(10430,75,1,1739,'<h1>SoundField DSF-1 Digital Performance Microphone System</h1>\n<span style=\"font-size:16px; font-style:italic;\">The DSF-1 is a digital surround microphone system aimed at the discerning concert venue broadcast and recording markets, ideal for capturing classical performances in both stereo and high-quality surround. </span><br /><br /><div><div><div>The DSF-1 is a digital surround microphone system aimed at the discerning concert venue broadcast and recording markets, ideal for capturing classical performances in both stereo and high-quality surround</div></div></div><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">DSF-1 features</h3><ul style=\"margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; border-width: initial; border-color: initial; \"><li><span style=\"background-color: initial;\">Gain indicator LEDs (up to 40dB) in 3dB steps</span></li><li>Switchable fixed threshold Limiter to prevent ‘digital overload’</li><li>End Fire – maintains correct 3D perspective in surround and stereo when mic is horizontal</li><li>Invert – maintains correct 3D perspective in surround and stereo when mic is suspended upside down</li><li>Switchable 26 segment B-Format / Stereo bargraphs 0 to -37.5dBfs range</li><li>Rotate – offers 360° mic rotation with switchable Coarse  (10° steps) and Fine (1° steps) mode</li><li>Switchable 40Hz or 80Hz Hi-pass filter with status LED</li><li>Mid/Side – switches stereo outputs from Left/Right to M/S</li><li>Variable Polar Pattern and Angle (width) for stereo output</li><li>Sample rate selector: 44.1K, 48K, 88.2K, 96K, 176.4K, 192K and External Clock</li><li>Stereo headphone monitoring section with level control</li><li>Power/Status LED</li></ul>'),(10431,85,0,1739,'SoundField DSF-1 Digital Performance Microphone System'),(10432,85,1,1739,'SoundField DSF-1 Digital Performance Microphone System'),(10433,76,0,1739,''),(10434,76,1,1739,''),(10435,75,0,1740,'<h1>SoundField DSF-2 Microphone System</h1>\n<span style=\"font-size:16px; font-style:italic;\">The DSF-2 microphone system provides simultaneous digital surround and stereo soundscapes at large scale live outside broadcast events such as sports stadiums and concert hall venues. </span><br /><br /><div><div><div><div>Uniquely, the multi-channel audio that the DSF-2 microphone system generates from a ‘single point’ source is completely phase coherent. This enables the broadcaster to collapse the surround to stereo or mono for TV and radio feeds without loss of information, frequency imbalance or any of the other phase problems associated with spaced microphones or multi capsule ‘dummy head’ arrangements.</div><div>The DSF-2 controller outputs stereo, M/S, and four-channel B-Format which can be decoded into any current surround format using the hardware DSF-3 or Surround Zone software plug-in. All microphone parameters can be adjusted from the DSF-2 controller without the need to physically move the mic itself, including orientation, angle, pickup pattern and a unique Mic Rotate control.</div></div></div></div><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">DSF-2 features</h3><ul style=\"margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; border-width: initial; border-color: initial; \"><li><span style=\"background-color: initial;\">Mic gain control</span></li><li>Analogue Limiter to catch crowd ‘peaks’ without harsh digital clipping</li><li>26 segment LED metering of B-Format, or stereo and M/S</li><li>Stereo Controls: variable polar pattern, stereo width and Hi-pass filter</li><li>Headphone jack for monitoring</li><li>Capable of driving a mic cable of up to 250m in length</li><li>Connection to coaxial cables of up to 1km long (digital o/p)</li></ul>'),(10436,75,1,1740,'<h1>SoundField DSF-2 Microphone System</h1>\n<span style=\"font-size:16px; font-style:italic;\">The DSF-2 microphone system provides simultaneous digital surround and stereo soundscapes at large scale live outside broadcast events such as sports stadiums and concert hall venues. </span><br /><br /><div><div><div><div>Uniquely, the multi-channel audio that the DSF-2 microphone system generates from a ‘single point’ source is completely phase coherent. This enables the broadcaster to collapse the surround to stereo or mono for TV and radio feeds without loss of information, frequency imbalance or any of the other phase problems associated with spaced microphones or multi capsule ‘dummy head’ arrangements.</div><div>The DSF-2 controller outputs stereo, M/S, and four-channel B-Format which can be decoded into any current surround format using the hardware DSF-3 or Surround Zone software plug-in. All microphone parameters can be adjusted from the DSF-2 controller without the need to physically move the mic itself, including orientation, angle, pickup pattern and a unique Mic Rotate control.</div></div></div></div><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">DSF-2 features</h3><ul style=\"margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; border-width: initial; border-color: initial; \"><li><span style=\"background-color: initial;\">Mic gain control</span></li><li>Analogue Limiter to catch crowd ‘peaks’ without harsh digital clipping</li><li>26 segment LED metering of B-Format, or stereo and M/S</li><li>Stereo Controls: variable polar pattern, stereo width and Hi-pass filter</li><li>Headphone jack for monitoring</li><li>Capable of driving a mic cable of up to 250m in length</li><li>Connection to coaxial cables of up to 1km long (digital o/p)</li></ul>'),(10437,85,0,1740,'SoundField DSF-2 Microphone System'),(10438,85,1,1740,'SoundField DSF-2 Microphone System'),(10439,76,0,1740,''),(10440,76,1,1740,''),(10441,75,0,1741,'<h1>SoundField DSF-B Digital Broadcast Package</h1>\n<span style=\"font-size:16px; font-style:italic;\">Representing the latest generation of SoundField technology, the DSF-B Digital Broadcast package </span><br /><br /><div><div>The system provides simultaneous digital surround and stereo soundscapes at large scale live outside broadcast events such as sports stadiums and concert hall venues.</div><div>Uniquely, the multi-channel audio that the DSF-2 microphone system generates from a ‘single point’ source is completely phase coherent. This enables the broadcaster to collapse the surround to stereo or mono for TV and radio feeds without loss of information, frequency imbalance or any of the other phase problems associated with spaced microphones or multi capsule ‘dummy head’ arrangements.</div></div><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">DSF-2 Controller features</h3><div>The DSF-2 controller outputs stereo, M/S, and four-channel B-Format which can be decoded into any current surround format using the hardware DSF-3 or Surround Zone software plug-in. All microphone parameters can be adjusted from the DSF-2 controller without the need to physically move the mic itself, including orientation, angle, pickup pattern and a unique Mic Rotate control.</div><ul style=\"margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; border-width: initial; border-color: initial; \"><li>Mic gain control</li><li>Analogue Limiter to catch crowd ‘peaks’ without harsh digital clipping</li><li>26 segment LED metering of B-Format, or stereo and M/S</li><li>Stereo Controls: variable polar pattern, stereo width and Hi-pass fi lter</li><li>Headphone jack for monitoring</li><li>Capable of driving a mic cable of up to 250m in length</li><li>Connection to coaxial cables of up to 1km long (digital o/p)</li></ul><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">Surround </h3>The DSF-3 is a digital surround processor designed to decode the digital SoundField B-Format signals generated by the DSF-2 systems simultaneously into digital 5.1 surround sound and stereo at any incoming sample rate. Offers a fully digital surround sound production chain when used with DSF-2 system.<br /><br /><ul style=\"margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; \"><li>Five segment SoundField B-Format LED input level meters</li><li>Switchable End Fire and Invert mic orientation</li><li>Individual Left, Right, Centre, LFE, Left Surround, Right Surround, output level controls</li><li>5.1 parameters – Rotate, Front Width, Rear Width, Focus, Polar Patterns</li><li>Simultaneous surround/stereo outputs on broadcast standard AES3 BNC connectors</li><li>Word clock in/out 14. Optical ADAT 5.1 surround/stereo output</li></ul>'),(10442,75,1,1741,'<h1>SoundField DSF-B Digital Broadcast Package</h1>\n<span style=\"font-size:16px; font-style:italic;\">Representing the latest generation of SoundField technology, the DSF-B Digital Broadcast package </span><br /><br /><div><div>The system provides simultaneous digital surround and stereo soundscapes at large scale live outside broadcast events such as sports stadiums and concert hall venues.</div><div>Uniquely, the multi-channel audio that the DSF-2 microphone system generates from a ‘single point’ source is completely phase coherent. This enables the broadcaster to collapse the surround to stereo or mono for TV and radio feeds without loss of information, frequency imbalance or any of the other phase problems associated with spaced microphones or multi capsule ‘dummy head’ arrangements.</div></div><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">DSF-2 Controller features</h3><div>The DSF-2 controller outputs stereo, M/S, and four-channel B-Format which can be decoded into any current surround format using the hardware DSF-3 or Surround Zone software plug-in. All microphone parameters can be adjusted from the DSF-2 controller without the need to physically move the mic itself, including orientation, angle, pickup pattern and a unique Mic Rotate control.</div><ul style=\"margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; border-width: initial; border-color: initial; \"><li>Mic gain control</li><li>Analogue Limiter to catch crowd ‘peaks’ without harsh digital clipping</li><li>26 segment LED metering of B-Format, or stereo and M/S</li><li>Stereo Controls: variable polar pattern, stereo width and Hi-pass fi lter</li><li>Headphone jack for monitoring</li><li>Capable of driving a mic cable of up to 250m in length</li><li>Connection to coaxial cables of up to 1km long (digital o/p)</li></ul><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">Surround </h3>The DSF-3 is a digital surround processor designed to decode the digital SoundField B-Format signals generated by the DSF-2 systems simultaneously into digital 5.1 surround sound and stereo at any incoming sample rate. Offers a fully digital surround sound production chain when used with DSF-2 system.<br /><br /><ul style=\"margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; \"><li>Five segment SoundField B-Format LED input level meters</li><li>Switchable End Fire and Invert mic orientation</li><li>Individual Left, Right, Centre, LFE, Left Surround, Right Surround, output level controls</li><li>5.1 parameters – Rotate, Front Width, Rear Width, Focus, Polar Patterns</li><li>Simultaneous surround/stereo outputs on broadcast standard AES3 BNC connectors</li><li>Word clock in/out 14. Optical ADAT 5.1 surround/stereo output</li></ul>'),(10443,85,0,1741,'SoundField DSF-B Digital Broadcast Package'),(10444,85,1,1741,'SoundField DSF-B Digital Broadcast Package'),(10445,76,0,1741,''),(10446,76,1,1741,''),(10447,75,0,1742,'<h1>SoundField SPS200/K1 Software Controlled Microphone</h1>\n<span style=\"font-size:16px; font-style:italic;\">Software Controlled Microphone System - Comprising SPS200 microphone, NN4001 5 metre cable, MSA-200 Mic Holder, \'SPS200\' Surround Zone software and PFC200 Professional Carry Case</span><br /><br /><div>The SPS200 Software Controlled Microphone brings the advantages of SoundField Technology to a wider audience and provides the perfect ‘front end’ to capture both stereo and 5.1 surround.</div><div>The SPS200 Software Controlled Microphone uses the same established SoundField multi-capsule technology as the high-end models in the SoundField range. This relatively lightweight microphone (approximately 220 grams) is powered by standard 48v phantom power and incorporates four low noise, studio grade condenser capsules. A short break-out cable outputs the four signals generated by the SPS200 at mic level on four balanced XLRs, ensuring compatibility with all equipment.</div><div>The SPS200 Software Controlled Microphone is the first SoundField microphone that does not require an accompanying control unit. All the processing – such as stereo and surround sound decoding & manipulation – takes place in the Surround Zone software which is included with the SPS200.</div><div>The software is currently available for Pro-Tools    HD and all platforms supporting VST-Multichannel such as Nuendo, Cubase, Soundscape, etc. on both PC and MAC platforms.