a bright nickel plated enclosure with a fine gold mesh pattern.\n<br /><br />\n<h3>M61 FET Includes</h3><ul><li>\nM60 Microphone Amplifier</li><li>TK61 Omnidirectional Polar Pattern Capsule</li><li>SGMC-5R 5-meter XLR cable with right angle female connector</li><li>M761 elastic shock mount</li><li>Foam windscreen</li><li>ZC61 zipper carrying case.</li></ul><br />'),(11552,75,1,1926,'<h1>Telefunken M61 FET Omni-Directional Microphone</h1>\n<span style=\"font-style:italic;\">Ideal for room and ambience recording and includes one M60 FET amplifier paired with a TK61 omni-directional polar pattern capsule.</span><br /><br />\nThe Telefunken M61 FET Omnidirectional microphone package includes one M60 amplifier paired with a TK61 omnidirectional polar pattern capsule.  The TK61 features a 6-micron gold-sputtered membrane measuring 15mm in diameter, and offers a large, open sound perfect for capturing the ambience and vibe of your instrument or recording environment to breathe life into any recording. The frequency response is flat from 20 Hz to 5 kHz, with a smooth, airy presence peak at 8 kHz.<br /><br />\n<h3>Sonic Characteristic</h3>\nThe M60 FET’s incredibly quick transient response captures nuances and subtleties with impressive precision and clarity. This results in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources.\n<br /><br />\n<h3>Circuit Design</h3>\nUtilizing a unique proprietary circuit topology, this re-interpretation of the classic FET mic amplifier produces an exceptional transient response and SPL handling capabilities. Carefully selected and tested components are hand-plugged into gold-plated circuit board traces to provide an ultra-clean true Class A discrete amplifier with a frequency response of +/- 2dB from 20 Hz to 50 kHz. The output is matched with a custom American-made transformer that offers an especially low self-noise and a typical THD+N of 0.015% or better, making it ideal for critical recording applications.\n<br /><br />\n<h3>Construction</h3>\nThe M60 FET amplifier body is finished in a durable, lightly textured black powder coat adorned with the historic TELEFUNKEN diamond badge. The microphone’s XLR connector shell complements the look with a matte black nickel plated finish engraved with the model and serial number. The TK6x capsules feature a bright nickel plated enclosure with a fine gold mesh pattern.\n<br /><br />\n<h3>M61 FET Includes</h3><ul><li>\nM60 Microphone Amplifier</li><li>TK61 Omnidirectional Polar Pattern Capsule</li><li>SGMC-5R 5-meter XLR cable with right angle female connector</li><li>M761 elastic shock mount</li><li>Foam windscreen</li><li>ZC61 zipper carrying case.</li></ul><br />'),(11553,85,0,1926,'Telefunken M61 FET Omni-Directional Microphone'),(11554,85,1,1926,'Telefunken M61 FET Omni-Directional Microphone'),(11555,76,0,1926,''),(11556,76,1,1926,''),(11557,75,0,1927,'<h1>Telefunken M61 FET Omni-Directional Microphone - Stereo Set</h1>\n<span style=\"font-size: 16px;\"><i>A set of M60 FET amplifiers paired with two matched TK61 omni-directional polar pattern capsules, ideal for room and ambience recording.</i></span><br /><br />\nThe Telefunken M61 FET Omnidirectional Stereo Set comes with two identical M60 FET amplifiers paired with a matched set of TK61 omni-directional polar pattern capsules.\n<br /><br />\nThe TK61 features a 6-micron gold-sputtered membrane measuring 15mm in diameter, and offers a large, open sound perfect for capturing the ambience and vibe of your instrument or recording environment to breathe life into any recording. The frequency response is flat from 20 Hz to 5 kHz, with a smooth, airy presence peak at 8 kHz.\n<br /><br />\nThe M61 FET\'s sensitivity and clarity result in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources.\n<br /><br />\n<h3>Sonic Characteristic</h3>\nThe M60 FET’s incredibly quick transient response captures nuances and subtleties with impressive precision and clarity. This results in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources. \n<br /><br />\n<h3>Circuit Design</h3>\nUtilizing a unique proprietary circuit topology, this re-interpretation of the classic FET mic amplifier produces an exceptional transient response and SPL handling capabilities. Carefully selected and tested components are hand-plugged into gold-plated circuit board traces to provide an ultra-clean true Class A discrete amplifier with a frequency response of +/- 2dB from 20 Hz to 50 kHz. The output is matched with a custom American-made transformer that offers an especially low self-noise and a typical THD+N of 0.015% or better, making it ideal for critical recording applications. \n<br /><br />\n<h3>Construction</h3>\nThe M60 FET amplifier body is finished in a durable, lightly textured black powder coat adorned with the historic TELEFUNKEN diamond badge. The microphone’s XLR connector shell complements the look with a matte black nickel plated finish engraved with the model and serial number. The TK6x capsules feature a bright nickel plated enclosure with a fine gold mesh pattern. \n<br /><br />\n<h3>M61 FET Includes</h3>\n<ul style=\"letter-spacing: normal;\">\n	<li>Stereo set of M60 Microphone Amplifiers</li>\n	<li>Stereo set of TK61 Omnidirectional Polar Pattern Capsules</li>\n	<li>Two SGMC-5R 5-meter XLR cable with right angle female connector</li>\n	<li>Two M761 elastic shock mount</li>\n	<li>Two Foam windscreen</li>\n	<li>ZC62 dual microphone zipper carrying case</li>\n</ul>'),(11558,75,1,1927,'<h1>Telefunken M61 FET Omni-Directional Microphone - Stereo Set</h1>\n<span style=\"font-size: 16px;\"><i>A set of M60 FET amplifiers paired with two matched TK61 omni-directional polar pattern capsules, ideal for room and ambience recording.</i></span><br /><br />\nThe Telefunken M61 FET Omnidirectional Stereo Set comes with two identical M60 FET amplifiers paired with a matched set of TK61 omni-directional polar pattern capsules.\n<br /><br />\nThe TK61 features a 6-micron gold-sputtered membrane measuring 15mm in diameter, and offers a large, open sound perfect for capturing the ambience and vibe of your instrument or recording environment to breathe life into any recording. The frequency response is flat from 20 Hz to 5 kHz, with a smooth, airy presence peak at 8 kHz.\n<br /><br />\nThe M61 FET\'s sensitivity and clarity result in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources.\n<br /><br />\n<h3>Sonic Characteristic</h3>\nThe M60 FET’s incredibly quick transient response captures nuances and subtleties with impressive precision and clarity. This results in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources. \n<br /><br />\n<h3>Circuit Design</h3>\nUtilizing a unique proprietary circuit topology, this re-interpretation of the classic FET mic amplifier produces an exceptional transient response and SPL handling capabilities. Carefully selected and tested components are hand-plugged into gold-plated circuit board traces to provide an ultra-clean true Class A discrete amplifier with a frequency response of +/- 2dB from 20 Hz to 50 kHz. The output is matched with a custom American-made transformer that offers an especially low self-noise and a typical THD+N of 0.015% or better, making it ideal for critical recording applications. \n<br /><br />\n<h3>Construction</h3>\nThe M60 FET amplifier body is finished in a durable, lightly textured black powder coat adorned with the historic TELEFUNKEN diamond badge. The microphone’s XLR connector shell complements the look with a matte black nickel plated finish engraved with the model and serial number. The TK6x capsules feature a bright nickel plated enclosure with a fine gold mesh pattern. \n<br /><br />\n<h3>M61 FET Includes</h3>\n<ul style=\"letter-spacing: normal;\">\n	<li>Stereo set of M60 Microphone Amplifiers</li>\n	<li>Stereo set of TK61 Omnidirectional Polar Pattern Capsules</li>\n	<li>Two SGMC-5R 5-meter XLR cable with right angle female connector</li>\n	<li>Two M761 elastic shock mount</li>\n	<li>Two Foam windscreen</li>\n	<li>ZC62 dual microphone zipper carrying case</li>\n</ul>'),(11559,85,0,1927,'Telefunken M61 FET Omni-Directional Microphone - Stereo Set'),(11560,85,1,1927,'Telefunken M61 FET Omni-Directional Microphone - Stereo Set'),(11561,76,0,1927,''),(11562,76,1,1927,''),(11563,75,0,1928,'<h1>Telefunken M62 FET Hyper-Cardioid Microphone</h1>\n<span style=\"font-size: 16px;\"><i>Excellent for use on cymbals and percussion, featuring one M60 FET amplifier paired with a TK62 hyper-cardioid polar pattern capsule.</i></span><br /><br />\nThe Telefunken M62 FET Hypercardioid package includes one M60 amplifier paired with a TK62 hypercardioid polar pattern capsule.  The TK62 features a 6-micron gold-sputtered membrane measuring 15 mm in diameter, with a surprisingly full low end, and a quick and accurate transient response. The TK62 provides a hypercardioid pattern flat in response from 150 Hz to 3 kHz, with a dip at 6 kHz and a smooth, airy presence peak at 8 kHz. This tightened polar pattern is great for use on cymbals, percussion, and as a stereo pair for live performance recording. <br /><br /><h3>Sonic Characteristic</h3>The M60 FET’s incredibly quick transient response captures nuances and subtleties with impressive precision and clarity. This results in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources. <br /><br /><h3>Circuit Design</h3>Utilizing a unique proprietary circuit topology, this re-interpretation of the classic FET mic amplifier produces an exceptional transient response and SPL handling capabilities. Carefully selected and tested components are hand-plugged into gold-plated circuit board traces to provide an ultra-clean true Class A discrete amplifier with a frequency response of +/- 2dB from 20 Hz to 50 kHz. The output is matched with a custom American-made transformer that offers an especially low self-noise and a typical THD+N of 0.015% or better, making it ideal for critical recording applications. <br /><br /><h3>Construction</h3>The M60 FET amplifier body is finished in a durable, lightly textured black powder coat adorned with the historic TELEFUNKEN diamond badge. The microphone’s XLR connector shell complements the look with a matte black nickel plated finish engraved with the model and serial number. The TK6x capsules feature a bright nickel plated enclosure with a fine gold mesh pattern. <br /><br /><h3>M62 FET Includes</h3><ul style=\"letter-spacing: normal;\"><li>M60 Microphone Amplifier</li><li>TK62 Hypercardioid Pattern Capsule</li><li>SGMC-5R 5-meter XLR cable with right angle female connector</li><li>M761 elastic shock mount</li><li>Foam windscreen</li><li>ZC61 zipper carrying case.