<br /></div><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">Surround Zone Software Features</h3><ul style=\"font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; border-width: initial; border-color: initial; background-position: initial initial; background-repeat: initial initial; \"><li>Rotate: Allows for full 360° rotation</li><li>Tilt: Provides ±45° tilt</li><li>Zoom: Gives effect of zooming in or further away from sound source</li><li>End Fire: Re-orientates mic for end fire use as opposed to standard ‘side address’</li><li>Invert: maintains correct three-dimensional perspective in both surround and stereo when microphone is suspended upside down above the sound source</li></ul><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">Surround </h3><ul style=\"margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; \"><li>Option of six different surround modes: three 5.1 pre-sets, a 6.1 , a 7.1 and an 8-channel pre-set</li><li>Variable front and rear width</li><li>Variable rear polar patterns</li></ul>\n<h3>Stereo</h3><ul>\n	<li>Variable polar patterns</li><li>Variable stereo width</li><li>Variable high pass filter</li><li>Mid/Side encoder</li>\n</ul>\n<br />'),(10448,75,1,1742,'<h1>SoundField SPS200/K1 Software Controlled Microphone</h1>\n<span style=\"font-size:16px; font-style:italic;\">Software Controlled Microphone System - Comprising SPS200 microphone, NN4001 5 metre cable, MSA-200 Mic Holder, \'SPS200\' Surround Zone software and PFC200 Professional Carry Case</span><br /><br /><div>The SPS200 Software Controlled Microphone brings the advantages of SoundField Technology to a wider audience and provides the perfect ‘front end’ to capture both stereo and 5.1 surround.</div><div>The SPS200 Software Controlled Microphone uses the same established SoundField multi-capsule technology as the high-end models in the SoundField range. This relatively lightweight microphone (approximately 220 grams) is powered by standard 48v phantom power and incorporates four low noise, studio grade condenser capsules. A short break-out cable outputs the four signals generated by the SPS200 at mic level on four balanced XLRs, ensuring compatibility with all equipment.</div><div>The SPS200 Software Controlled Microphone is the first SoundField microphone that does not require an accompanying control unit. All the processing – such as stereo and surround sound decoding & manipulation – takes place in the Surround Zone software which is included with the SPS200.</div><div>The software is currently available for Pro-Tools    HD and all platforms supporting VST-Multichannel such as Nuendo, Cubase, Soundscape, etc. on both PC and MAC platforms.<br /></div><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">Surround Zone Software Features</h3><ul style=\"font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; border-width: initial; border-color: initial; background-position: initial initial; background-repeat: initial initial; \"><li>Rotate: Allows for full 360° rotation</li><li>Tilt: Provides ±45° tilt</li><li>Zoom: Gives effect of zooming in or further away from sound source</li><li>End Fire: Re-orientates mic for end fire use as opposed to standard ‘side address’</li><li>Invert: maintains correct three-dimensional perspective in both surround and stereo when microphone is suspended upside down above the sound source</li></ul><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">Surround </h3><ul style=\"margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; \"><li>Option of six different surround modes: three 5.1 pre-sets, a 6.1 , a 7.1 and an 8-channel pre-set</li><li>Variable front and rear width</li><li>Variable rear polar patterns</li></ul>\n<h3>Stereo</h3><ul>\n	<li>Variable polar patterns</li><li>Variable stereo width</li><li>Variable high pass filter</li><li>Mid/Side encoder</li>\n</ul>\n<br />'),(10449,85,0,1742,'SoundField SPS200/K1 Software Controlled Microphone'),(10450,85,1,1742,'SoundField SPS200/K1 Software Controlled Microphone'),(10451,76,0,1742,''),(10452,76,1,1742,''),(10453,75,0,1743,'<h1>SoundField SPS200/K2 Software Controlled Microphone</h1>\n<font class=\"Apple-style-span\" size=\"3\"><i>Software Controlled Microphone System - Comprising SPS200 microphone, NN4001 5 metre cable, MSA-200 Mic Holder, \'SPS200\' Surround Zone software and compact PFC201 Pelicase + SPS200 Rycote Windshield Kit<br /></i></font><br /><div>The SPS200 Software Controlled Microphone brings the advantages of SoundField Technology to a wider audience and provides the perfect ‘front end’ to capture both stereo and 5.1 surround.</div><div>The SPS200 Software Controlled Microphone uses the same established SoundField multi-capsule technology as the high-end models in the SoundField range. This relatively lightweight microphone (approximately 220 grams) is powered by standard 48v phantom power and incorporates four low noise, studio grade condenser capsules. A short break-out cable outputs the four signals generated by the SPS200 at mic level on four balanced XLRs, ensuring compatibility with all equipment.</div><div>The SPS200 Software Controlled Microphone is the first SoundField microphone that does not require an accompanying control unit. All the processing – such as stereo and surround sound decoding & manipulation – takes place in the Surround Zone software which is included with the SPS200.</div><div>The software is currently available for Pro-Tools    HD and all platforms supporting VST-Multichannel such as Nuendo, Cubase, Soundscape, etc. on both PC and MAC platforms.<br /></div><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">Surround Zone Software Features</h3><ul style=\"font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; border-width: initial; border-color: initial; background-position: initial initial; background-repeat: initial initial; \"><li>Rotate: Allows for full 360° rotation</li><li>Tilt: Provides ±45° tilt</li><li>Zoom: Gives effect of zooming in or further away from sound source</li><li>End Fire: Re-orientates mic for end fire use as opposed to standard ‘side address’</li><li>Invert: maintains correct three-dimensional perspective in both surround and stereo when microphone is suspended upside down above the sound source</li></ul><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">Surround </h3><ul style=\"margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; \"><li><span style=\"background-color: initial; letter-spacing: 0px;\">Option of six different surround modes: three 5.1 pre-sets, a 6.1 , a 7.1 and an 8-channel pre-set</span></li><li>Variable front and rear width</li><li>Variable rear polar patterns</li></ul>\n<h3>Stereo</h3><ul>\n	<li></li><li>Variable polar patterns</li><li>Variable stereo width</li><li>Variable high pass filter</li><li>Mid/Side encoder</li>\n</ul>\n<br />'),(10454,75,1,1743,'<h1>SoundField SPS200/K2 Software Controlled Microphone</h1>\n<font class=\"Apple-style-span\" size=\"3\"><i>Software Controlled Microphone System - Comprising SPS200 microphone, NN4001 5 metre cable, MSA-200 Mic Holder, \'SPS200\' Surround Zone software and compact PFC201 Pelicase + SPS200 Rycote Windshield Kit<br /></i></font><br /><div>The SPS200 Software Controlled Microphone brings the advantages of SoundField Technology to a wider audience and provides the perfect ‘front end’ to capture both stereo and 5.1 surround.</div><div>The SPS200 Software Controlled Microphone uses the same established SoundField multi-capsule technology as the high-end models in the SoundField range. This relatively lightweight microphone (approximately 220 grams) is powered by standard 48v phantom power and incorporates four low noise, studio grade condenser capsules. A short break-out cable outputs the four signals generated by the SPS200 at mic level on four balanced XLRs, ensuring compatibility with all equipment.</div><div>The SPS200 Software Controlled Microphone is the first SoundField microphone that does not require an accompanying control unit. All the processing – such as stereo and surround sound decoding & manipulation – takes place in the Surround Zone software which is included with the SPS200.</div><div>The software is currently available for Pro-Tools    HD and all platforms supporting VST-Multichannel such as Nuendo, Cubase, Soundscape, etc. on both PC and MAC platforms.<br /></div><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">Surround Zone Software Features</h3><ul style=\"font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; border-width: initial; border-color: initial; background-position: initial initial; background-repeat: initial initial; \"><li>Rotate: Allows for full 360° rotation</li><li>Tilt: Provides ±45° tilt</li><li>Zoom: Gives effect of zooming in or further away from sound source</li><li>End Fire: Re-orientates mic for end fire use as opposed to standard ‘side address’</li><li>Invert: maintains correct three-dimensional perspective in both surround and stereo when microphone is suspended upside down above the sound source</li></ul><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">Surround </h3><ul style=\"margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; \"><li><span style=\"background-color: initial; letter-spacing: 0px;\">Option of six different surround modes: three 5.1 pre-sets, a 6.1 , a 7.1 and an 8-channel pre-set</span></li><li>Variable front and rear width</li><li>Variable rear polar patterns</li></ul>\n<h3>Stereo</h3><ul>\n	<li></li><li>Variable polar patterns</li><li>Variable stereo width</li><li>Variable high pass filter</li><li>Mid/Side encoder</li>\n</ul>\n<br />'),(10455,85,0,1743,'SoundField SPS200/K2 Software Controlled Microphone'),(10456,85,1,1743,'SoundField SPS200/K2 Software Controlled Microphone'),(10457,76,0,1743,''),(10458,76,1,1743,''),(10459,75,0,1744,'<h1>SoundField SPS200/K3 Software Controlled Microphone</h1>\n<font class=\"Apple-style-span\" size=\"3\"><i>Software Controlled Microphone System - Comprising SPS200 microphone, NN4001 5 metre cable, MSA-200 Mic Holder, \'SPS200\' Surround Zone software and compact PFC201 Pelicase + SPS200 Rycote Windshield Kit<br /></i></font><br /><div>The SPS200 Software Controlled Microphone brings the advantages of SoundField Technology to a wider audience and provides the perfect ‘front end’ to capture both stereo and 5.1 surround.</div><div>The SPS200 Software Controlled Microphone uses the same established SoundField multi-capsule technology as the high-end models in the SoundField range. This relatively lightweight microphone (approximately 220 grams) is powered by standard 48v phantom power and incorporates four low noise, studio grade condenser capsules. A short break-out cable outputs the four signals generated by the SPS200 at mic level on four balanced XLRs, ensuring compatibility with all equipment.</div><div>The SPS200 Software Controlled Microphone is the first SoundField microphone that does not require an accompanying control unit. All the processing – such as stereo and surround sound decoding & manipulation – takes place in the Surround Zone software which is included with the SPS200.</div><div>The software is currently available for Pro-Tools    HD and all platforms supporting VST-Multichannel such as Nuendo, Cubase, Soundscape, etc. on both PC and MAC platforms.<br /></div><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">Surround Zone Software Features</h3><ul style=\"font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; border-width: initial; border-color: initial; background-position: initial initial; background-repeat: initial initial; \"><li>Rotate: Allows for full 360° rotation</li><li>Tilt: Provides ±45° tilt</li><li>Zoom: Gives effect of zooming in or further away from sound source</li><li>End Fire: Re-orientates mic for end fire use as opposed to standard ‘side address’</li><li>Invert: maintains correct three-dimensional perspective in both surround and stereo when microphone is suspended upside down above the sound source</li></ul><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">Surround </h3><ul style=\"margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; \"><li>Option of six different surround modes: three 5.1 pre-sets, a 6.1 , a 7.1 and an 8-channel pre-set</li><li>Variable front and rear width</li><li>Variable rear polar patterns</li></ul>\n<h3>Stereo</h3><ul>\n	<li>Variable polar patterns</li><li>Variable stereo width</li><li>Variable high pass filter</li><li>Mid/Side encoder</li>\n</ul>\n<br />'),(10460,75,1,1744,'<h1>SoundField SPS200/K3 Software Controlled Microphone</h1>\n<font class=\"Apple-style-span\" size=\"3\"><i>Software Controlled Microphone System - Comprising SPS200 microphone, NN4001 5 metre cable, MSA-200 Mic Holder, \'SPS200\' Surround Zone software and compact PFC201 Pelicase + SPS200 Rycote Windshield Kit<br /></i></font><br /><div>The SPS200 Software Controlled Microphone brings the advantages of SoundField Technology to a wider audience and provides the perfect ‘front end’ to capture both stereo and 5.1 surround.</div><div>The SPS200 Software Controlled Microphone uses the same established SoundField multi-capsule technology as the high-end models in the SoundField range. This relatively lightweight microphone (approximately 220 grams) is powered by standard 48v phantom power and incorporates four low noise, studio grade condenser capsules. A short break-out cable outputs the four signals generated by the SPS200 at mic level on four balanced XLRs, ensuring compatibility with all equipment.</div><div>The SPS200 Software Controlled Microphone is the first SoundField microphone that does not require an accompanying control unit. All the processing – such as stereo and surround sound decoding & manipulation – takes place in the Surround Zone software which is included with the SPS200.</div><div>The software is currently available for Pro-Tools    HD and all platforms supporting VST-Multichannel such as Nuendo, Cubase, Soundscape, etc. on both PC and MAC platforms.<br /></div><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">Surround Zone Software Features</h3><ul style=\"font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; border-width: initial; border-color: initial; background-position: initial initial; background-repeat: initial initial; \"><li>Rotate: Allows for full 360° rotation</li><li>Tilt: Provides ±45° tilt</li><li>Zoom: Gives effect of zooming in or further away from sound source</li><li>End Fire: Re-orientates mic for end fire use as opposed to standard ‘side address’</li><li>Invert: maintains correct three-dimensional perspective in both surround and stereo when microphone is suspended upside down above the sound source</li></ul><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">Surround </h3><ul style=\"margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; \"><li>Option of six different surround modes: three 5.1 pre-sets, a 6.1 , a 7.1 and an 8-channel pre-set</li><li>Variable front and rear width</li><li>Variable rear polar patterns</li></ul>\n<h3>Stereo</h3><ul>\n	<li>Variable polar patterns</li><li>Variable stereo width</li><li>Variable high pass filter</li><li>Mid/Side encoder</li>\n</ul>\n<br />'),(10461,85,0,1744,'SoundField SPS200/K3 Software Controlled Microphone'),(10462,85,1,1744,'SoundField SPS200/K3 Software Controlled Microphone'),(10463,76,0,1744,''),(10464,76,1,1744,''),(10465,75,0,1745,'<h1>SoundField SPS200/K4 Software Controlled Microphone</h1>\n<span style=\"font-size:16px; font-style:italic;\">Software Controlled Microphone System - Comprising SPS200 microphone, NN4001 5 metre cable, MSA-200 Mic Holder, \'SPS200\' Surround Zone software and PFC200 Professional Carry Case</span><br /><br /><div>The SPS200 Software Controlled Microphone brings the advantages of SoundField Technology to a wider audience and provides the perfect ‘front end’ to capture both stereo and 5.1 surround.</div><div>The SPS200 Software Controlled Microphone uses the same established SoundField multi-capsule technology as the high-end models in the SoundField range. This relatively lightweight microphone (approximately 220 grams) is powered by standard 48v phantom power and incorporates four low noise, studio grade condenser capsules. A short break-out cable outputs the four signals generated by the SPS200 at mic level on four balanced XLRs, ensuring compatibility with all equipment.</div><div>The SPS200 Software Controlled Microphone is the first SoundField microphone that does not require an accompanying control unit. All the processing – such as stereo and surround sound decoding & manipulation – takes place in the Surround Zone software which is included with the SPS200.</div><div>The software is currently available for Pro-Tools    HD and all platforms supporting VST-Multichannel such as Nuendo, Cubase, Soundscape, etc. on both PC and MAC platforms.<br /></div><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">Surround Zone Software Features</h3><ul style=\"font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; border-width: initial; border-color: initial; background-position: initial initial; background-repeat: initial initial; \"><li>Rotate: Allows for full 360° rotation</li><li>Tilt: Provides ±45° tilt</li><li>Zoom: Gives effect of zooming in or further away from sound source</li><li>End Fire: Re-orientates mic for end fire use as opposed to standard ‘side address’</li><li>Invert: maintains correct three-dimensional perspective in both surround and stereo when microphone is suspended upside down above the sound source</li></ul><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">Surround </h3><ul style=\"margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; \"><li>Option of six different surround modes: three 5.1 pre-sets, a 6.1 , a 7.1 and an 8-channel pre-set</li><li>Variable front and rear width</li><li>Variable rear polar patterns</li></ul>\n<h3>Stereo</h3><ul>\n	<li>Variable polar patterns</li><li>Variable stereo width</li><li>Variable high pass filter</li><li>Mid/Side encoder</li>\n</ul>\n<br />'),(10466,75,1,1745,'<h1>SoundField SPS200/K4 Software Controlled Microphone</h1>\n<span style=\"font-size:16px; font-style:italic;\">Software Controlled Microphone System - Comprising SPS200 microphone, NN4001 5 metre cable, MSA-200 Mic Holder, \'SPS200\' Surround Zone software and PFC200 Professional Carry Case</span><br /><br /><div>The SPS200 Software Controlled Microphone brings the advantages of SoundField Technology to a wider audience and provides the perfect ‘front end’ to capture both stereo and 5.1 surround.</div><div>The SPS200 Software Controlled Microphone uses the same established SoundField multi-capsule technology as the high-end models in the SoundField range. This relatively lightweight microphone (approximately 220 grams) is powered by standard 48v phantom power and incorporates four low noise, studio grade condenser capsules. A short break-out cable outputs the four signals generated by the SPS200 at mic level on four balanced XLRs, ensuring compatibility with all equipment.</div><div>The SPS200 Software Controlled Microphone is the first SoundField microphone that does not require an accompanying control unit. All the processing – such as stereo and surround sound decoding & manipulation – takes place in the Surround Zone software which is included with the SPS200.</div><div>The software is currently available for Pro-Tools    HD and all platforms supporting VST-Multichannel such as Nuendo, Cubase, Soundscape, etc. on both PC and MAC platforms.<br /></div><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">Surround Zone Software Features</h3><ul style=\"font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; border-width: initial; border-color: initial; background-position: initial initial; background-repeat: initial initial; \"><li>Rotate: Allows for full 360° rotation</li><li>Tilt: Provides ±45° tilt</li><li>Zoom: Gives effect of zooming in or further away from sound source</li><li>End Fire: Re-orientates mic for end fire use as opposed to standard ‘side address’</li><li>Invert: maintains correct three-dimensional perspective in both surround and stereo when microphone is suspended upside down above the sound source</li></ul><h3 style=\"color: rgb(0, 0, 0); font-size: 24px !important; font-weight: bold; font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px !important; margin-right: 0px !important; margin-left: 0px; padding-top: 0px !important; padding-right: 0px !important; padding-bottom: 0px !important; padding-left: 0px !important; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; margin-bottom: 10px; line-height: 30px; background-position: initial initial; background-repeat: initial initial; \">Surround </h3><ul style=\"margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; \"><li>Option of six different surround modes: three 5.1 pre-sets, a 6.1 , a 7.1 and an 8-channel pre-set</li><li>Variable front and rear width</li><li>Variable rear polar patterns</li></ul>\n<h3>Stereo</h3><ul>\n	<li>Variable polar patterns</li><li>Variable stereo width</li><li>Variable high pass filter</li><li>Mid/Side encoder</li>\n</ul>\n<br />'),(10467,85,0,1745,'SoundField SPS200/K4 Software Controlled Microphone'),(10468,85,1,1745,'SoundField SPS200/K4 Software Controlled Microphone'),(10469,76,0,1745,''),(10470,76,1,1745,''),(10471,75,0,1746,'<h1>Soundfield ST450 MKII Portable Mic System</h1>\n<span style=\"font-size:16px; font-style:italic;\">The new portable, battery-powered ST450 microphone system is ideal for locationrecording film and TV sound specialists everywhere.</span><br /><br />\nThe updated portable, battery-powered ST450 MKII microphone system is aimed at location recording film and TV sound specialists everywhere, and builds on the success of SoundField’s previous ST250, ST350 and ST450 portable microphone systems.<br /><br />In line with SoundField tradition, the design of the ST450 MKII has benefited from a great deal of practical feedback gleaned from users of previous models. The updated ST450 MKII has a completely new microphone pre-amplifier design which offers finer 3dB gains steps and an increased overall gain of 42dB as well as a peak-hold feature for the bargraph.\n<br /><br />\nThe electronics in the ST450 have been completely redesigned, taking advantage of new, improved components, resulting in a superior noise performance. Also incorporated is a new approach to converting the information captured by its four-capsule array resulting in more accurate stereo and surround imaging. All inputs/outputs are located on one side of the control unit for easy access and connectivity to portable recorders in the field. Best of all for location use, the ruggedly designed ST450 mic weighs just 290 grammes, and may be used at a distance of up to 200 metres from its associated control unit – the weight of the control box is 580 grammes.<br /><br />\nLike its predecessors, the new ST450 MKII generates audio in any format including mono, stereo, M/S, 5.1 surround and beyond, without the need for more than one microphone and will generate both surround and stereo simultaneously. The microphone’s control unit includes a built-in front-panel headphone monitor, bar-graph metering, and the usual fine degree of control offered by SoundField over all microphone parameters.<br /><br />\n<h3>Soundfield ST450 K1 Includes</h3>\n<strong>ST450 MICROPHONE SYSTEM</strong>\n<ul>\n	<li>ST450 Microphone</li>\n	<li>ST450 Control Unit</li>\n	<li>HW3010 Shockmount</li>\n	<li>5 Metre 12 pin Lemo Mic Cable (Mic to Controller) </li>\n	<li>B-Format & Stereo Output Cables</li>\n	<li>External DC Power Supply</li>\n</ul>\n<br />\n<br />\n<h3>Soundfield Microphones</h3>\nA revolution in surround sound broadcasting and recording, SoundField microphones and accessories enrich the consumer-experience by bringing atmospheres of sporting events, concerts, documentary locations and film sets to life.\n<br /><br />\n<h3>SoundField’s unique B-Format</h3>\nSoundField Technology is based on the principle that all acoustic events can be represented by four basic elements. These are ‘X’ which is front/back information (depth), ‘Y’ which is left/right information (width), ‘Z’ which is up/down information (height) and ‘W’ the central point from which the other three elements are referenced. Collectively, W, X, Y and Z are entitled SoundField B-Format. Because the SoundField capsule array captures three dimensional sound at the same ‘central point’, all phase related anomalies created by spaced microphones are eliminated. Once in B-Format the point of acoustic origin is defined and all output variations i.e. mono, stereo, M/S, 5.1, 6.1 etc. are derived from this same ‘central point’. Thus, surround recordings made with SoundField microphones can be collapsed to stereo or mono – without the phase cancellation and high frequency differences encountered when ‘summing’ multiple spaced microphones.\n<br /><br />\n<h3>Optimum control</h3>\nA significant advantage that SoundField offers to engineers is that\nall microphone parameters are adjustable either in real-time or in post-production. These controls include microphone orientation – with controls such as Rotate, Tilt and Zoom – as well as output formats including Mono, Stereo and 5.1. This combination of controls allows the audio engineer to create the optimal microphone array right from the ideal listening position in the OB truck or the studio control room.\n<br /><br />\n<h3>‘Future-proof’ audio archiving</h3>\nIf the B-Format signal is recorded to a four-channel storage medium, the decoding can take place in post-production, allowing decisions about the eventual output format to be made when it’s actually required. This makes the B-Format an excellent ‘future-proof’ audio archiving format, as B-Format signals could easily be decoded into any future surround formats, including 3D audio.\n<br /><br />');