</li></ul>'),(11564,75,1,1928,'<h1>Telefunken M62 FET Hyper-Cardioid Microphone</h1>\n<span style=\"font-size: 16px;\"><i>Excellent for use on cymbals and percussion, featuring one M60 FET amplifier paired with a TK62 hyper-cardioid polar pattern capsule.</i></span><br /><br />\nThe Telefunken M62 FET Hypercardioid package includes one M60 amplifier paired with a TK62 hypercardioid polar pattern capsule.  The TK62 features a 6-micron gold-sputtered membrane measuring 15 mm in diameter, with a surprisingly full low end, and a quick and accurate transient response. The TK62 provides a hypercardioid pattern flat in response from 150 Hz to 3 kHz, with a dip at 6 kHz and a smooth, airy presence peak at 8 kHz. This tightened polar pattern is great for use on cymbals, percussion, and as a stereo pair for live performance recording. <br /><br /><h3>Sonic Characteristic</h3>The M60 FET’s incredibly quick transient response captures nuances and subtleties with impressive precision and clarity. This results in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources. <br /><br /><h3>Circuit Design</h3>Utilizing a unique proprietary circuit topology, this re-interpretation of the classic FET mic amplifier produces an exceptional transient response and SPL handling capabilities. Carefully selected and tested components are hand-plugged into gold-plated circuit board traces to provide an ultra-clean true Class A discrete amplifier with a frequency response of +/- 2dB from 20 Hz to 50 kHz. The output is matched with a custom American-made transformer that offers an especially low self-noise and a typical THD+N of 0.015% or better, making it ideal for critical recording applications. <br /><br /><h3>Construction</h3>The M60 FET amplifier body is finished in a durable, lightly textured black powder coat adorned with the historic TELEFUNKEN diamond badge. The microphone’s XLR connector shell complements the look with a matte black nickel plated finish engraved with the model and serial number. The TK6x capsules feature a bright nickel plated enclosure with a fine gold mesh pattern. <br /><br /><h3>M62 FET Includes</h3><ul style=\"letter-spacing: normal;\"><li>M60 Microphone Amplifier</li><li>TK62 Hypercardioid Pattern Capsule</li><li>SGMC-5R 5-meter XLR cable with right angle female connector</li><li>M761 elastic shock mount</li><li>Foam windscreen</li><li>ZC61 zipper carrying case.</li></ul>'),(11565,85,0,1928,'Telefunken M62 FET Hyper-Cardioid Microphone'),(11566,85,1,1928,'Telefunken M62 FET Hyper-Cardioid Microphone'),(11567,76,0,1928,''),(11568,76,1,1928,''),(11569,75,0,1929,'<h1>Telefunken M62 FET Hyper-Cardioid Microphone - Stereo Set</h1>\n<span style=\"font-size: 16px;\"><i>A matched set of M60 FET amplifiers paired with two TK62 hyper-cardioid polar pattern capsules, ideal for stereo live and field recording.</i></span><br/><br/>\nThe Telefunken M62 FET Hyper-Cardioid STEREO SET includes two identical M60 FET amplifiers paired with a matched set of TK62 hyper-cardioid polar pattern capsules. The TK62 features a 6-micron gold-sputtered membrane measuring 15mm in diameter, with a surprisingly full low end, and a quick and accurate transient response. The TK62 provides a hyper-cardioid pattern flat in response from 150 Hz to 3 kHz, with a dip at 6 kHz and a smooth, airy presence peak at 8 kHz. This tightened polar pattern is great for use on cymbals, percussion, and as a stereo pair for live performance recording.<br/><br/>\n<h3>Sonic Characteristic</h3>\nThe M60 FET’s incredibly quick transient response captures nuances and subtleties with impressive precision and clarity. This results in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources. \n<br/><br/>\n<h3>Circuit Design</h3>\nUtilizing a unique proprietary circuit topology, this re-interpretation of the classic FET mic amplifier produces an exceptional transient response and SPL handling capabilities. Carefully selected and tested components are hand-plugged into gold-plated circuit board traces to provide an ultra-clean true Class A discrete amplifier with a frequency response of +/- 2dB from 20 Hz to 50 kHz. The output is matched with a custom American-made transformer that offers an especially low self-noise and a typical THD+N of 0.015% or better, making it ideal for critical recording applications. \n<br/><br/>\n<h3>Construction</h3>\nThe M60 FET amplifier body is finished in a durable, lightly textured black powder coat adorned with the historic TELEFUNKEN diamond badge. The microphone’s XLR connector shell complements the look with a matte black nickel plated finish engraved with the model and serial number. The TK6x capsules feature a bright nickel plated enclosure with a fine gold mesh pattern. \n<br/><br/>\n<h3>M62 FET Includes</h3>\n<ul style=\"letter-spacing: normal;\">\n	<li>Two M60 Microphone Amplifier</li>\n	<li>Two TK62 Hypercardioid Pattern Capsule</li>\n	<li>Two SGMC-5R 5-meter XLR cable with right angle female connector</li>\n	<li>Two M761 elastic shock mount</li>\n	<li>Two Foam windscreen</li>\n	<li>ZC62 dual microphone zipper carrying case</li>\n</ul>'),(11570,75,1,1929,'<h1>Telefunken M62 FET Hyper-Cardioid Microphone - Stereo Set</h1>\n<span style=\"font-size: 16px;\"><i>A matched set of M60 FET amplifiers paired with two TK62 hyper-cardioid polar pattern capsules, ideal for stereo live and field recording.</i></span><br/><br/>\nThe Telefunken M62 FET Hyper-Cardioid STEREO SET includes two identical M60 FET amplifiers paired with a matched set of TK62 hyper-cardioid polar pattern capsules. The TK62 features a 6-micron gold-sputtered membrane measuring 15mm in diameter, with a surprisingly full low end, and a quick and accurate transient response. The TK62 provides a hyper-cardioid pattern flat in response from 150 Hz to 3 kHz, with a dip at 6 kHz and a smooth, airy presence peak at 8 kHz. This tightened polar pattern is great for use on cymbals, percussion, and as a stereo pair for live performance recording.<br/><br/>\n<h3>Sonic Characteristic</h3>\nThe M60 FET’s incredibly quick transient response captures nuances and subtleties with impressive precision and clarity. This results in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources. \n<br/><br/>\n<h3>Circuit Design</h3>\nUtilizing a unique proprietary circuit topology, this re-interpretation of the classic FET mic amplifier produces an exceptional transient response and SPL handling capabilities. Carefully selected and tested components are hand-plugged into gold-plated circuit board traces to provide an ultra-clean true Class A discrete amplifier with a frequency response of +/- 2dB from 20 Hz to 50 kHz. The output is matched with a custom American-made transformer that offers an especially low self-noise and a typical THD+N of 0.015% or better, making it ideal for critical recording applications. \n<br/><br/>\n<h3>Construction</h3>\nThe M60 FET amplifier body is finished in a durable, lightly textured black powder coat adorned with the historic TELEFUNKEN diamond badge. The microphone’s XLR connector shell complements the look with a matte black nickel plated finish engraved with the model and serial number. The TK6x capsules feature a bright nickel plated enclosure with a fine gold mesh pattern. \n<br/><br/>\n<h3>M62 FET Includes</h3>\n<ul style=\"letter-spacing: normal;\">\n	<li>Two M60 Microphone Amplifier</li>\n	<li>Two TK62 Hypercardioid Pattern Capsule</li>\n	<li>Two SGMC-5R 5-meter XLR cable with right angle female connector</li>\n	<li>Two M761 elastic shock mount</li>\n	<li>Two Foam windscreen</li>\n	<li>ZC62 dual microphone zipper carrying case</li>\n</ul>'),(11571,85,0,1929,'Telefunken M62 FET Hyper-Cardioid Microphone - Stereo Set'),(11572,85,1,1929,'Telefunken M62 FET Hyper-Cardioid Microphone - Stereo Set'),(11573,76,0,1929,''),(11574,76,1,1929,''),(11575,75,0,1930,'<h1>Telefunken M80 Dynamic Supercardioid Microphone</h1>\n<i>Dynamic Microphone with Supercardioid Pickup Pattern that delivers condenser-like performance in a rugged dynamic design, making it equally suitable for both on stage and in studio use.</i><br /><br />\nThe TELEFUNKEN M80 dynamic cardioid microphone was designed to to give the user a superior alternative to the midrange-laden character of the many other dynamic mics. Featuring a wider frequency response and higher SPL capabilities the M80 delivers condenser-like performance in a rugged dynamic design, producing a microphone equally suitable for on both the stage and in the studio.<br /><br />\n<h3>Sonic Characteristic</h3>\nDue to its low mass capsule and super thin (yet surprisingly rugged) capsule membrane the M80 presents a wider range of emotion from a live vocal with an intimacy that has been traditionally reserved for studio quality condenser microphones. The head and capsule assembly has been designed to reduce proximity effect to which nets added low end clarity for vocals, while still providing \"strength\" and \"authority\" and an \"open,\" \"airy\" character without adding danger of upper midrange feedback or \"honk.