INSERT INTO `catalog_product_entity_text` VALUES (10472,75,1,1746,'<h1>Soundfield ST450 MKII Portable Mic System</h1>\n<span style=\"font-size:16px; font-style:italic;\">The new portable, battery-powered ST450 microphone system is ideal for locationrecording film and TV sound specialists everywhere.</span><br /><br />\nThe updated portable, battery-powered ST450 MKII microphone system is aimed at location recording film and TV sound specialists everywhere, and builds on the success of SoundField’s previous ST250, ST350 and ST450 portable microphone systems.<br /><br />In line with SoundField tradition, the design of the ST450 MKII has benefited from a great deal of practical feedback gleaned from users of previous models. The updated ST450 MKII has a completely new microphone pre-amplifier design which offers finer 3dB gains steps and an increased overall gain of 42dB as well as a peak-hold feature for the bargraph.\n<br /><br />\nThe electronics in the ST450 have been completely redesigned, taking advantage of new, improved components, resulting in a superior noise performance. Also incorporated is a new approach to converting the information captured by its four-capsule array resulting in more accurate stereo and surround imaging. All inputs/outputs are located on one side of the control unit for easy access and connectivity to portable recorders in the field. Best of all for location use, the ruggedly designed ST450 mic weighs just 290 grammes, and may be used at a distance of up to 200 metres from its associated control unit – the weight of the control box is 580 grammes.<br /><br />\nLike its predecessors, the new ST450 MKII generates audio in any format including mono, stereo, M/S, 5.1 surround and beyond, without the need for more than one microphone and will generate both surround and stereo simultaneously. The microphone’s control unit includes a built-in front-panel headphone monitor, bar-graph metering, and the usual fine degree of control offered by SoundField over all microphone parameters.<br /><br />\n<h3>Soundfield ST450 K1 Includes</h3>\n<strong>ST450 MICROPHONE SYSTEM</strong>\n<ul>\n	<li>ST450 Microphone</li>\n	<li>ST450 Control Unit</li>\n	<li>HW3010 Shockmount</li>\n	<li>5 Metre 12 pin Lemo Mic Cable (Mic to Controller) </li>\n	<li>B-Format & Stereo Output Cables</li>\n	<li>External DC Power Supply</li>\n</ul>\n<br />\n<br />\n<h3>Soundfield Microphones</h3>\nA revolution in surround sound broadcasting and recording, SoundField microphones and accessories enrich the consumer-experience by bringing atmospheres of sporting events, concerts, documentary locations and film sets to life.\n<br /><br />\n<h3>SoundField’s unique B-Format</h3>\nSoundField Technology is based on the principle that all acoustic events can be represented by four basic elements. These are ‘X’ which is front/back information (depth), ‘Y’ which is left/right information (width), ‘Z’ which is up/down information (height) and ‘W’ the central point from which the other three elements are referenced. Collectively, W, X, Y and Z are entitled SoundField B-Format. Because the SoundField capsule array captures three dimensional sound at the same ‘central point’, all phase related anomalies created by spaced microphones are eliminated. Once in B-Format the point of acoustic origin is defined and all output variations i.e. mono, stereo, M/S, 5.1, 6.1 etc. are derived from this same ‘central point’. Thus, surround recordings made with SoundField microphones can be collapsed to stereo or mono – without the phase cancellation and high frequency differences encountered when ‘summing’ multiple spaced microphones.\n<br /><br />\n<h3>Optimum control</h3>\nA significant advantage that SoundField offers to engineers is that\nall microphone parameters are adjustable either in real-time or in post-production. These controls include microphone orientation – with controls such as Rotate, Tilt and Zoom – as well as output formats including Mono, Stereo and 5.1. This combination of controls allows the audio engineer to create the optimal microphone array right from the ideal listening position in the OB truck or the studio control room.\n<br /><br />\n<h3>‘Future-proof’ audio archiving</h3>\nIf the B-Format signal is recorded to a four-channel storage medium, the decoding can take place in post-production, allowing decisions about the eventual output format to be made when it’s actually required. This makes the B-Format an excellent ‘future-proof’ audio archiving format, as B-Format signals could easily be decoded into any future surround formats, including 3D audio.\n<br /><br />'),(10473,85,0,1746,'Soundfield ST450 MKII Portable Mic System'),(10474,85,1,1746,'Soundfield ST450 MKII Portable Mic System'),(10475,76,0,1746,''),(10476,76,1,1746,''),(10477,75,0,1747,'<h1>Soundfield ST450 MKII Portable Mic System + Rycote Kit</h1>\n<span style=\"font-size:16px; font-style:italic;\">The new portable, battery-powered ST450 microphone system is ideal for locationrecording film and TV sound specialists everywhere.</span><br /><br />\nThe updated portable, battery-powered ST450 MKII microphone system is aimed at location recording film and TV sound specialists everywhere, and builds on the success of SoundField’s previous ST250, ST350 and ST450 portable microphone systems.<br /><br />In line with SoundField tradition, the design of the ST450 MKII has benefited from a great deal of practical feedback gleaned from users of previous models. The updated ST450 MKII has a completely new microphone pre-amplifier design which offers finer 3dB gains steps and an increased overall gain of 42dB as well as a peak-hold feature for the bargraph.\n<br /><br />\nThe electronics in the ST450 have been completely redesigned, taking advantage of new, improved components, resulting in a superior noise performance. Also incorporated is a new approach to converting the information captured by its four-capsule array resulting in more accurate stereo and surround imaging. All inputs/outputs are located on one side of the control unit for easy access and connectivity to portable recorders in the field. Best of all for location use, the ruggedly designed ST450 mic weighs just 290 grammes, and may be used at a distance of up to 200 metres from its associated control unit – the weight of the control box is 580 grammes.<br /><br />\nLike its predecessors, the new ST450 MKII generates audio in any format including mono, stereo, M/S, 5.1 surround and beyond, without the need for more than one microphone and will generate both surround and stereo simultaneously. The microphone’s control unit includes a built-in front-panel headphone monitor, bar-graph metering, and the usual fine degree of control offered by SoundField over all microphone parameters.<br /><br />\n<h3>Soundfield ST<span style=\"background-color: initial;\">450 K2 Includes</span></h3>\n<strong>ST450 MICROPHONE SYSTEM</strong>\n<ul>\n	<li>ST450 Microphone</li>\n	<li>ST450 Control Unit</li>\n	<li>HW3010 Shockmount</li>\n	<li>5 Metre 12 pin Lemo Mic Cable (Mic to Controller) </li>\n	<li>B-Format & Stereo Output Cables</li>\n	<li>External DC Power Supply</li>\n</ul>\n<br />\n<strong>COMPACT RYCOTE KIT</strong>\n<ul>\n<li>Pistol Grip with Suspension</li>\n<li>Mic Inner Cradle </li>\n<li>105mm diameter Windshield</li>\n<li>Rycote Windjammer </li>\n<li>Rycote Anti-vibration Mic cable</li></ul>\n<br />\n<h3>Soundfield Microphones</h3>\nA revolution in surround sound broadcasting and recording, SoundField microphones and accessories enrich the consumer-experience by bringing atmospheres of sporting events, concerts, documentary locations and film sets to life.\n<br /><br />\n<h3>SoundField’s unique B-Format</h3>\nSoundField Technology is based on the principle that all acoustic events can be represented by four basic elements. These are ‘X’ which is front/back information (depth), ‘Y’ which is left/right information (width), ‘Z’ which is up/down information (height) and ‘W’ the central point from which the other three elements are referenced. Collectively, W, X, Y and Z are entitled SoundField B-Format. Because the SoundField capsule array captures three dimensional sound at the same ‘central point’, all phase related anomalies created by spaced microphones are eliminated. Once in B-Format the point of acoustic origin is defined and all output variations i.e. mono, stereo, M/S, 5.1, 6.1 etc. are derived from this same ‘central point’. Thus, surround recordings made with SoundField microphones can be collapsed to stereo or mono – without the phase cancellation and high frequency differences encountered when ‘summing’ multiple spaced microphones.\n<br /><br />\n<h3>Optimum control</h3>\nA significant advantage that SoundField offers to engineers is that\nall microphone parameters are adjustable either in real-time or in post-production. These controls include microphone orientation – with controls such as Rotate, Tilt and Zoom – as well as output formats including Mono, Stereo and 5.1. This combination of controls allows the audio engineer to create the optimal microphone array right from the ideal listening position in the OB truck or the studio control room.\n<br /><br />\n<h3>‘Future-proof’ audio archiving</h3>\nIf the B-Format signal is recorded to a four-channel storage medium, the decoding can take place in post-production, allowing decisions about the eventual output format to be made when it’s actually required. This makes the B-Format an excellent ‘future-proof’ audio archiving format, as B-Format signals could easily be decoded into any future surround formats, including 3D audio.\n<br /><br />'),(10478,75,1,1747,'<h1>Soundfield ST450 MKII Portable Mic System + Rycote Kit</h1>\n<span style=\"font-size:16px; font-style:italic;\">The new portable, battery-powered ST450 microphone system is ideal for locationrecording film and TV sound specialists everywhere.</span><br /><br />\nThe updated portable, battery-powered ST450 MKII microphone system is aimed at location recording film and TV sound specialists everywhere, and builds on the success of SoundField’s previous ST250, ST350 and ST450 portable microphone systems.<br /><br />In line with SoundField tradition, the design of the ST450 MKII has benefited from a great deal of practical feedback gleaned from users of previous models. The updated ST450 MKII has a completely new microphone pre-amplifier design which offers finer 3dB gains steps and an increased overall gain of 42dB as well as a peak-hold feature for the bargraph.\n<br /><br />\nThe electronics in the ST450 have been completely redesigned, taking advantage of new, improved components, resulting in a superior noise performance. Also incorporated is a new approach to converting the information captured by its four-capsule array resulting in more accurate stereo and surround imaging. All inputs/outputs are located on one side of the control unit for easy access and connectivity to portable recorders in the field. Best of all for location use, the ruggedly designed ST450 mic weighs just 290 grammes, and may be used at a distance of up to 200 metres from its associated control unit – the weight of the control box is 580 grammes.<br /><br />\nLike its predecessors, the new ST450 MKII generates audio in any format including mono, stereo, M/S, 5.1 surround and beyond, without the need for more than one microphone and will generate both surround and stereo simultaneously. The microphone’s control unit includes a built-in front-panel headphone monitor, bar-graph metering, and the usual fine degree of control offered by SoundField over all microphone parameters.<br /><br />\n<h3>Soundfield ST<span style=\"background-color: initial;\">450 K2 Includes</span></h3>\n<strong>ST450 MICROPHONE SYSTEM</strong>\n<ul>\n	<li>ST450 Microphone</li>\n	<li>ST450 Control Unit</li>\n	<li>HW3010 Shockmount</li>\n	<li>5 Metre 12 pin Lemo Mic Cable (Mic to Controller) </li>\n	<li>B-Format & Stereo Output Cables</li>\n	<li>External DC Power Supply</li>\n</ul>\n<br />\n<strong>COMPACT RYCOTE KIT</strong>\n<ul>\n<li>Pistol Grip with Suspension</li>\n<li>Mic Inner Cradle </li>\n<li>105mm diameter Windshield</li>\n<li>Rycote Windjammer </li>\n<li>Rycote Anti-vibration Mic cable</li></ul>\n<br />\n<h3>Soundfield Microphones</h3>\nA revolution in surround sound broadcasting and recording, SoundField microphones and accessories enrich the consumer-experience by bringing atmospheres of sporting events, concerts, documentary locations and film sets to life.\n<br /><br />\n<h3>SoundField’s unique B-Format</h3>\nSoundField Technology is based on the principle that all acoustic events can be represented by four basic elements. These are ‘X’ which is front/back information (depth), ‘Y’ which is left/right information (width), ‘Z’ which is up/down information (height) and ‘W’ the central point from which the other three elements are referenced. Collectively, W, X, Y and Z are entitled SoundField B-Format. Because the SoundField capsule array captures three dimensional sound at the same ‘central point’, all phase related anomalies created by spaced microphones are eliminated. Once in B-Format the point of acoustic origin is defined and all output variations i.e. mono, stereo, M/S, 5.1, 6.1 etc. are derived from this same ‘central point’. Thus, surround recordings made with SoundField microphones can be collapsed to stereo or mono – without the phase cancellation and high frequency differences encountered when ‘summing’ multiple spaced microphones.\n<br /><br />\n<h3>Optimum control</h3>\nA significant advantage that SoundField offers to engineers is that\nall microphone parameters are adjustable either in real-time or in post-production. These controls include microphone orientation – with controls such as Rotate, Tilt and Zoom – as well as output formats including Mono, Stereo and 5.1. This combination of controls allows the audio engineer to create the optimal microphone array right from the ideal listening position in the OB truck or the studio control room.\n<br /><br />\n<h3>‘Future-proof’ audio archiving</h3>\nIf the B-Format signal is recorded to a four-channel storage medium, the decoding can take place in post-production, allowing decisions about the eventual output format to be made when it’s actually required. This makes the B-Format an excellent ‘future-proof’ audio archiving format, as B-Format signals could easily be decoded into any future surround formats, including 3D audio.\n<br /><br />'),(10479,85,0,1747,'Soundfield ST450 MKII Portable Mic System + Rycote Kit'),(10480,85,1,1747,'Soundfield ST450 MKII Portable Mic System + Rycote Kit'),(10481,76,0,1747,''),(10482,76,1,1747,''),(10483,75,0,1748,'<h1>Soundfield ST450 MKII Portable Mic System + Rycote Kit & Rechargeable Battery Kit</h1>\n<span style=\"font-size:16px; font-style:italic;\">The new portable, battery-powered ST450 microphone system is ideal for locationrecording film and TV sound specialists everywhere.</span><br /><br />\nThe updated portable, battery-powered ST450 MKII microphone system is aimed at location recording film and TV sound specialists everywhere, and builds on the success of SoundField’s previous ST250, ST350 and ST450 portable microphone systems.<br /><br />In line with SoundField tradition, the design of the ST450 MKII has benefited from a great deal of practical feedback gleaned from users of previous models. The updated ST450 MKII has a completely new microphone pre-amplifier design which offers finer 3dB gains steps and an increased overall gain of 42dB as well as a peak-hold feature for the bargraph.\n<br /><br />\nThe electronics in the ST450 have been completely redesigned, taking advantage of new, improved components, resulting in a superior noise performance. Also incorporated is a new approach to converting the information captured by its four-capsule array resulting in more accurate stereo and surround imaging. All inputs/outputs are located on one side of the control unit for easy access and connectivity to portable recorders in the field. Best of all for location use, the ruggedly designed ST450 mic weighs just 290 grammes, and may be used at a distance of up to 200 metres from its associated control unit – the weight of the control box is 580 grammes.<br /><br />\nLike its predecessors, the new ST450 MKII generates audio in any format including mono, stereo, M/S, 5.1 surround and beyond, without the need for more than one microphone and will generate both surround and stereo simultaneously. The microphone’s control unit includes a built-in front-panel headphone monitor, bar-graph metering, and the usual fine degree of control offered by SoundField over all microphone parameters.<br /><br />\n<h3>Soundfield ST450 K3 Includes</h3>\n<strong>ST450 MICROPHONE SYSTEM</strong>\n<ul>\n	<li>ST450 Microphone</li>\n	<li>ST450 Control Unit</li>\n	<li>HW3010 Shockmount</li>\n	<li>5 Metre 12 pin Lemo Mic Cable (Mic to Controller) </li>\n	<li>B-Format & Stereo Output Cables</li>\n	<li>External DC Power Supply</li>\n</ul>\n<br />\n<strong>COMPACT RYCOTE KIT</strong>\n<ul>\n	<li>Pistol Grip with Suspension</li>\n	<li>Mic Inner Cradle </li>\n	<li>105mm diameter Windshield</li>\n	<li>Rycote Windjammer </li>\n	<li>Rycote Anti-vibration Mic cable</li>\n</ul>\n<br /><strong>RECHARGEABLE BATTERY KIT</strong>\n<ul>\n<li>Rechargeable Battery</li>\n<li>Battery Charger</li>\n<li>Battery Power Connection Cable</li>\n<li>Car Lighter Adapter</li>\n<li>Step Up Power Adapter</li></ul><br />\n\n\n<h3>Soundfield Microphones</h3>\nA revolution in surround sound broadcasting and recording, SoundField microphones and accessories enrich the consumer-experience by bringing atmospheres of sporting events, concerts, documentary locations and film sets to life.\n<br /><br />\n<h3>SoundField’s unique B-Format</h3>\nSoundField Technology is based on the principle that all acoustic events can be represented by four basic elements. These are ‘X’ which is front/back information (depth), ‘Y’ which is left/right information (width), ‘Z’ which is up/down information (height) and ‘W’ the central point from which the other three elements are referenced. Collectively, W, X, Y and Z are entitled SoundField B-Format. Because the SoundField capsule array captures three dimensional sound at the same ‘central point’, all phase related anomalies created by spaced microphones are eliminated. Once in B-Format the point of acoustic origin is defined and all output variations i.e. mono, stereo, M/S, 5.1, 6.1 etc. are derived from this same ‘central point’. Thus, surround recordings made with SoundField microphones can be collapsed to stereo or mono – without the phase cancellation and high frequency differences encountered when ‘summing’ multiple spaced microphones.\n<br /><br />\n<h3>Optimum control</h3>\nA significant advantage that SoundField offers to engineers is that\nall microphone parameters are adjustable either in real-time or in post-production. These controls include microphone orientation – with controls such as Rotate, Tilt and Zoom – as well as output formats including Mono, Stereo and 5.1. This combination of controls allows the audio engineer to create the optimal microphone array right from the ideal listening position in the OB truck or the studio control room.\n<br /><br />\n<h3>‘Future-proof’ audio archiving</h3>\nIf the B-Format signal is recorded to a four-channel storage medium, the decoding can take place in post-production, allowing decisions about the eventual output format to be made when it’s actually required. This makes the B-Format an excellent ‘future-proof’ audio archiving format, as B-Format signals could easily be decoded into any future surround formats, including 3D audio.\n<br /><br />'),(10484,75,1,1748,'<h1>Soundfield ST450 MKII Portable Mic System + Rycote Kit & Rechargeable Battery Kit</h1>\n<span style=\"font-size:16px; font-style:italic;\">The new portable, battery-powered ST450 microphone system is ideal for locationrecording film and TV sound specialists everywhere.</span><br /><br />\nThe updated portable, battery-powered ST450 MKII microphone system is aimed at location recording film and TV sound specialists everywhere, and builds on the success of SoundField’s previous ST250, ST350 and ST450 portable microphone systems.<br /><br />In line with SoundField tradition, the design of the ST450 MKII has benefited from a great deal of practical feedback gleaned from users of previous models. The updated ST450 MKII has a completely new microphone pre-amplifier design which offers finer 3dB gains steps and an increased overall gain of 42dB as well as a peak-hold feature for the bargraph.\n<br /><br />\nThe electronics in the ST450 have been completely redesigned, taking advantage of new, improved components, resulting in a superior noise performance. Also incorporated is a new approach to converting the information captured by its four-capsule array resulting in more accurate stereo and surround imaging. All inputs/outputs are located on one side of the control unit for easy access and connectivity to portable recorders in the field. Best of all for location use, the ruggedly designed ST450 mic weighs just 290 grammes, and may be used at a distance of up to 200 metres from its associated control unit – the weight of the control box is 580 grammes.<br /><br />\nLike its predecessors, the new ST450 MKII generates audio in any format including mono, stereo, M/S, 5.1 surround and beyond, without the need for more than one microphone and will generate both surround and stereo simultaneously. The microphone’s control unit includes a built-in front-panel headphone monitor, bar-graph metering, and the usual fine degree of control offered by SoundField over all microphone parameters.<br /><br />\n<h3>Soundfield ST450 K3 Includes</h3>\n<strong>ST450 MICROPHONE SYSTEM</strong>\n<ul>\n	<li>ST450 Microphone</li>\n	<li>ST450 Control Unit</li>\n	<li>HW3010 Shockmount</li>\n	<li>5 Metre 12 pin Lemo Mic Cable (Mic to Controller) </li>\n	<li>B-Format & Stereo Output Cables</li>\n	<li>External DC Power Supply</li>\n</ul>\n<br />\n<strong>COMPACT RYCOTE KIT</strong>\n<ul>\n	<li>Pistol Grip with Suspension</li>\n	<li>Mic Inner Cradle </li>\n	<li>105mm diameter Windshield</li>\n	<li>Rycote Windjammer </li>\n	<li>Rycote Anti-vibration Mic cable</li>\n</ul>\n<br /><strong>RECHARGEABLE BATTERY KIT</strong>\n<ul>\n<li>Rechargeable Battery</li>\n<li>Battery Charger</li>\n<li>Battery Power Connection Cable</li>\n<li>Car Lighter Adapter</li>\n<li>Step Up Power Adapter</li></ul><br />\n\n\n<h3>Soundfield Microphones</h3>\nA revolution in surround sound broadcasting and recording, SoundField microphones and accessories enrich the consumer-experience by bringing atmospheres of sporting events, concerts, documentary locations and film sets to life.\n<br /><br />\n<h3>SoundField’s unique B-Format</h3>\nSoundField Technology is based on the principle that all acoustic events can be represented by four basic elements. These are ‘X’ which is front/back information (depth), ‘Y’ which is left/right information (width), ‘Z’ which is up/down information (height) and ‘W’ the central point from which the other three elements are referenced. Collectively, W, X, Y and Z are entitled SoundField B-Format. Because the SoundField capsule array captures three dimensional sound at the same ‘central point’, all phase related anomalies created by spaced microphones are eliminated. Once in B-Format the point of acoustic origin is defined and all output variations i.e. mono, stereo, M/S, 5.1, 6.1 etc. are derived from this same ‘central point’. Thus, surround recordings made with SoundField microphones can be collapsed to stereo or mono – without the phase cancellation and high frequency differences encountered when ‘summing’ multiple spaced microphones.\n<br /><br />\n<h3>Optimum control</h3>\nA significant advantage that SoundField offers to engineers is that\nall microphone parameters are adjustable either in real-time or in post-production. These controls include microphone orientation – with controls such as Rotate, Tilt and Zoom – as well as output formats including Mono, Stereo and 5.1. This combination of controls allows the audio engineer to create the optimal microphone array right from the ideal listening position in the OB truck or the studio control room.\n<br /><br />\n<h3>‘Future-proof’ audio archiving</h3>\nIf the B-Format signal is recorded to a four-channel storage medium, the decoding can take place in post-production, allowing decisions about the eventual output format to be made when it’s actually required. This makes the B-Format an excellent ‘future-proof’ audio archiving format, as B-Format signals could easily be decoded into any future surround formats, including 3D audio.\n<br /><br />'),(10485,85,0,1748,'Soundfield ST450 MKII Portable Mic System + Rycote Kit & Rechargeable Battery Kit'),(10486,85,1,1748,'Soundfield ST450 MKII Portable Mic System + Rycote Kit & Rechargeable Battery Kit'),(10487,76,0,1748,''),(10488,76,1,1748,''),(10489,75,0,1749,'<h2>Sounds in Sync EdiLoad V4</h2>\n<i><span style=\"font-size: 21.3333px;\">Compare edit lists and re-conform Pro Tools sessions when picture changes occur. </span><br /><span style=\"font-size: 16pt;\"></span></i><br />\nSounds in Sync EdiLoad is an application that allows sound editors and mixers to perform a variety of crucial and time-saving tasks. From re-conforming (re-cutting) a Pro Tools session when picture changes occur, to conforming (assembling) location WAV files in Pro Tools, EdiLoad can streamline the workflow of any film or television sound-post production.\n<br /><br />\nAt its heart EdiLoad contains powerful functions that can manipulate edit lists through its filter, batch modify and cleaning controls. With its unique ability to import and export Pro Tools sessions, new work-flows can be created to automate repetitive tasks, or enable new processes on custom productions.\n<br /><br />\n<ul>\n</ul>\n<h3>New Features In EdiLoad V4</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">64bit app with a user interface that is macOS dark mode and HiDPI compatible</span></li>\n	<li>Option to import AAF files and FCP7 (Premiere Pro) XML files into the main and compare windows</li>\n	<li>Ability to import up to 99 audio tracks into the main window with new \'Source Frame Count\', \'File Name\' and \'Info\' columns</li>\n	<li>Fix for compatibility with Pro Tools 2020.3+. Required when re-conforming sessions at 29.97 FPS</li>\n	<li>Switch from exporting PTX files to AAF files for all clip-based exports</li>\n	<li>New \'Update Data\' window to update the timecode values in a Text or Excel file when picture changes occur</li>\n	<li>New List menu item to remove sections in an edit list that are covered by an EdiLoad change list</li>\n	<li>New List menu item to move selected events to a new track</li>\n	<li>New List menu item to ripple defined tracks to the lowest possible track selection</li>\n	<li>New List menu item to fix 00:00:00:00 source in timecodes with an alternate EDL</li>\n	<li>New List menu item to select all events with no WAV File Name</li>\n	<li>New \'EDL Save Format\' menu item to lock the format during every import</li>\n	<li>New \'Column Transfer\' window Modify options to convert YYMMDD dates to 11Y11M11 dates and vice versa</li>\n	<li>New \'Text Encoding\' preferences to allow load and save of text files with non-English text</li>\n	<li>New process menu item in Match Roll Name and Match File Name windows to delete all events that don\'t contain a match in both windows</li>\n	<li>Dropping an EdiLoad project file onto the main window or app icon will now open the compare window and load the project into it</li>\n</ul>\n<br />\n<h3>Import and Manipulate Edit Lists</h3>\nImport an AAF, FCP7 XML, or any text-based EDL file (e.g. CMX3600, GVG, SMPTE File 32). While loading EDLs, EdiLoad imports all event comments so clip names can be extracted and used, for example, to build custom Roll Names.\n<br /><br />\nAppend multiple A1-4 EDLs to manipulate and clean all tracks in one go. EDLs can also be appended when split by time - allowing a part1 and part2 EDL to be merged, for example.