\"\n<br /><br />\n<h3>Circuit Design</h3>\nThe M80 features an American made custom wound impedance matching transformer which is where the magic really takes place. When coupled with our proprietary capsule assembly, the results have won hearts and minds in far less time since it\'s introduction than we ever imagined possible.\n<br /><br />\n<h3>Construction</h3>\nFeaturing a rugged black powder coat body and head-turning chrome plated headgrille, the M80 is built for the high demands of a touring vocal mic.\n<br /><br />\n<h3>M80 Microphone Includes</h3>\n<ul>\n	<li>M80 Dynamic microphone</li>\n	<li>Leather zipper bag</li>\n	<li>M780 mic clip.</li>\n</ul>\n<br />'),(11576,75,1,1930,'<h1>Telefunken M80 Dynamic Supercardioid Microphone</h1>\n<i>Dynamic Microphone with Supercardioid Pickup Pattern that delivers condenser-like performance in a rugged dynamic design, making it equally suitable for both on stage and in studio use.</i><br /><br />\nThe TELEFUNKEN M80 dynamic cardioid microphone was designed to to give the user a superior alternative to the midrange-laden character of the many other dynamic mics. Featuring a wider frequency response and higher SPL capabilities the M80 delivers condenser-like performance in a rugged dynamic design, producing a microphone equally suitable for on both the stage and in the studio.<br /><br />\n<h3>Sonic Characteristic</h3>\nDue to its low mass capsule and super thin (yet surprisingly rugged) capsule membrane the M80 presents a wider range of emotion from a live vocal with an intimacy that has been traditionally reserved for studio quality condenser microphones. The head and capsule assembly has been designed to reduce proximity effect to which nets added low end clarity for vocals, while still providing \"strength\" and \"authority\" and an \"open,\" \"airy\" character without adding danger of upper midrange feedback or \"honk.\"\n<br /><br />\n<h3>Circuit Design</h3>\nThe M80 features an American made custom wound impedance matching transformer which is where the magic really takes place. When coupled with our proprietary capsule assembly, the results have won hearts and minds in far less time since it\'s introduction than we ever imagined possible.\n<br /><br />\n<h3>Construction</h3>\nFeaturing a rugged black powder coat body and head-turning chrome plated headgrille, the M80 is built for the high demands of a touring vocal mic.\n<br /><br />\n<h3>M80 Microphone Includes</h3>\n<ul>\n	<li>M80 Dynamic microphone</li>\n	<li>Leather zipper bag</li>\n	<li>M780 mic clip.</li>\n</ul>\n<br />'),(11577,85,0,1930,'Telefunken M80 Dynamic Supercardioid Microphone'),(11578,85,1,1930,'Telefunken M80 Dynamic Supercardioid Microphone'),(11579,76,0,1930,''),(11580,76,1,1930,''),(11581,75,0,1931,'<h1>Telefunken M81 Dynamic Supercardioid Microphone</h1>\n<i>Rugged, Universal Dynamic Microphone with supercardioid pickup pattern, flat frequency response and exceptional midrange clarity make it great for brass, toms, and guitar amps on the stage and in the studio.</i><br /><br />\nThe TELEFUNKEN M81 dynamic microphone has been designed with the goal to not only complement the M80, TELEFUNKEN Elektroakustik\'s first dynamic offering, but to also stand out in a universe filled with dynamic microphone options. When the M80 was first introduced in 2008, it quickly became a favorite in both live and studio environments. Its clear and detailed top end, articulate mid-range, and minimal proximity effect won the hearts (and ears) of thousands of new users, making it a staple for vocal and snare drum applications, as well as the most popular microphone in the TELEFUNKEN product line.<br /><br />\n<h3>Sonic Characteristic</h3>\nBuilding off many of the strengths of the M80, the TELEFUNKEN M81 retains the same minimal proximity effect, superior feedback rejection, and articulate mid-range. However, with the M81, the top end is pulled back a bit, yielding a flatter overall frequency response. This combination results in a microphone with a wealth of body and clarity, making it a great tool for taming brighter vocals and guitar tones and for fattening up percussion, horns and thinner sounding sources.<br /><br />\n<h3>Circuit Design</h3>\nThe TELEFUNKEN M81\'s tailored frequency response makes the microphone exceptional on electric guitars, percussion, rack and floor toms, and brass instruments. This microphone\'s wide range of uses and rugged reliability make it the workhorse for the new generation.<br /><br />\n<h3>Construction</h3>\nFinished in the same flint gray body tube and tri-chrome head grill styling as the R-F-T AR-51, the M81 is readily identifiable when reaching for the microphone. The M81 was very much designed with the AR-51 in mind. Great care was taken to tune the M81\'s overall response to be complimentary to the AR-51 when recording electric guitars.<br /><br />\n<h3>M81 Microphone Includes:</h3>\n<ul><li>M81 Universal Dynamic microphone</li><li>Leather zipper bag</li><li>M780 mic clip.</li></ul><br />'),(11582,75,1,1931,'<h1>Telefunken M81 Dynamic Supercardioid Microphone</h1>\n<i>Rugged, Universal Dynamic Microphone with supercardioid pickup pattern, flat frequency response and exceptional midrange clarity make it great for brass, toms, and guitar amps on the stage and in the studio.</i><br /><br />\nThe TELEFUNKEN M81 dynamic microphone has been designed with the goal to not only complement the M80, TELEFUNKEN Elektroakustik\'s first dynamic offering, but to also stand out in a universe filled with dynamic microphone options. When the M80 was first introduced in 2008, it quickly became a favorite in both live and studio environments. Its clear and detailed top end, articulate mid-range, and minimal proximity effect won the hearts (and ears) of thousands of new users, making it a staple for vocal and snare drum applications, as well as the most popular microphone in the TELEFUNKEN product line.<br /><br />\n<h3>Sonic Characteristic</h3>\nBuilding off many of the strengths of the M80, the TELEFUNKEN M81 retains the same minimal proximity effect, superior feedback rejection, and articulate mid-range. However, with the M81, the top end is pulled back a bit, yielding a flatter overall frequency response. This combination results in a microphone with a wealth of body and clarity, making it a great tool for taming brighter vocals and guitar tones and for fattening up percussion, horns and thinner sounding sources.<br /><br />\n<h3>Circuit Design</h3>\nThe TELEFUNKEN M81\'s tailored frequency response makes the microphone exceptional on electric guitars, percussion, rack and floor toms, and brass instruments. This microphone\'s wide range of uses and rugged reliability make it the workhorse for the new generation.<br /><br />\n<h3>Construction</h3>\nFinished in the same flint gray body tube and tri-chrome head grill styling as the R-F-T AR-51, the M81 is readily identifiable when reaching for the microphone. The M81 was very much designed with the AR-51 in mind. Great care was taken to tune the M81\'s overall response to be complimentary to the AR-51 when recording electric guitars.<br /><br />\n<h3>M81 Microphone Includes:</h3>\n<ul><li>M81 Universal Dynamic microphone</li><li>Leather zipper bag</li><li>M780 mic clip.</li></ul><br />'),(11583,85,0,1931,'Telefunken M81 Dynamic Supercardioid Microphone'),(11584,85,1,1931,'Telefunken M81 Dynamic Supercardioid Microphone'),(11585,76,0,1931,''),(11586,76,1,1931,''),(11587,75,0,1932,'<h1>Telefunken M82 Dynamic Kick Drum Microphone</h1>\n<i>Rugged Dynamic Microphone designed with kick drum and broadcast vocals in mind, M82 features a large dynamic diaphragm and two separate onboard EQ switches.</i><br /><br />\nThe TELEFUNKEN Elektroakustik M82 was created to cut through the crowded market competition to provide users with the superior alternative to the industry-standard kick drum and large diaphragm dynamic microphones. Hand-assembled and tested in our facility in CT, USA, the M82 is a robust dynamic microphone that features a large 35mm diaphragm with superb low frequency capabilities. Like the M81 Universal Dynamic before it, the M82 derives its name from a series of astronomical galaxies first cataloged by the French astronomer Charles Messier.<br /><br />\n<h3>Sonic Characteristic</h3>\nThough it was designed with the kick drum as a primary application, the two EQ switches make the M82 equally suited for a multitude of sources such as vocals, percussion, broadcast voice, guitar and bass amplifiers, organ, and brass instruments. On kick drum, the M82 is both fat and punchy. When placed just inside the hole of the resonant head, the M82\'s tailored frequency response captures both the beater attack and shell resonance without the need for multiple microphones.\n<br /><br />\n<h3>Circuit Design</h3>\n	The M82 is an end-address microphone, meaning that you point the top portion of the headgrille at your source, and features two separate EQ switches: KICK EQ and HIGH BOOST. These two switches function independently of each other, which yields four unique settings. This gives the user the ability to tailor the microphone\'s response to the source with ease.\n<br /><br />\n	The M82\'s KICK EQ switch engages a passive filter that reduces some of the lower mid-range frequencies (centered around 350Hz) commonly cut when processing a kick drum. This helps to keep your kick drum from sounding \"boxy\" and allows the low end to remain strong. This setting is tailored specifically for kick drum use.\n<br /><br />\n	The HIGH BOOST switch tilts the upper mid-range and high frequencies (starting around 2kHz with a 6dB boost by 10kHz). For kick drum use, this allows for more beater attack when placed inside a kick drum. This gives you the option to have either a vintage-style kick drum sound, or a more modern sound. For a source such as vocals or guitar amps, the high boost provides further articulation and airiness in the upper register.\n<br /><br />\n<h3>Construction</h3>\nConstruction wise, the M82 borrows heavily from the U47 body style by employing a headgrille of similar architecture. Finished in a durable smooth black finish on the headgrille and body, the M82 was rigorously tested to ensure it could handle the rugged role of a kick drum microphone for both studio and live environments.\n<br /><br />\n<h3>M82 Microphone Includes:</h3><ul><li>M82 is</li><li>M782 stand mount adapter</li><li>SGMC-5R five meter XLR</li><li>Protective zipper case</li></ul><br />'),(11588,75,1,1932,'<h1>Telefunken M82 Dynamic Kick Drum Microphone</h1>\n<i>Rugged Dynamic Microphone designed with kick drum and broadcast vocals in mind, M82 features a large dynamic diaphragm and two separate onboard EQ switches.</i><br /><br />\nThe TELEFUNKEN Elektroakustik M82 was created to cut through the crowded market competition to provide users with the superior alternative to the industry-standard kick drum and large diaphragm dynamic microphones. Hand-assembled and tested in our facility in CT, USA, the M82 is a robust dynamic microphone that features a large 35mm diaphragm with superb low frequency capabilities. Like the M81 Universal Dynamic before it, the M82 derives its name from a series of astronomical galaxies first cataloged by the French astronomer Charles Messier.<br /><br />\n<h3>Sonic Characteristic</h3>\nThough it was designed with the kick drum as a primary application, the two EQ switches make the M82 equally suited for a multitude of sources such as vocals, percussion, broadcast voice, guitar and bass amplifiers, organ, and brass instruments. On kick drum, the M82 is both fat and punchy. When placed just inside the hole of the resonant head, the M82\'s tailored frequency response captures both the beater attack and shell resonance without the need for multiple microphones.\n<br /><br />\n<h3>Circuit Design</h3>\n	The M82 is an end-address microphone, meaning that you point the top portion of the headgrille at your source, and features two separate EQ switches: KICK EQ and HIGH BOOST. These two switches function independently of each other, which yields four unique settings. This gives the user the ability to tailor the microphone\'s response to the source with ease.\n<br /><br />\n	The M82\'s KICK EQ switch engages a passive filter that reduces some of the lower mid-range frequencies (centered around 350Hz) commonly cut when processing a kick drum. This helps to keep your kick drum from sounding \"boxy\" and allows the low end to remain strong. This setting is tailored specifically for kick drum use.\n<br /><br />\n	The HIGH BOOST switch tilts the upper mid-range and high frequencies (starting around 2kHz with a 6dB boost by 10kHz). For kick drum use, this allows for more beater attack when placed inside a kick drum. This gives you the option to have either a vintage-style kick drum sound, or a more modern sound. For a source such as vocals or guitar amps, the high boost provides further articulation and airiness in the upper register.\n<br /><br />\n<h3>Construction</h3>\nConstruction wise, the M82 borrows heavily from the U47 body style by employing a headgrille of similar architecture. Finished in a durable smooth black finish on the headgrille and body, the M82 was rigorously tested to ensure it could handle the rugged role of a kick drum microphone for both studio and live environments.\n<br /><br />\n<h3>M82 Microphone Includes:</h3><ul><li>M82 is</li><li>M782 stand mount adapter</li><li>SGMC-5R five meter XLR</li><li>Protective zipper case</li></ul><br />'),(11589,85,0,1932,'Telefunken M82 Dynamic Kick Drum Microphone'),(11590,85,1,1932,'Telefunken M82 Dynamic Kick Drum Microphone'),(11591,76,0,1932,''),(11592,76,1,1932,''),(11593,75,0,1933,'<h1>Telefunken TDA-1 Mono Active Direct Box</h1>\n<i>The phantom powered TDA-1 Mono Active Direct Box employs discrete Class-A FET circuitry coupled with a high quality transformer in a rugged metal enclosure.</i><br /><br />\nThe Telefunken TDA-1 is a mono active FET direct box design that utilize top quality components in a modern take on classic circuitry to give you a full, rich character that both complements and retains the natural tone and feel of your instrument. The TDA circuit employs discrete Class-A FET circuitry coupled with a high quality transformer that provides the perfect balance between clean, high headroom performance and warm, saturated tone with vibe.<br /><br />\n\nThe heart of the design is a custom-wound output transformer by OEP/Carnhill, made in the UK. The circuit board features gold plated traces and is entirely hand-assembled with through-hole components, providing more secure and reliable connections than typical surface mount circuitry. The frequency response of the circuit is ± 2dB from 20 Hz to 70 kHz, with extremely low distortion and self-noise. Each individual unit is manually tuned by hand for the lowest distortion figure possible. High input impedance prevents the loading down of passive pickups. This careful attention to detail and high quality component choices results in a direct box with a harmonically rich low end and a detailed, open high-end clarity.<br /><br />\n\nThe circuit is housed in an extremely durable extruded aluminum enclosure with recessed switches and connectors. This rugged construction is virtually indestructible, able to easily withstand the wear and tear of gigging. Each channel features two heavy duty metal toggle switches to engage a -15 dB pad and ground lift. The circuit is powered from standard +48V phantom power with an LED indicating when it is powered. The TDA-2 unit features two independent DI channels with separate controls, giving you the ability to run two instruments through one footprint on stage or in the studio.<br /><br />\n\nWhile some direct boxes focus on providing sterile, ultra-clean gain, they often leave the instrument devoid of any soul or character. Conversely, some DI’s artificially hype too much low-end and overemphasize harmonic distortion, resulting in a tubby and undefined output. The Telefunken active DI avoids these common design pitfalls and delivers a new standard in reliability and performance for direct boxes.\n<br /><br />\n<h3>Telefunken TDA-1 Key features:</h3>\n<ul>\n	<li>Custom-wound OEP/Carnhill transformer, made in the UK</li><li>Rugged aluminum construction</li><li>Class-A discrete FET circuitry</li><li>Recessed switches and connectors for protection</li><li>+48V phantom powered with LED indicator</li><li>-15 dB pad switch</li><li>Ground lift switch</li><li>100% through-hole components</li><li>Amphenol connectors</li><li>WIMA, Nichicon, and Panasonic capacitors</li><li>1% 1/4W metal film resistors</li><li>1-year warranty</li>\n</ul>'),(11594,75,1,1933,'<h1>Telefunken TDA-1 Mono Active Direct Box</h1>\n<i>The phantom powered TDA-1 Mono Active Direct Box employs discrete Class-A FET circuitry coupled with a high quality transformer in a rugged metal enclosure.</i><br /><br />\nThe Telefunken TDA-1 is a mono active FET direct box design that utilize top quality components in a modern take on classic circuitry to give you a full, rich character that both complements and retains the natural tone and feel of your instrument. The TDA circuit employs discrete Class-A FET circuitry coupled with a high quality transformer that provides the perfect balance between clean, high headroom performance and warm, saturated tone with vibe.<br /><br />\n\nThe heart of the design is a custom-wound output transformer by OEP/Carnhill, made in the UK. The circuit board features gold plated traces and is entirely hand-assembled with through-hole components, providing more secure and reliable connections than typical surface mount circuitry. The frequency response of the circuit is ± 2dB from 20 Hz to 70 kHz, with extremely low distortion and self-noise. Each individual unit is manually tuned by hand for the lowest distortion figure possible. High input impedance prevents the loading down of passive pickups. This careful attention to detail and high quality component choices results in a direct box with a harmonically rich low end and a detailed, open high-end clarity.<br /><br />\n\nThe circuit is housed in an extremely durable extruded aluminum enclosure with recessed switches and connectors. This rugged construction is virtually indestructible, able to easily withstand the wear and tear of gigging. Each channel features two heavy duty metal toggle switches to engage a -15 dB pad and ground lift. The circuit is powered from standard +48V phantom power with an LED indicating when it is powered. The TDA-2 unit features two independent DI channels with separate controls, giving you the ability to run two instruments through one footprint on stage or in the studio.<br /><br />\n\nWhile some direct boxes focus on providing sterile, ultra-clean gain, they often leave the instrument devoid of any soul or character. Conversely, some DI’s artificially hype too much low-end and overemphasize harmonic distortion, resulting in a tubby and undefined output. The Telefunken active DI avoids these common design pitfalls and delivers a new standard in reliability and performance for direct boxes.