<br /><br />\nUse EdiLoad\'s powerful cleaning controls to remove duplicate events, combine events split over several tracks, and ripple events to generate a list with the least number of events and tracks.<br /><br />\nEdiLoad reads 23.976, 24, 25, 29.97, 29.97DF, 30, 30DF, 47.952, 48, 50, 59.94, 59.94DF, 60, 60DF FPS timecodes.<br /><br />\n<h3>Compare Edit Lists</h3>\nThe EdiLoad compare window finds the difference between two picture version edit lists, creating a change list that describes which sections of the old version have been retained and where they have been moved to. The compare algorithm used in EdiLoad is also used to power the Pyramix v6+ \'Detect Picture Change & Reconform\' function.\n<br /><br />\nMultiple AAF, FCP7 XML, or EDL files can be loaded at once and grouped by version or date for easy selection. During load, EdiLoad utilises its powerful VFX cleaning controls so that updated VFX shots are matched between picture versions. It also assigns a Roll Name to each list during load which is shown in the generated change list to identify which Pro Tools session an event relates to.<br /><br />\nSeveral old version lists or groups of lists can be selected for compare, allowing EdiLoad to automatically fill holes in a trace with a previous picture version list.<br /><br />\nAll edit lists and settings for a project can be saved in a single EdiLoad project file.<br /><br />\nRe-Conform (Re-Cut) Pro Tools Sessions\nThe EdiLoad re-conform function re-positions the clips, automation and any other elements in a Pro Tools session as per the edit list loaded.\n<br /><br />\nThis function can be used to update a session to match a new picture version by loading a change list created by the compare window. Alternatively it can be used to create a cut-down version of a project when, for example, a foreign version is created or trailer has been made. In this instance, when the long version pictures were used to create the cut-down version, the audio events of an AAF, FCP7 XML or EDL can be loaded into EdiLoad to re-cut the Pro Tools session. See this blog post for more information.<br /><br />\n<h3>Conform (Assemble) WAV files</h3>\nWhen all channels of the location WAV files need to be conformed or assembled using an AAF, FCP7 XML, or EDL, EdiLoad can be used in conjunction with the Pro Tools expand tracks feature to perform this task. Load multiple edit lists into EdiLoad and clean them to create a list with the least number of events and tracks as possible. This simplifies the conform and saves having multiple copies of the same clips presented in the timeline at the end of the conform. See this blog post for more information.\n<br /><br />\nThe above process allows for poly WAV files to be conformed without the need to split and copy all location audio.<br /><br />\n<h3>Import Edit Data from Pro Tools Sessions</h3>\nEdiLoad can import the clip edit data from one or more audio tracks of a Pro Tools session. Initially this was written for clients that wanted to edit their own version of an old guide track and apply these edits to mix automation via an EDL. This feature can also be used to customise re-conforms by manually changing a guide track re-conform, or it can be used to import the edit data of a session when music tracks from an AV shoot are edited in Pro Tools and the picture edit needs to follow.\n<br /><br />\n<h3>Create a Picture Cut Track</h3>\nTo speed-up the process of editing backgrounds, atmospheres or crowds, generate a picture cut track in EdiLoad. A picture cut track is an audio track containing a clip at every picture cut point named with the clip name in the source AAF, FCP7 XML, or EDL. Loading one of these into your DAW timeline not only allows you to see or tab to each picture cut point, but shows dialog editors directly in the timeline which slate and take was used in the picture edit. To show the source timecodes in each clip as well, generate a conform reference track instead of a picture cut track.\n<br /><br />\n<h3>Create a Scene Change Track</h3>\nA scene change track is similar to a picture cut track, however, with a scene change track each clip shows where a scene starts and ends. Clips are named with the scene number, and when available, the scene description too.\n<br /><br />\nAs well as helping to identify locations in a project, a scene change track can streamline the process of editing atmospheres, simplify selecting a range while applying mix automation for the duration of a scene, or automatically assign scene numbers and descriptions to ADR cues when using EdiCue.<br /><br />\nTo create a scene change track in EdiLoad see our demo video in this blog post.<br /><br />\n<h3>Update Data Window</h3>\nTo update timecode values in a data file when picture changes occur, use the EdiLoad Update Data window to load and modify the timecode values to match the new picture version. Load a delimited text file or Excel file and configure what timecodes are updated, if a picture version field is set, and how the timecodes are modified for the cues that did not make it into the new picture cut.\n<br /><br />\n<h3>WAV File List Window</h3>\nThe EdiLoad WAV File List window can be used to inspect the meta data of files, find duplicate files, export an AAF containing all files spotted to its timestamp, export all data as an Excel file or text file, or export an Avid Log Exchange (ALE) file.\n<br /><br />\nThe AAF created by this window is handy for ADR editors who have been given either a folder of WAV files or a Pro Tools session where all takes are stored on different playlists. This EdiLoad window provides a convenient way of loading WAV files into an AAF with all recordings placed on separate tracks spotted to their timestamp.<br /><br />\nThe Find Duplicates function is useful while conforming (assembling) location WAV files as duplicate WAVs can cause multiple versions of the same WAV file being shown in the Pro Tools timeline once files have been conformed.<br /><br />\n<h3>Export Files</h3>\nIn addition to exporting AAFs, EdiLoad can export the following files:\n<ul>\n<li>EDL files with a standard CMX3600, File16, File32 or File129 format</li>\n<li>MIDI files to generate Pro Tools markers at picture or scene change points</li>\n<li>MIDI files to trigger visual cues (like streamers) in EdiPrompt at picture or scene change points to cue foley walkers</li>\n<li>Tab-delimited text files or Microsoft Excel files containing all edit list data</li>\n<li>Offset lists containing cumulative changes for manual picture updates</li>\n</ul>'),(10490,75,1,1749,'<h2>Sounds in Sync EdiLoad V4</h2>\n<i><span style=\"font-size: 21.3333px;\">Compare edit lists and re-conform Pro Tools sessions when picture changes occur. </span><br /><span style=\"font-size: 16pt;\"></span></i><br />\nSounds in Sync EdiLoad is an application that allows sound editors and mixers to perform a variety of crucial and time-saving tasks. From re-conforming (re-cutting) a Pro Tools session when picture changes occur, to conforming (assembling) location WAV files in Pro Tools, EdiLoad can streamline the workflow of any film or television sound-post production.\n<br /><br />\nAt its heart EdiLoad contains powerful functions that can manipulate edit lists through its filter, batch modify and cleaning controls. With its unique ability to import and export Pro Tools sessions, new work-flows can be created to automate repetitive tasks, or enable new processes on custom productions.\n<br /><br />\n<ul>\n</ul>\n<h3>New Features In EdiLoad V4</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">64bit app with a user interface that is macOS dark mode and HiDPI compatible</span></li>\n	<li>Option to import AAF files and FCP7 (Premiere Pro) XML files into the main and compare windows</li>\n	<li>Ability to import up to 99 audio tracks into the main window with new \'Source Frame Count\', \'File Name\' and \'Info\' columns</li>\n	<li>Fix for compatibility with Pro Tools 2020.3+. Required when re-conforming sessions at 29.97 FPS</li>\n	<li>Switch from exporting PTX files to AAF files for all clip-based exports</li>\n	<li>New \'Update Data\' window to update the timecode values in a Text or Excel file when picture changes occur</li>\n	<li>New List menu item to remove sections in an edit list that are covered by an EdiLoad change list</li>\n	<li>New List menu item to move selected events to a new track</li>\n	<li>New List menu item to ripple defined tracks to the lowest possible track selection</li>\n	<li>New List menu item to fix 00:00:00:00 source in timecodes with an alternate EDL</li>\n	<li>New List menu item to select all events with no WAV File Name</li>\n	<li>New \'EDL Save Format\' menu item to lock the format during every import</li>\n	<li>New \'Column Transfer\' window Modify options to convert YYMMDD dates to 11Y11M11 dates and vice versa</li>\n	<li>New \'Text Encoding\' preferences to allow load and save of text files with non-English text</li>\n	<li>New process menu item in Match Roll Name and Match File Name windows to delete all events that don\'t contain a match in both windows</li>\n	<li>Dropping an EdiLoad project file onto the main window or app icon will now open the compare window and load the project into it</li>\n</ul>\n<br />\n<h3>Import and Manipulate Edit Lists</h3>\nImport an AAF, FCP7 XML, or any text-based EDL file (e.g. CMX3600, GVG, SMPTE File 32). While loading EDLs, EdiLoad imports all event comments so clip names can be extracted and used, for example, to build custom Roll Names.\n<br /><br />\nAppend multiple A1-4 EDLs to manipulate and clean all tracks in one go. EDLs can also be appended when split by time - allowing a part1 and part2 EDL to be merged, for example.<br /><br />\nUse EdiLoad\'s powerful cleaning controls to remove duplicate events, combine events split over several tracks, and ripple events to generate a list with the least number of events and tracks.<br /><br />\nEdiLoad reads 23.976, 24, 25, 29.97, 29.97DF, 30, 30DF, 47.952, 48, 50, 59.94, 59.94DF, 60, 60DF FPS timecodes.<br /><br />\n<h3>Compare Edit Lists</h3>\nThe EdiLoad compare window finds the difference between two picture version edit lists, creating a change list that describes which sections of the old version have been retained and where they have been moved to. The compare algorithm used in EdiLoad is also used to power the Pyramix v6+ \'Detect Picture Change & Reconform\' function.\n<br /><br />\nMultiple AAF, FCP7 XML, or EDL files can be loaded at once and grouped by version or date for easy selection. During load, EdiLoad utilises its powerful VFX cleaning controls so that updated VFX shots are matched between picture versions. It also assigns a Roll Name to each list during load which is shown in the generated change list to identify which Pro Tools session an event relates to.<br /><br />\nSeveral old version lists or groups of lists can be selected for compare, allowing EdiLoad to automatically fill holes in a trace with a previous picture version list.<br /><br />\nAll edit lists and settings for a project can be saved in a single EdiLoad project file.<br /><br />\nRe-Conform (Re-Cut) Pro Tools Sessions\nThe EdiLoad re-conform function re-positions the clips, automation and any other elements in a Pro Tools session as per the edit list loaded.\n<br /><br />\nThis function can be used to update a session to match a new picture version by loading a change list created by the compare window. Alternatively it can be used to create a cut-down version of a project when, for example, a foreign version is created or trailer has been made. In this instance, when the long version pictures were used to create the cut-down version, the audio events of an AAF, FCP7 XML or EDL can be loaded into EdiLoad to re-cut the Pro Tools session. See this blog post for more information.<br /><br />\n<h3>Conform (Assemble) WAV files</h3>\nWhen all channels of the location WAV files need to be conformed or assembled using an AAF, FCP7 XML, or EDL, EdiLoad can be used in conjunction with the Pro Tools expand tracks feature to perform this task. Load multiple edit lists into EdiLoad and clean them to create a list with the least number of events and tracks as possible. This simplifies the conform and saves having multiple copies of the same clips presented in the timeline at the end of the conform. See this blog post for more information.\n<br /><br />\nThe above process allows for poly WAV files to be conformed without the need to split and copy all location audio.<br /><br />\n<h3>Import Edit Data from Pro Tools Sessions</h3>\nEdiLoad can import the clip edit data from one or more audio tracks of a Pro Tools session. Initially this was written for clients that wanted to edit their own version of an old guide track and apply these edits to mix automation via an EDL. This feature can also be used to customise re-conforms by manually changing a guide track re-conform, or it can be used to import the edit data of a session when music tracks from an AV shoot are edited in Pro Tools and the picture edit needs to follow.\n<br /><br />\n<h3>Create a Picture Cut Track</h3>\nTo speed-up the process of editing backgrounds, atmospheres or crowds, generate a picture cut track in EdiLoad. A picture cut track is an audio track containing a clip at every picture cut point named with the clip name in the source AAF, FCP7 XML, or EDL. Loading one of these into your DAW timeline not only allows you to see or tab to each picture cut point, but shows dialog editors directly in the timeline which slate and take was used in the picture edit. To show the source timecodes in each clip as well, generate a conform reference track instead of a picture cut track.