\n<br /><br />\n<h3>Telefunken TDA-1 Key features:</h3>\n<ul>\n	<li>Custom-wound OEP/Carnhill transformer, made in the UK</li><li>Rugged aluminum construction</li><li>Class-A discrete FET circuitry</li><li>Recessed switches and connectors for protection</li><li>+48V phantom powered with LED indicator</li><li>-15 dB pad switch</li><li>Ground lift switch</li><li>100% through-hole components</li><li>Amphenol connectors</li><li>WIMA, Nichicon, and Panasonic capacitors</li><li>1% 1/4W metal film resistors</li><li>1-year warranty</li>\n</ul>'),(11595,85,0,1933,'Telefunken TDA-1 Mono Active Direct Box'),(11596,85,1,1933,'Telefunken TDA-1 Mono Active Direct Box'),(11597,76,0,1933,''),(11598,76,1,1933,''),(11599,75,0,1934,'<h1>Telefunken TDA-2 Stereo Active Direct Box</h1>\n<i>The phantom powered TDA-1 Mono Active Direct Box employs discrete Class-A FET circuitry coupled with a high quality transformer in a rugged metal enclosure.</i><br /><br />\nThe Telefunken TDA-2 is a stereo active FET direct box design that utilize top quality components in a modern take on classic circuitry to give you a full, rich character that both complements and retains the natural tone and feel of your instrument. The TDA circuit employs discrete Class-A FET circuitry coupled with a high quality transformer that provides the perfect balance between clean, high headroom performance and warm, saturated tone with vibe.<br /><br />\n\nThe heart of the design is a custom-wound output transformer by OEP/Carnhill, made in the UK. The circuit board features gold plated traces and is entirely hand-assembled with through-hole components, providing more secure and reliable connections than typical surface mount circuitry. The frequency response of the circuit is ± 2dB from 20 Hz to 70 kHz, with extremely low distortion and self-noise. Each individual unit is manually tuned by hand for the lowest distortion figure possible. High input impedance prevents the loading down of passive pickups. This careful attention to detail and high quality component choices results in a direct box with a harmonically rich low end and a detailed, open high-end clarity.<br /><br />\n\nThe circuit is housed in an extremely durable extruded aluminum enclosure with recessed switches and connectors. This rugged construction is virtually indestructible, able to easily withstand the wear and tear of gigging. Each channel features two heavy duty metal toggle switches to engage a -15 dB pad and ground lift. The circuit is powered from standard +48V phantom power with an LED indicating when it is powered. The TDA-2 unit features two independent DI channels with separate controls, giving you the ability to run two instruments through one footprint on stage or in the studio.<br /><br />\n\nWhile some direct boxes focus on providing sterile, ultra-clean gain, they often leave the instrument devoid of any soul or character. Conversely, some DI’s artificially hype too much low-end and overemphasize harmonic distortion, resulting in a tubby and undefined output. The Telefunken active DI avoids these common design pitfalls and delivers a new standard in reliability and performance for direct boxes.\n<br /><br />\n<h3>Telefunken TDA-2 Key features:</h3>\n<ul>\n	<li>Custom-wound OEP/Carnhill transformer, made in the UK</li><li>Rugged aluminum construction</li><li>Class-A discrete FET circuitry</li><li>Recessed switches and connectors for protection</li><li>+48V phantom powered with LED indicator</li><li>-15 dB pad switch</li><li>Ground lift switch</li><li>100% through-hole components</li><li>Amphenol connectors</li><li>WIMA, Nichicon, and Panasonic capacitors</li><li>1% 1/4W metal film resistors</li><li>1-year warranty</li>\n</ul>'),(11600,75,1,1934,'<h1>Telefunken TDA-2 Stereo Active Direct Box</h1>\n<i>The phantom powered TDA-1 Mono Active Direct Box employs discrete Class-A FET circuitry coupled with a high quality transformer in a rugged metal enclosure.</i><br /><br />\nThe Telefunken TDA-2 is a stereo active FET direct box design that utilize top quality components in a modern take on classic circuitry to give you a full, rich character that both complements and retains the natural tone and feel of your instrument. The TDA circuit employs discrete Class-A FET circuitry coupled with a high quality transformer that provides the perfect balance between clean, high headroom performance and warm, saturated tone with vibe.<br /><br />\n\nThe heart of the design is a custom-wound output transformer by OEP/Carnhill, made in the UK. The circuit board features gold plated traces and is entirely hand-assembled with through-hole components, providing more secure and reliable connections than typical surface mount circuitry. The frequency response of the circuit is ± 2dB from 20 Hz to 70 kHz, with extremely low distortion and self-noise. Each individual unit is manually tuned by hand for the lowest distortion figure possible. High input impedance prevents the loading down of passive pickups. This careful attention to detail and high quality component choices results in a direct box with a harmonically rich low end and a detailed, open high-end clarity.<br /><br />\n\nThe circuit is housed in an extremely durable extruded aluminum enclosure with recessed switches and connectors. This rugged construction is virtually indestructible, able to easily withstand the wear and tear of gigging. Each channel features two heavy duty metal toggle switches to engage a -15 dB pad and ground lift. The circuit is powered from standard +48V phantom power with an LED indicating when it is powered. The TDA-2 unit features two independent DI channels with separate controls, giving you the ability to run two instruments through one footprint on stage or in the studio.<br /><br />\n\nWhile some direct boxes focus on providing sterile, ultra-clean gain, they often leave the instrument devoid of any soul or character. Conversely, some DI’s artificially hype too much low-end and overemphasize harmonic distortion, resulting in a tubby and undefined output. The Telefunken active DI avoids these common design pitfalls and delivers a new standard in reliability and performance for direct boxes.\n<br /><br />\n<h3>Telefunken TDA-2 Key features:</h3>\n<ul>\n	<li>Custom-wound OEP/Carnhill transformer, made in the UK</li><li>Rugged aluminum construction</li><li>Class-A discrete FET circuitry</li><li>Recessed switches and connectors for protection</li><li>+48V phantom powered with LED indicator</li><li>-15 dB pad switch</li><li>Ground lift switch</li><li>100% through-hole components</li><li>Amphenol connectors</li><li>WIMA, Nichicon, and Panasonic capacitors</li><li>1% 1/4W metal film resistors</li><li>1-year warranty</li>\n</ul>'),(11601,85,0,1934,'Telefunken TDA-2 Stereo Active Direct Box'),(11602,85,1,1934,'Telefunken TDA-2 Stereo Active Direct Box'),(11603,76,0,1934,''),(11604,76,1,1934,''),(11605,75,0,1935,'<h1>Telefunken TDP-1 Mono Passive Direct Box</h1>\n<i>The TDP-1 Mono Passive Direct Box combines premium quality components with robust construction to create a reliable DI with rich, warm tone and character.</i><br /><br />\nThe Telefunken TDP-1 is a mono passive direct box design that combine premium quality components with a rugged construction to create a reliable DI with rich, warm tone. Utilizing an OEP/Carnhill transformer made in the UK, mated with a simple “less is best” design approach, the Telefunken passive DI’s provide superior vibe and character to best complement the natural tone and feel of your instrument.<br /><br />\nThe high quality audio transformer is just one of the premium design elements in the TD Series direct boxes. The PCBs are all 100% hand-assembled exclusively with through-hole components to provide a much more secure and reliable connection compared to common surface-mount technology. All circuit traces are gold-plated for maximum conductivity over the life of the product. High input impedance prevents the loading down of passive pickups. The frequency response of the circuit is ± 2dB from 10 Hz to 40 kHz, with extremely low distortion and self-noise figures.<br /><br />\nThe circuit is housed in an extremely durable extruded aluminum enclosure with recessed switches and connectors. This rugged construction is virtually indestructible, able to easily withstand the wear and tear of gigging. Each channel features two heavy duty metal toggle switches to engage a -15 dB pad and ground lift. The TD-2 unit features two independent DI channels with separate controls, giving you the ability to run two instruments through one footprint on stage or in the studio.<br /><br />\nThe Telefunken passive DI design is your new go-to reliable, high quality direct box. The simple and elegant design approach yields a harmonically rich low-end with a detailed and open high end that delivers a new standard in reliability and performance for direct boxes.\n<br /><br />\n<h3>Telefunken TDP-1 Key features:</h3>\n<ul>\n	<li>OEP/Carnhill transformer, made in the UK</li>\n<li>-15 dB pad switch</li>\n	<li>Ground lift switch</li>\n	<li>Rugged aluminum construction</li>\n	<li>Recessed switches and connectors for protection</li>\n	<li>100% through-hole components</li>\n	<li>Amphenol connectors</li>\n	<li>WIMA and Nichicon capacitors</li>\n	<li>1% 1/4W metal film resistors</li>\n	<li>1-year warranty</li>\n</ul>'),(11606,75,1,1935,'<h1>Telefunken TDP-1 Mono Passive Direct Box</h1>\n<i>The TDP-1 Mono Passive Direct Box combines premium quality components with robust construction to create a reliable DI with rich, warm tone and character.</i><br /><br />\nThe Telefunken TDP-1 is a mono passive direct box design that combine premium quality components with a rugged construction to create a reliable DI with rich, warm tone. Utilizing an OEP/Carnhill transformer made in the UK, mated with a simple “less is best” design approach, the Telefunken passive DI’s provide superior vibe and character to best complement the natural tone and feel of your instrument.<br /><br />\nThe high quality audio transformer is just one of the premium design elements in the TD Series direct boxes. The PCBs are all 100% hand-assembled exclusively with through-hole components to provide a much more secure and reliable connection compared to common surface-mount technology. All circuit traces are gold-plated for maximum conductivity over the life of the product. High input impedance prevents the loading down of passive pickups. The frequency response of the circuit is ± 2dB from 10 Hz to 40 kHz, with extremely low distortion and self-noise figures.<br /><br />\nThe circuit is housed in an extremely durable extruded aluminum enclosure with recessed switches and connectors. This rugged construction is virtually indestructible, able to easily withstand the wear and tear of gigging. Each channel features two heavy duty metal toggle switches to engage a -15 dB pad and ground lift. The TD-2 unit features two independent DI channels with separate controls, giving you the ability to run two instruments through one footprint on stage or in the studio.<br /><br />\nThe Telefunken passive DI design is your new go-to reliable, high quality direct box. The simple and elegant design approach yields a harmonically rich low-end with a detailed and open high end that delivers a new standard in reliability and performance for direct boxes.\n<br /><br />\n<h3>Telefunken TDP-1 Key features:</h3>\n<ul>\n	<li>OEP/Carnhill transformer, made in the UK</li>\n<li>-15 dB pad switch</li>\n	<li>Ground lift switch</li>\n	<li>Rugged aluminum construction</li>\n	<li>Recessed switches and connectors for protection</li>\n	<li>100% through-hole components</li>\n	<li>Amphenol connectors</li>\n	<li>WIMA and Nichicon capacitors</li>\n	<li>1% 1/4W metal film resistors</li>\n	<li>1-year warranty</li>\n</ul>'),(11607,85,0,1935,'Telefunken TDP-1 Mono Passive Direct Box'),(11608,85,1,1935,'Telefunken TDP-1 Mono Passive Direct Box'),(11609,76,0,1935,''),(11610,76,1,1935,''),(11611,75,0,1936,'<h1>Telefunken TDP-2 Stereo Passive Direct Box</h1>\n<i>The TDP-2 Stereo Passive DI features premium precision matched components and transformers and independent pad and ground lifts for stereo or dual mono use.</i><br /><br />\nThe Telefunken TDP-2 is a stereo passive direct box design that combine premium quality components with a rugged construction to create a reliable DI with rich, warm tone. Utilizing an OEP/Carnhill transformer made in the UK, mated with a simple “less is best” design approach, the Telefunken passive DI’s provide superior vibe and character to best complement the natural tone and feel of your instrument.<br /><br />\nThe high quality audio transformer is just one of the premium design elements in the TD Series direct boxes. The PCBs are all 100% hand-assembled exclusively with through-hole components to provide a much more secure and reliable connection compared to common surface-mount technology. All circuit traces are gold-plated for maximum conductivity over the life of the product. High input impedance prevents the loading down of passive pickups. The frequency response of the circuit is ± 2dB from 10 Hz to 40 kHz, with extremely low distortion and self-noise figures.<br /><br />\nThe circuit is housed in an extremely durable extruded aluminum enclosure with recessed switches and connectors. This rugged construction is virtually indestructible, able to easily withstand the wear and tear of gigging. Each channel features two heavy duty metal toggle switches to engage a -15 dB pad and ground lift. The TD-2 unit features two independent DI channels with separate controls, giving you the ability to run two instruments through one footprint on stage or in the studio.<br /><br />\nThe Telefunken passive DI design is your new go-to reliable, high quality direct box. The simple and elegant design approach yields a harmonically rich low-end with a detailed and open high end that delivers a new standard in reliability and performance for direct boxes.\n<br /><br />\n<h3>Telefunken TDP-2 Key features:</h3>\n<ul>\n	<li>OEP/Carnhill transformer, made in the UK</li>\n<li>-15 dB pad switch</li>\n	<li>Ground lift switch</li>\n	<li>Rugged aluminum construction</li>\n	<li>Recessed switches and connectors for protection</li>\n	<li>100% through-hole components</li>\n	<li>Amphenol connectors</li>\n	<li>WIMA and Nichicon capacitors</li>\n	<li>1% 1/4W metal film resistors</li>\n	<li>1-year warranty</li>\n</ul>'),(11612,75,1,1936,'<h1>Telefunken TDP-2 Stereo Passive Direct Box</h1>\n<i>The TDP-2 Stereo Passive DI features premium precision matched components and transformers and independent pad and ground lifts for stereo or dual mono use.</i><br /><br />\nThe Telefunken TDP-2 is a stereo passive direct box design that combine premium quality components with a rugged construction to create a reliable DI with rich, warm tone. Utilizing an OEP/Carnhill transformer made in the UK, mated with a simple “less is best” design approach, the Telefunken passive DI’s provide superior vibe and character to best complement the natural tone and feel of your instrument.<br /><br />\nThe high quality audio transformer is just one of the premium design elements in the TD Series direct boxes. The PCBs are all 100% hand-assembled exclusively with through-hole components to provide a much more secure and reliable connection compared to common surface-mount technology. All circuit traces are gold-plated for maximum conductivity over the life of the product. High input impedance prevents the loading down of passive pickups. The frequency response of the circuit is ± 2dB from 10 Hz to 40 kHz, with extremely low distortion and self-noise figures.<br /><br />\nThe circuit is housed in an extremely durable extruded aluminum enclosure with recessed switches and connectors. This rugged construction is virtually indestructible, able to easily withstand the wear and tear of gigging. Each channel features two heavy duty metal toggle switches to engage a -15 dB pad and ground lift. The TD-2 unit features two independent DI channels with separate controls, giving you the ability to run two instruments through one footprint on stage or in the studio.<br /><br />\nThe Telefunken passive DI design is your new go-to reliable, high quality direct box. The simple and elegant design approach yields a harmonically rich low-end with a detailed and open high end that delivers a new standard in reliability and performance for direct boxes.\n<br /><br />\n<h3>Telefunken TDP-2 Key features:</h3>\n<ul>\n	<li>OEP/Carnhill transformer, made in the UK</li>\n<li>-15 dB pad switch</li>\n	<li>Ground lift switch</li>\n	<li>Rugged aluminum construction</li>\n	<li>Recessed switches and connectors for protection</li>\n	<li>100% through-hole components</li>\n	<li>Amphenol connectors</li>\n	<li>WIMA and Nichicon capacitors</li>\n	<li>1% 1/4W metal film resistors</li>\n	<li>1-year warranty</li>\n</ul>'),(11613,85,0,1936,'Telefunken TDP-2 Stereo Passive Direct Box'),(11614,85,1,1936,'Telefunken TDP-2 Stereo Passive Direct Box'),(11615,76,0,1936,''),(11616,76,1,1936,''),(11617,75,0,1937,'<h1>Telefunken TF29 Copperhead Large-Diaphragm Tube Condenser Microphone</h1>\n<i>A large diaphragm fixed cardioid microphone that combines vintage Telefunken microphone elements with modern fidelity and reliability.</i><br /><br />\nThe TELEFUNKEN TF29 Copperhead is large-diaphragm tube condenser microphone that build on the CU-29 Copperhead, an original TELEFUNKEN Elektroakustik design that garnered fans for its natural and non-hyped tonality and unparalleled “quality for price”. The TF29 continues this reputation of outstanding sonic performance and value. It’s a workhorse microphone, accurately and honestly capturing vocals, acoustic and electric guitar, drums, and nearly any source put in front of it.<br /><br />The TF29 features a new old stock American-made 5654W vacuum tube, all-brass K67-style capsule, and a premium Swedish-made Lundahl output transformer. These components create a balanced frequency response and natural tonality, making the TF29 a trusty go-to choice. <br /><br />\n<h3><span style=\"background-color: initial;\">TF29 Key Features</span></h3>\n<ul style=\"letter-spacing: normal;\">\n	<li>Designed and assembled by hand in the USA</li><li>Fixed Cardioid Polar Pattern</li>\n	<li>Pleasant, natural mid range</li>\n	<li>Extended low frequency response</li>\n	<li>Stand out antique copper finish</li>\n	<li>Premium EU-made Lundahl transformer</li>\n</ul>\n<br />\n<h3><span style=\"background-color: initial;\">TF29 Applications</span></h3>\n<ul style=\"\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Natural vocals, bluegrass, folk, and Americana styles</span></li>\n	<li>Electric guitar</li>\n	<li>Drums: Kick Out, Overheads, & Room</li>\n	<li>Saxophone</li>\n	<li>Upright piano</li>\n	<li>Banjo</li>\n</ul>\n<br />\n<h3>Accessories</h3>\n	Every TF29 Copperhead microphone system comes with a fixed pattern M 902 Power Supply, M 803 Tube Microphone Cable, ZC03 Shell Case, M 703 Shock Mount, M 782 Stand Mount, and Microphone Sleeve.\n<br /><br />\n<h3>Telefunken Alchemy Series</h3>\n	Designed, hand-built, and tested to strict quality standards in Connecticut, USA, the Alchemy Series is TELEFUNKEN Elektroakustik’s next generation of large diaphragm tube condensers. These new microphone models feature unique sonic profiles developed from the ground up. The bold voicings of the new Alchemy Series are the TF29, TF39, TF47, and TF51.