\n<br /><br />\n<h3>Create a Scene Change Track</h3>\nA scene change track is similar to a picture cut track, however, with a scene change track each clip shows where a scene starts and ends. Clips are named with the scene number, and when available, the scene description too.\n<br /><br />\nAs well as helping to identify locations in a project, a scene change track can streamline the process of editing atmospheres, simplify selecting a range while applying mix automation for the duration of a scene, or automatically assign scene numbers and descriptions to ADR cues when using EdiCue.<br /><br />\nTo create a scene change track in EdiLoad see our demo video in this blog post.<br /><br />\n<h3>Update Data Window</h3>\nTo update timecode values in a data file when picture changes occur, use the EdiLoad Update Data window to load and modify the timecode values to match the new picture version. Load a delimited text file or Excel file and configure what timecodes are updated, if a picture version field is set, and how the timecodes are modified for the cues that did not make it into the new picture cut.\n<br /><br />\n<h3>WAV File List Window</h3>\nThe EdiLoad WAV File List window can be used to inspect the meta data of files, find duplicate files, export an AAF containing all files spotted to its timestamp, export all data as an Excel file or text file, or export an Avid Log Exchange (ALE) file.\n<br /><br />\nThe AAF created by this window is handy for ADR editors who have been given either a folder of WAV files or a Pro Tools session where all takes are stored on different playlists. This EdiLoad window provides a convenient way of loading WAV files into an AAF with all recordings placed on separate tracks spotted to their timestamp.<br /><br />\nThe Find Duplicates function is useful while conforming (assembling) location WAV files as duplicate WAVs can cause multiple versions of the same WAV file being shown in the Pro Tools timeline once files have been conformed.<br /><br />\n<h3>Export Files</h3>\nIn addition to exporting AAFs, EdiLoad can export the following files:\n<ul>\n<li>EDL files with a standard CMX3600, File16, File32 or File129 format</li>\n<li>MIDI files to generate Pro Tools markers at picture or scene change points</li>\n<li>MIDI files to trigger visual cues (like streamers) in EdiPrompt at picture or scene change points to cue foley walkers</li>\n<li>Tab-delimited text files or Microsoft Excel files containing all edit list data</li>\n<li>Offset lists containing cumulative changes for manual picture updates</li>\n</ul>'),(10491,85,0,1749,'Sounds in Sync EdiLoad V4'),(10492,85,1,1749,'Sounds in Sync EdiLoad V4'),(10493,76,0,1749,''),(10494,76,1,1749,''),(10495,75,0,1750,'<h2>Sounds in Sync EdiPrompt V2</h2>\n<i style=\"font-size:16pt;\">EdiPrompt allows you to easily overlay visual prompts, text, counters, or streamers from any DAW.<br /></i><br />EdiPrompt reads MIDI commands sent from any DAW (Digital Audio Workstation) and uses them to display a variety of on-screen prompts. It can also automate the ADR and foley recording process when using Pro Tools by locating to each cue and renaming the record track.<br /><br />\n<br />\n<h3>EdiPrompt Features</h3><ul><li>Overlays visual cues on top of any movie window from any Mac-based DAW (available for Apple desktop displays only – not compatible with external video display units)</li><li>Reads midi files generated by EdiCue or EdiPrompt. Also compatible with Tesla- style streamer and flutter sysex commands</li><li>Enables you to record several cues in the one take</li><li>Displays a cue’s text, prompts, counters, streamers, flutters and progress bar</li><li>Plays audio cue beeps using internal or external samples</li><li>Configures up to two independent ‘Paths’ of A/V cues with their own settings</li><li>Saves and recalls five global user settings</li>\n</ul><br /><h3>EdiPrompt Extended Features</h3><ul><li>Automatically fires prompts, counters, streamers or cue beeps when Pro Tools plays and/or records using the Auto Cue feature</li><li>Renames one or more record tracks with the current cue number (ADR recording) or current region name (foley recording)</li><li>Locates to cue with pre-record value if set</li><li>Says the take number during pre-roll of a record take (using the computer’s voice)</li><li>Displays record status and take number in overlay window to actor   Example Screen Shot</li><li>Works with Pro Tools Video Satellite and Loop Record features</li></ul>'),(10496,75,1,1750,'<h2>Sounds in Sync EdiPrompt V2</h2>\n<i style=\"font-size:16pt;\">EdiPrompt allows you to easily overlay visual prompts, text, counters, or streamers from any DAW.<br /></i><br />EdiPrompt reads MIDI commands sent from any DAW (Digital Audio Workstation) and uses them to display a variety of on-screen prompts. It can also automate the ADR and foley recording process when using Pro Tools by locating to each cue and renaming the record track.<br /><br />\n<br />\n<h3>EdiPrompt Features</h3><ul><li>Overlays visual cues on top of any movie window from any Mac-based DAW (available for Apple desktop displays only – not compatible with external video display units)</li><li>Reads midi files generated by EdiCue or EdiPrompt. Also compatible with Tesla- style streamer and flutter sysex commands</li><li>Enables you to record several cues in the one take</li><li>Displays a cue’s text, prompts, counters, streamers, flutters and progress bar</li><li>Plays audio cue beeps using internal or external samples</li><li>Configures up to two independent ‘Paths’ of A/V cues with their own settings</li><li>Saves and recalls five global user settings</li>\n</ul><br /><h3>EdiPrompt Extended Features</h3><ul><li>Automatically fires prompts, counters, streamers or cue beeps when Pro Tools plays and/or records using the Auto Cue feature</li><li>Renames one or more record tracks with the current cue number (ADR recording) or current region name (foley recording)</li><li>Locates to cue with pre-record value if set</li><li>Says the take number during pre-roll of a record take (using the computer’s voice)</li><li>Displays record status and take number in overlay window to actor   Example Screen Shot</li><li>Works with Pro Tools Video Satellite and Loop Record features</li></ul>'),(10497,85,0,1750,'Sounds in Sync V2 EdiPrompt'),(10498,85,1,1750,'Sounds in Sync V2 EdiPrompt'),(10499,76,0,1750,''),(10500,76,1,1750,''),(10501,75,0,1751,'<h1>SoundToys 5</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Soundtoys 5 brings together our entire range of audio effects into one powerful collection. <br /></span><br />Saturate, compress and distort with Decapitator, Radiator, and\n Devil-Loc. Get a virtual history of echo and delay hardware with \nEchoBoy and PrimalTap. Transform your vocals with Little AlterBoy. \nRecreate classic studio pitch, chorus and widening effects with \nCrystallizer and MicroShift. Take modulation to new levels with the \nbeat-synced rhythmic effects of PanMan, Tremolator, FilterFreak, and \nPhaseMistress.\n<br /><br />\n<p>\n	All of these individual elements are proven, powerful tools, trusted \nby professional mix engineers, musicians and sound designers everywhere.\n But combined in the new Soundtoys Effect Rack, they are indeed the \nultimate effects collection.\n</p>'),(10502,75,1,1751,'<h1>SoundToys 5</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Soundtoys 5 brings together our entire range of audio effects into one powerful collection. <br /></span><br />Saturate, compress and distort with Decapitator, Radiator, and\n Devil-Loc. Get a virtual history of echo and delay hardware with \nEchoBoy and PrimalTap. Transform your vocals with Little AlterBoy. \nRecreate classic studio pitch, chorus and widening effects with \nCrystallizer and MicroShift. Take modulation to new levels with the \nbeat-synced rhythmic effects of PanMan, Tremolator, FilterFreak, and \nPhaseMistress.\n<br /><br />\n<p>\n	All of these individual elements are proven, powerful tools, trusted \nby professional mix engineers, musicians and sound designers everywhere.\n But combined in the new Soundtoys Effect Rack, they are indeed the \nultimate effects collection.\n</p>'),(10503,85,0,1751,''),(10504,85,1,1751,''),(10505,76,0,1751,''),(10506,76,1,1751,''),(10507,75,0,1752,'<h1>SoundToys Crystallizer</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Pitch shifting granular reverse echo plug-in that\'s a mind-warping sound design trip.<br /></span><br />Soundtoys Crystallizer is an otherworldly creative effect that transforms \ninstruments using a combination of pitch shifting and reversed echo. \nBased on the Eventide H3000’s innovative “Reverse Shift” algorithm, \nCrystallizer brings granular echo slicing, old-school pitch shifting and\n powerful new features together into one inspiring tool.\n<br /><br />Because Soundtoys’ founders actually designed algorithms for the \noriginal H3000, you can be sure they didn’t rest until they’d recreated its \nicy tones flawlessly. One of the key elements of the Crystallizer sound \nis its old school pitch shifting. Modern pitch shifters (like Little AlterBoy for example) use sophisticated mathematical algorithms \nto transform music and vocals as naturally as possible. The original old\n school devices (like Eventide’s classic H910 Harmonizer) used a simpler\n resample and crossfade technique that introduced audible artifacts in \nthe pitch-shifted audio. This retro technique adds a glitchy character \nto the sound that is an essential part of Crystallizer’s 80s-futuristic \ncharm.'),(10508,75,1,1752,'<h1>SoundToys Crystallizer</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Pitch shifting granular reverse echo plug-in that\'s a mind-warping sound design trip.<br /></span><br />Soundtoys Crystallizer is an otherworldly creative effect that transforms \ninstruments using a combination of pitch shifting and reversed echo. \nBased on the Eventide H3000’s innovative “Reverse Shift” algorithm, \nCrystallizer brings granular echo slicing, old-school pitch shifting and\n powerful new features together into one inspiring tool.\n<br /><br />Because Soundtoys’ founders actually designed algorithms for the \noriginal H3000, you can be sure they didn’t rest until they’d recreated its \nicy tones flawlessly. One of the key elements of the Crystallizer sound \nis its old school pitch shifting. Modern pitch shifters (like Little AlterBoy for example) use sophisticated mathematical algorithms \nto transform music and vocals as naturally as possible. The original old\n school devices (like Eventide’s classic H910 Harmonizer) used a simpler\n resample and crossfade technique that introduced audible artifacts in \nthe pitch-shifted audio. This retro technique adds a glitchy character \nto the sound that is an essential part of Crystallizer’s 80s-futuristic \ncharm.'),(10509,85,0,1752,''),(10510,85,1,1752,''),(10511,76,0,1752,''),(10512,76,1,1752,''),(10513,75,0,1753,'<h1>SoundToys Decapitator</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Subtle to extreme hardware-modeled saturation. The secret weapon of top mix engineers.<br/></span><br/>Decapitator is not just a simple approximation of the analog sound. We’ve worked hard to capture the feel of analog gear. Not a static snapshot, but a changing responsive model of all those tubes, wires and transistors. That means you can hear subtle changes as Decapitator reacts to a track and follows the dynamics of an instrument. That’s what analog is all about.<br/><br/>Decapitator is capable of some wonderfully subtle sounds, but we know \nthat sometimes subtle just won’t do it. That’s why we’ve added the \nPunish button, which kicks in an extra chunk of gain to push Decapitator\n over the edge. When you drive it hard it reacts just like great analog \ngear—it screams in pain.'),(10514,75,1,1753,'<h1>SoundToys Decapitator</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Subtle to extreme hardware-modeled saturation. The secret weapon of top mix engineers.<br/></span><br/>Decapitator is not just a simple approximation of the analog sound. We’ve worked hard to capture the feel of analog gear. Not a static snapshot, but a changing responsive model of all those tubes, wires and transistors. That means you can hear subtle changes as Decapitator reacts to a track and follows the dynamics of an instrument. That’s what analog is all about.<br/><br/>Decapitator is capable of some wonderfully subtle sounds, but we know \nthat sometimes subtle just won’t do it. That’s why we’ve added the \nPunish button, which kicks in an extra chunk of gain to push Decapitator\n over the edge. When you drive it hard it reacts just like great analog \ngear—it screams in pain.'),(10515,85,0,1753,''),(10516,85,1,1753,''),(10517,76,0,1753,''),(10518,76,1,1753,''),(10519,75,0,1754,'<h1>SoundToys Devil-Loc</h1>\n<span id=\"product_description\"><span style=\"font-size: 16px; font-style: italic;\"> Two knobs, one big drum sound. Audio level destroyer with vintage vibe. <br/></span></span><br/>Devil-Loc is, simple, devious and often unpredictable, a little plug-in that makes drums sound big. Drop it on a \ndrum kit or loop and listen to Devil-Loc inflate the room ambience, \npumping excitement into an otherwise drab rhythm track. Push it to its \nlimits to create extreme gating effects where loud hits crush the signal\n to silence and the output blooms into a fuzzy mess.