\n<br /><br />\n	Future classics, not clones. With the combination of vintage microphone elements and modern fidelity and reliability, the Alchemy Series delivers microphones each with a distinctively original sonic fingerprint. The Alchemy Series is an evolution and refinement to past models in the R-F-T Series (CU-29 Copperhead, AR-51, and AK-47 MkII), benefitting from over a decade of in-house microphone design and production.\n<br /><br />\n	Professional designs, superior functionality. TELEFUNKEN Elektroakustik has implemented numerous improvements sonically and mechanically to the Alchemy Series, tailored all the way down to the accessories. Boasting newly designed custom headgrilles for transparency and openness, hand-plugged circuit boards, and selected American and European vacuum tubes and transformers, no detail was left unaddressed. All systems ship in a sleek, compact, protective case for easy transport and storage. Included are two modern mount options, microphone dust cover, high-flex 7-meter cable, and an American-assembled power supply.\n<br /><br />\n	Real trusted quality, built to last. Like all TELEFUNKEN microphones, the Alchemy Series is assembled in the same American facility as the legendary Diamond Series (ELA M 251E, C12 and U47) by a small, dedicated team of engineers and technicians. Each microphone is individually tested and listened to. All critical components are quality controlled in-house before assembly, including capsule frequency sweeps, vacuum tube burn-in and noise grading. These high standards lead to extremely tight tolerances from microphone to microphone - something few in the industry can claim.\n<br /><br />\nThe ideal choice for discerning engineers, musicians, and producers. The Alchemy Series combines timeless sound quality with TELEFUNKEN reliability in an affordable package. Whether it’s the home studio or a commercial facility, the Alchemy Series is suited for any recording environment.'),(11618,75,1,1937,'<h1>Telefunken TF29 Copperhead Large-Diaphragm Tube Condenser Microphone</h1>\n<i>A large diaphragm fixed cardioid microphone that combines vintage Telefunken microphone elements with modern fidelity and reliability.</i><br /><br />\nThe TELEFUNKEN TF29 Copperhead is large-diaphragm tube condenser microphone that build on the CU-29 Copperhead, an original TELEFUNKEN Elektroakustik design that garnered fans for its natural and non-hyped tonality and unparalleled “quality for price”. The TF29 continues this reputation of outstanding sonic performance and value. It’s a workhorse microphone, accurately and honestly capturing vocals, acoustic and electric guitar, drums, and nearly any source put in front of it.<br /><br />The TF29 features a new old stock American-made 5654W vacuum tube, all-brass K67-style capsule, and a premium Swedish-made Lundahl output transformer. These components create a balanced frequency response and natural tonality, making the TF29 a trusty go-to choice. <br /><br />\n<h3><span style=\"background-color: initial;\">TF29 Key Features</span></h3>\n<ul style=\"letter-spacing: normal;\">\n	<li>Designed and assembled by hand in the USA</li><li>Fixed Cardioid Polar Pattern</li>\n	<li>Pleasant, natural mid range</li>\n	<li>Extended low frequency response</li>\n	<li>Stand out antique copper finish</li>\n	<li>Premium EU-made Lundahl transformer</li>\n</ul>\n<br />\n<h3><span style=\"background-color: initial;\">TF29 Applications</span></h3>\n<ul style=\"\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Natural vocals, bluegrass, folk, and Americana styles</span></li>\n	<li>Electric guitar</li>\n	<li>Drums: Kick Out, Overheads, & Room</li>\n	<li>Saxophone</li>\n	<li>Upright piano</li>\n	<li>Banjo</li>\n</ul>\n<br />\n<h3>Accessories</h3>\n	Every TF29 Copperhead microphone system comes with a fixed pattern M 902 Power Supply, M 803 Tube Microphone Cable, ZC03 Shell Case, M 703 Shock Mount, M 782 Stand Mount, and Microphone Sleeve.\n<br /><br />\n<h3>Telefunken Alchemy Series</h3>\n	Designed, hand-built, and tested to strict quality standards in Connecticut, USA, the Alchemy Series is TELEFUNKEN Elektroakustik’s next generation of large diaphragm tube condensers. These new microphone models feature unique sonic profiles developed from the ground up. The bold voicings of the new Alchemy Series are the TF29, TF39, TF47, and TF51.\n<br /><br />\n	Future classics, not clones. With the combination of vintage microphone elements and modern fidelity and reliability, the Alchemy Series delivers microphones each with a distinctively original sonic fingerprint. The Alchemy Series is an evolution and refinement to past models in the R-F-T Series (CU-29 Copperhead, AR-51, and AK-47 MkII), benefitting from over a decade of in-house microphone design and production.\n<br /><br />\n	Professional designs, superior functionality. TELEFUNKEN Elektroakustik has implemented numerous improvements sonically and mechanically to the Alchemy Series, tailored all the way down to the accessories. Boasting newly designed custom headgrilles for transparency and openness, hand-plugged circuit boards, and selected American and European vacuum tubes and transformers, no detail was left unaddressed. All systems ship in a sleek, compact, protective case for easy transport and storage. Included are two modern mount options, microphone dust cover, high-flex 7-meter cable, and an American-assembled power supply.\n<br /><br />\n	Real trusted quality, built to last. Like all TELEFUNKEN microphones, the Alchemy Series is assembled in the same American facility as the legendary Diamond Series (ELA M 251E, C12 and U47) by a small, dedicated team of engineers and technicians. Each microphone is individually tested and listened to. All critical components are quality controlled in-house before assembly, including capsule frequency sweeps, vacuum tube burn-in and noise grading. These high standards lead to extremely tight tolerances from microphone to microphone - something few in the industry can claim.\n<br /><br />\nThe ideal choice for discerning engineers, musicians, and producers. The Alchemy Series combines timeless sound quality with TELEFUNKEN reliability in an affordable package. Whether it’s the home studio or a commercial facility, the Alchemy Series is suited for any recording environment.'),(11619,85,0,1937,'Telefunken TF29 Copperhead Large-Diaphragm Tube Condenser Microphone'),(11620,85,1,1937,'Telefunken TF29 Copperhead Large-Diaphragm Tube Condenser Microphone'),(11621,76,0,1937,''),(11622,76,1,1937,''),(11623,75,0,1938,'<h1>Telefunken TF39 Copperhead Deluxe Large-Diaphragm Tube Condenser Microphone</h1>\n<i>A large diaphragm multi-pattern microphone that combines vintage Telefunken microphone elements with modern fidelity and reliability.</i><br /><br />\n\nThe TELEFUNKEN TF39 Copperhead Deluxe is an expansion of the “Copperhead” sound with the addition of a dual membrane K67-style capsule, allowing for 3-pattern selection between cardioid, omnidirectional, and figure-8. This added feature set gives the TF39 greater flexibility and options in the studio. Sonically and component-wise, the two microphones are otherwise the same.\n<br /><br />\n	The TF39 features a new old stock American-made 5654W vacuum tube, all-brass K67-style capsule, and a premium Swedish-made Lundahl output transformer. These components create a balanced frequency response and natural tonality, making the TF39 a trusty go-to choice.\n<br /><br />\n<h3><span style=\"background-color: initial;\">TF39 Key Features</span></h3>\n<ul style=\"\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Designed and assembled by hand in the USA</span></li><li><span style=\"background-color: initial; letter-spacing: 0px;\">Selectable Polar Pattern: Omni, Cardioid and Figure-8</span></li><li>Pleasant, natural mid range</li><li>Extended low frequency response</li><li>Stand out antique copper finish</li><li>Premium EU-made Lundahl transformer</li>\n</ul>\n<br />\n<h3><span style=\"background-color: initial;\">TF39 Applications</span></h3>\n<ul style=\"\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Natural vocals, bluegrass, folk, and Americana styles</span></li>\n	<li>Electric guitar</li>\n	<li>Drums: Kick Out, Overheads, & Room</li>\n	<li>Saxophone</li>\n	<li>Upright piano</li>\n	<li>Banjo</li>\n</ul>\n<br />\n<h3>Accessories</h3>\n	Every TF39 Copperhead Deluxe microphone system comes with a multi pattern M 903 Power Supply, M 803 Tube Microphone Cable, ZC03 Shell Case, M 703 Shock Mount, M 782 Stand Mount, and Microphone Sleeve.<br /><br />\n<h3>Telefunken Alchemy Series</h3>\n	Designed, hand-built, and tested to strict quality standards in Connecticut, USA, the Alchemy Series is TELEFUNKEN Elektroakustik’s next generation of large diaphragm tube condensers. These new microphone models feature unique sonic profiles developed from the ground up. The bold voicings of the new Alchemy Series are the TF29, TF39, TF47, and TF51.\n<br /><br />\nFuture classics, not clones. With the combination of vintage microphone elements and modern fidelity and reliability, the Alchemy Series delivers microphones each with a distinctively original sonic fingerprint. The Alchemy Series is an evolution and refinement to past models in the R-F-T Series (CU-29 Copperhead, AR-51, and AK-47 MkII), benefitting from over a decade of in-house microphone design and production.\n<br /><br />\nProfessional designs, superior functionality. TELEFUNKEN Elektroakustik has implemented numerous improvements sonically and mechanically to the Alchemy Series, tailored all the way down to the accessories. Boasting newly designed custom headgrilles for transparency and openness, hand-plugged circuit boards, and selected American and European vacuum tubes and transformers, no detail was left unaddressed. All systems ship in a sleek, compact, protective case for easy transport and storage. Included are two modern mount options, microphone dust cover, high-flex 7-meter cable, and an American-assembled power supply.\n<br /><br />\nReal trusted quality, built to last. Like all TELEFUNKEN microphones, the Alchemy Series is assembled in the same American facility as the legendary Diamond Series (ELA M 251E, C12 and U47) by a small, dedicated team of engineers and technicians. Each microphone is individually tested and listened to. All critical components are quality controlled in-house before assembly, including capsule frequency sweeps, vacuum tube burn-in and noise grading. These high standards lead to extremely tight tolerances from microphone to microphone - something few in the industry can claim.\n<br /><br />\nThe ideal choice for discerning engineers, musicians, and producers. The Alchemy Series combines timeless sound quality with TELEFUNKEN reliability in an affordable package. Whether it’s the home studio or a commercial facility, the Alchemy Series is suited for any recording environment.'),(11624,75,1,1938,'<h1>Telefunken TF39 Copperhead Deluxe Large-Diaphragm Tube Condenser Microphone</h1>\n<i>A large diaphragm multi-pattern microphone that combines vintage Telefunken microphone elements with modern fidelity and reliability.</i><br /><br />\n\nThe TELEFUNKEN TF39 Copperhead Deluxe is an expansion of the “Copperhead” sound with the addition of a dual membrane K67-style capsule, allowing for 3-pattern selection between cardioid, omnidirectional, and figure-8. This added feature set gives the TF39 greater flexibility and options in the studio. Sonically and component-wise, the two microphones are otherwise the same.\n<br /><br />\n	The TF39 features a new old stock American-made 5654W vacuum tube, all-brass K67-style capsule, and a premium Swedish-made Lundahl output transformer. These components create a balanced frequency response and natural tonality, making the TF39 a trusty go-to choice.\n<br /><br />\n<h3><span style=\"background-color: initial;\">TF39 Key Features</span></h3>\n<ul style=\"\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Designed and assembled by hand in the USA</span></li><li><span style=\"background-color: initial; letter-spacing: 0px;\">Selectable Polar Pattern: Omni, Cardioid and Figure-8</span></li><li>Pleasant, natural mid range</li><li>Extended low frequency response</li><li>Stand out antique copper finish</li><li>Premium EU-made Lundahl transformer</li>\n</ul>\n<br />\n<h3><span style=\"background-color: initial;\">TF39 Applications</span></h3>\n<ul style=\"\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Natural vocals, bluegrass, folk, and Americana styles</span></li>\n	<li>Electric guitar</li>\n	<li>Drums: Kick Out, Overheads, & Room</li>\n	<li>Saxophone</li>\n	<li>Upright piano</li>\n	<li>Banjo</li>\n</ul>\n<br />\n<h3>Accessories</h3>\n	Every TF39 Copperhead Deluxe microphone system comes with a multi pattern M 903 Power Supply, M 803 Tube Microphone Cable, ZC03 Shell Case, M 703 Shock Mount, M 782 Stand Mount, and Microphone Sleeve.<br /><br />\n<h3>Telefunken Alchemy Series</h3>\n	Designed, hand-built, and tested to strict quality standards in Connecticut, USA, the Alchemy Series is TELEFUNKEN Elektroakustik’s next generation of large diaphragm tube condensers. These new microphone models feature unique sonic profiles developed from the ground up. The bold voicings of the new Alchemy Series are the TF29, TF39, TF47, and TF51.\n<br /><br />\nFuture classics, not clones. With the combination of vintage microphone elements and modern fidelity and reliability, the Alchemy Series delivers microphones each with a distinctively original sonic fingerprint. The Alchemy Series is an evolution and refinement to past models in the R-F-T Series (CU-29 Copperhead, AR-51, and AK-47 MkII), benefitting from over a decade of in-house microphone design and production.\n<br /><br />\nProfessional designs, superior functionality. TELEFUNKEN Elektroakustik has implemented numerous improvements sonically and mechanically to the Alchemy Series, tailored all the way down to the accessories. Boasting newly designed custom headgrilles for transparency and openness, hand-plugged circuit boards, and selected American and European vacuum tubes and transformers, no detail was left unaddressed. All systems ship in a sleek, compact, protective case for easy transport and storage. Included are two modern mount options, microphone dust cover, high-flex 7-meter cable, and an American-assembled power supply.\n<br /><br />\nReal trusted quality, built to last. Like all TELEFUNKEN microphones, the Alchemy Series is assembled in the same American facility as the legendary Diamond Series (ELA M 251E, C12 and U47) by a small, dedicated team of engineers and technicians. Each microphone is individually tested and listened to. All critical components are quality controlled in-house before assembly, including capsule frequency sweeps, vacuum tube burn-in and noise grading. These high standards lead to extremely tight tolerances from microphone to microphone - something few in the industry can claim.\n<br /><br />\nThe ideal choice for discerning engineers, musicians, and producers. The Alchemy Series combines timeless sound quality with TELEFUNKEN reliability in an affordable package. Whether it’s the home studio or a commercial facility, the Alchemy Series is suited for any recording environment.'),(11625,85,0,1938,'Telefunken TF39 Copperhead Deluxe Condenser Microphone'),(11626,85,1,1938,'Telefunken TF39 Copperhead Deluxe Condenser Microphone'),(11627,76,0,1938,''),(11628,76,1,1938,''),(11629,75,0,1939,'<h1>Telefunken TF47 Large-Diaphragm Condenser Microphone</h1>\n<i>A large diaphragm multi-pattern condenser microphone inspired by the vintage \"German\" sound of the U47 and M49 while adding modern fidelity and reliability.</i><br /><br />\n\nThe Telefunken TF47 Large-Diaphragm Condenser Mic is a new design based on the vintage “German” sound, and drawing inspiration from the historic U47 and M49. With a deep low end and a forward midrange, the TF47 is excellent for adding depth and presence to any source. These characteristics make it especially ideal for recording vocals, guitar amps, and drums.<br /><br />\n	At the heart of the TF47 is an all-brass K47-style capsule, new old stock 5840W vacuum tube, and custom-made historically accurate BV8 transformer (as found in the U47). These components deliver a warm and punchy sound reminiscent of the U47 with a pleasant top end articulation that sits perfect in a mix.<br /><br />\n<h3><span style=\"background-color: initial;\">TF47 Key Features</span></h3>\n<ul style=\"\">\n	<li><span style=\"background-color: initial;\">Forward mid-range, reminiscent of the U47</span></li><li>Smooth and detailed top end</li><li>Full and round low end</li><li>Hand assembled in the USA</li><li>K47-style capsule and BV8 transformer, similar to the U47</li>\n</ul>\n<br />\n<h3><span style=\"background-color: initial;\">TF47 Applications</span></h3>\n<ul style=\"\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">R&B, rap or aggressive vocals, female soul vocals</span></li><li>Upright bass</li><li>Toms and kick out</li><li>Trombone</li><li>Cello</li><li>Percussion</li>\n</ul>\n<br />\n<h3>Accessories</h3>\n	Every TF47 microphone system comes with a multi pattern M 903 Power Supply, M 803 Tube Microphone Cable, ZC03 Shell Case, M 703 Shock Mount, M 782 Stand Mount, and Microphone Sleeve.<br /><br />\n<h3>Telefunken Alchemy Series</h3>\n	Designed, hand-built, and tested to strict quality standards in Connecticut, USA, the Alchemy Series is TELEFUNKEN Elektroakustik’s next generation of large diaphragm tube condensers. These new microphone models feature unique sonic profiles developed from the ground up. The bold voicings of the new Alchemy Series are the TF29, TF39, TF47, and TF51.\n<br /><br />\nFuture classics, not clones. With the combination of vintage microphone elements and modern fidelity and reliability, the Alchemy Series delivers microphones each with a distinctively original sonic fingerprint. The Alchemy Series is an evolution and refinement to past models in the R-F-T Series (CU-29 Copperhead, AR-51, and AK-47 MkII), benefitting from over a decade of in-house microphone design and production.\n<br /><br />\nProfessional designs, superior functionality. TELEFUNKEN Elektroakustik has implemented numerous improvements sonically and mechanically to the Alchemy Series, tailored all the way down to the accessories. Boasting newly designed custom headgrilles for transparency and openness, hand-plugged circuit boards, and selected American and European vacuum tubes and transformers, no detail was left unaddressed. All systems ship in a sleek, compact, protective case for easy transport and storage. Included are two modern mount options, microphone dust cover, high-flex 7-meter cable, and an American-assembled power supply.\n<br /><br />\nReal trusted quality, built to last. Like all TELEFUNKEN microphones, the Alchemy Series is assembled in the same American facility as the legendary Diamond Series (ELA M 251E, C12 and U47) by a small, dedicated team of engineers and technicians. Each microphone is individually tested and listened to. All critical components are quality controlled in-house before assembly, including capsule frequency sweeps, vacuum tube burn-in and noise grading. These high standards lead to extremely tight tolerances from microphone to microphone - something few in the industry can claim.\n<br /><br />\nThe ideal choice for discerning engineers, musicians, and producers. The Alchemy Series combines timeless sound quality with TELEFUNKEN reliability in an affordable package. Whether it’s the home studio or a commercial facility, the Alchemy Series is suited for any recording environment.'),