\n<br/><br/><small>\n<p>\n	Some of the best music production techniques are based on twisting and \nabusing old technology, and Devil-Loc comes straight out of that \ntradition. Its inspiration comes from an old podium mic compressor \ncalled the Level-Loc.\n</p>\n</small>\n<h3><br class=\"Apple-interchange-newline\"/>\nDevil-Loc Features</h3>\n<ul style=\"\">\n	<li>Create huge drum sounds with extreme compression and distortion</li>\n	<li>Capture the raw and unpredictable nature of the offbeat Level-Loc compressor</li>\n	<li>Dial in the perfect amount of Crunch (distortion) and Crush (compression) with an incredibly simple interface</li>\n</ul>\n<small>\n</small><small>\n</small>'),(10520,75,1,1754,'<h1>SoundToys Devil-Loc</h1>\n<span id=\"product_description\"><span style=\"font-size: 16px; font-style: italic;\"> Two knobs, one big drum sound. Audio level destroyer with vintage vibe. <br/></span></span><br/>Devil-Loc is, simple, devious and often unpredictable, a little plug-in that makes drums sound big. Drop it on a \ndrum kit or loop and listen to Devil-Loc inflate the room ambience, \npumping excitement into an otherwise drab rhythm track. Push it to its \nlimits to create extreme gating effects where loud hits crush the signal\n to silence and the output blooms into a fuzzy mess.\n<br/><br/><small>\n<p>\n	Some of the best music production techniques are based on twisting and \nabusing old technology, and Devil-Loc comes straight out of that \ntradition. Its inspiration comes from an old podium mic compressor \ncalled the Level-Loc.\n</p>\n</small>\n<h3><br class=\"Apple-interchange-newline\"/>\nDevil-Loc Features</h3>\n<ul style=\"\">\n	<li>Create huge drum sounds with extreme compression and distortion</li>\n	<li>Capture the raw and unpredictable nature of the offbeat Level-Loc compressor</li>\n	<li>Dial in the perfect amount of Crunch (distortion) and Crush (compression) with an incredibly simple interface</li>\n</ul>\n<small>\n</small><small>\n</small>'),(10521,85,0,1754,''),(10522,85,1,1754,''),(10523,76,0,1754,''),(10524,76,1,1754,''),(10525,75,0,1755,'<h1>SoundToys Devil-Loc Deluxe</h1>\n<i>A crushing, pounding, aggressive compressor for massive drums. Our spin on an old classic.</i><br/>\n<br/>\nTo take things beyond the hardware that inspired it and give you even more creative flexibility, we’ve created a deluxe version of the Devil-Loc plug-in, Devil-Loc Deluxe. The Deluxe version adds a “Darkness” control for tone, switchable slow or fast release times and a mix knob so you can mix your dry signal back in right on the front panel.\n<br/><br/>\nThe addition of these controls opens up the sonic palette immensely. Dark thundering drums, to driven lo-fi loops, and more, and the mix control saves all that tedious routing and lets you automate mix to keep the Devil from taking over the soul of your tracks. This time, evil is good.\n<br/><br/>\n<h3>A Bit of History</h3>\n	The original Shure Level-Loc from the 1960s was a brick wall limiter designed to be used in public address systems. Its extreme compression and gritty sound eventually became a secret weapon of some well-known and very creative engineers and producers.\n<br/><br/>\nIt’s an extreme effect, and can create huge sounds with drums and room mics, and in small amounts can add sizzle to things like vocals or acoustic guitar.\n<br/><br/>\nThe controls were very simple, with only a switch for three “distance” settings based on how far from the mic you were. The M62V upped the control a bit by adding an input level knob.\n<br/><br/>\nThe reason it became famous was largely thanks to Soundtoys user Tchad Blake and his desire to push, abuse, and do deliciously evil things to his tracks. He discovered that the Level-Loc was gritty, dirty, and unusual. The kind of compression that made drums gigantic and nasty – which is a good thing.\n<br/>\n<br/>\n<h3>Devil-Loc Deluxe Features</h3>\n<ul>\n	<li>Extreme compression effect creates huge drum sounds like nothing else</li>\n	<li>Mix knob allows you to dial in just the right amount of grit and ambiance</li>\n	<li>Darkness control lets you shape the tone and roll off crunchy highs for a warmer sound</li>\n	<li>Selectable fast and slow release times for added variety and control</li>\n</ul>'),(10526,75,1,1755,'<h1>SoundToys Devil-Loc Deluxe</h1>\n<i>A crushing, pounding, aggressive compressor for massive drums. Our spin on an old classic.</i><br/>\n<br/>\nTo take things beyond the hardware that inspired it and give you even more creative flexibility, we’ve created a deluxe version of the Devil-Loc plug-in, Devil-Loc Deluxe. The Deluxe version adds a “Darkness” control for tone, switchable slow or fast release times and a mix knob so you can mix your dry signal back in right on the front panel.\n<br/><br/>\nThe addition of these controls opens up the sonic palette immensely. Dark thundering drums, to driven lo-fi loops, and more, and the mix control saves all that tedious routing and lets you automate mix to keep the Devil from taking over the soul of your tracks. This time, evil is good.\n<br/><br/>\n<h3>A Bit of History</h3>\n	The original Shure Level-Loc from the 1960s was a brick wall limiter designed to be used in public address systems. Its extreme compression and gritty sound eventually became a secret weapon of some well-known and very creative engineers and producers.\n<br/><br/>\nIt’s an extreme effect, and can create huge sounds with drums and room mics, and in small amounts can add sizzle to things like vocals or acoustic guitar.\n<br/><br/>\nThe controls were very simple, with only a switch for three “distance” settings based on how far from the mic you were. The M62V upped the control a bit by adding an input level knob.\n<br/><br/>\nThe reason it became famous was largely thanks to Soundtoys user Tchad Blake and his desire to push, abuse, and do deliciously evil things to his tracks. He discovered that the Level-Loc was gritty, dirty, and unusual. The kind of compression that made drums gigantic and nasty – which is a good thing.\n<br/>\n<br/>\n<h3>Devil-Loc Deluxe Features</h3>\n<ul>\n	<li>Extreme compression effect creates huge drum sounds like nothing else</li>\n	<li>Mix knob allows you to dial in just the right amount of grit and ambiance</li>\n	<li>Darkness control lets you shape the tone and roll off crunchy highs for a warmer sound</li>\n	<li>Selectable fast and slow release times for added variety and control</li>\n</ul>'),(10527,85,0,1755,''),(10528,85,1,1755,''),(10529,76,0,1755,''),(10530,76,1,1755,''),(10531,75,0,1756,'<h1>SoundToys EchoBoy</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Decades of echo devices in a single plug-in.<br/></span><br/>EchoBoy is the ultimate realization of that obsession. It wraps decades of echo device history and new forward-thinking features into one versatile effect that will find its way into every corner of your mixes.<br/><br/>EchoBoy’s chorus even emulates the CE-1 chorus, considered a holy-grail of guitar chorus pedals. We’ve also modeled other gear to give you a range of sounds that goes beyond standard delay stompboxes. If you want warm, smooth saturation, try the “Studio Tape” style, inspired by our Ampex ATR-102 half-inch two-track machine. And yes, turn it up! EchoBoy sounds great when pushed hard, just like the best analog gear.<br/><br/>\n<p>\n	All of these individual elements are proven, powerful tools, trusted \nby professional mix engineers, musicians and sound designers everywhere.\n But combined in the new Soundtoys Effect Rack, they are indeed the \nultimate effects collection.\n</p>'),(10532,75,1,1756,'<h1>SoundToys EchoBoy</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Decades of echo devices in a single plug-in.<br/></span><br/>EchoBoy is the ultimate realization of that obsession. It wraps decades of echo device history and new forward-thinking features into one versatile effect that will find its way into every corner of your mixes.<br/><br/>EchoBoy’s chorus even emulates the CE-1 chorus, considered a holy-grail of guitar chorus pedals. We’ve also modeled other gear to give you a range of sounds that goes beyond standard delay stompboxes. If you want warm, smooth saturation, try the “Studio Tape” style, inspired by our Ampex ATR-102 half-inch two-track machine. And yes, turn it up! EchoBoy sounds great when pushed hard, just like the best analog gear.<br/><br/>\n<p>\n	All of these individual elements are proven, powerful tools, trusted \nby professional mix engineers, musicians and sound designers everywhere.\n But combined in the new Soundtoys Effect Rack, they are indeed the \nultimate effects collection.\n</p>'),(10533,85,0,1756,''),(10534,85,1,1756,''),(10535,76,0,1756,''),(10536,76,1,1756,''),(10537,75,0,1757,'<h1>SoundToys EchoBoy Jr.</h1>\n<span style=\"font-size: 16px; font-style: italic;\"></span><span id=\"product_description\"><span style=\"font-size: 16px; font-style: italic;\">Seven iconic analog echo emulations in one easy-to-use plug-in. <br /></span></span><br /><span style=\"font-weight: 400;\">It’s what people love about EchoBoy – \nbut junior. SoundToys packed the quality, utility and flexibility that pros \nlove about the original best-selling EchoBoy into a sleek new plug-in \nthat’s quick and simple to use. Use EchoBoy Jr. to add the depth and \nspace you want, using seven iconic analog echo emulations in one \ncreative tool. \n</span><br /><br />Once you’ve crafted your perfect vocal effect signature, you can use \nMIDI in your DAW to control the pitch for dramatic vocoder or harmony \neffects. It’s a hugely powerful way to find new directions and drive new\n ideas.\n<br /><br />\n<h3></h3>\n<h3>EchoBoy Jr. Features</h3>\n<ul style=\"\">\n	<li>Get the sound of seven classic analog echo devices in one easy-to-use plug-in.</li>\n	<li>Analog-style feedback with self-oscillation effects for trippy sci-fi takeoff and landing effects</li>\n	<li>Three stereo processing modes: Normal, Wide, and Ping-Pong</li>\n	<li>Change echo time with either analog “pitch glide”, or time-stretching sound effect.</li>\n	<li>Dial in the perfect echo tone with saturation and low and high frequency equalization controls.</li>\n	<li>Control echo time in musical units like ¼ note, ½ note, dotted, triplet, synchronized to host session tempo. Or go old-school and set times in milliseconds.</li>\n	<li>Choose from a carefully curated set of presets for any style or instrument.</li>\n</ul>'),(10538,75,1,1757,'<h1>SoundToys EchoBoy Jr.</h1>\n<span style=\"font-size: 16px; font-style: italic;\"></span><span id=\"product_description\"><span style=\"font-size: 16px; font-style: italic;\">Seven iconic analog echo emulations in one easy-to-use plug-in. <br /></span></span><br /><span style=\"font-weight: 400;\">It’s what people love about EchoBoy – \nbut junior. SoundToys packed the quality, utility and flexibility that pros \nlove about the original best-selling EchoBoy into a sleek new plug-in \nthat’s quick and simple to use. Use EchoBoy Jr. to add the depth and \nspace you want, using seven iconic analog echo emulations in one \ncreative tool. \n</span><br /><br />Once you’ve crafted your perfect vocal effect signature, you can use \nMIDI in your DAW to control the pitch for dramatic vocoder or harmony \neffects. It’s a hugely powerful way to find new directions and drive new\n ideas.\n<br /><br />\n<h3></h3>\n<h3>EchoBoy Jr. Features</h3>\n<ul style=\"\">\n	<li>Get the sound of seven classic analog echo devices in one easy-to-use plug-in.</li>\n	<li>Analog-style feedback with self-oscillation effects for trippy sci-fi takeoff and landing effects</li>\n	<li>Three stereo processing modes: Normal, Wide, and Ping-Pong</li>\n	<li>Change echo time with either analog “pitch glide”, or time-stretching sound effect.</li>\n	<li>Dial in the perfect echo tone with saturation and low and high frequency equalization controls.</li>\n	<li>Control echo time in musical units like ¼ note, ½ note, dotted, triplet, synchronized to host session tempo. Or go old-school and set times in milliseconds.</li>\n	<li>Choose from a carefully curated set of presets for any style or instrument.</li>\n</ul>'),(10539,85,0,1757,''),(10540,85,1,1757,''),(10541,76,0,1757,''),(10542,76,1,1757,''),(10543,75,0,1758,'<h1>SoundToys Effect Rack</h1>\n<i>Rack up 14 essential Soundtoys effects in one powerful plug-in.</i><br /><br />\nThe Soundtoys Effect Rack turns SoundToys\' tried-and-true collection of powerful effects into a creative multi-effects system.\n<br /><br />\n	It’s a single, self-contained plug-in that comes preloaded with 14 Soundtoys effects* including creative delays like EchoBoy and PrimalTap, essential saturation effects like Decapitator and Radiator and rhythmic modulation and filtering effects like Tremolator and FilterFreak.\n<br /><br />\n	<i>*Effect Rack includes Crystallizer, Decapitator, Devil-Loc Deluxe, EchoBoy, EchoBoy Jr., FilterFreak, FilterFreak 2, MicroShift, PanMan, PhaseMistress, PrimalTap, Radiator, Sie-Q, and Tremolator.</i>\n<br /><br /><h3>Effect Rack Features:</h3><ul><li>Includes 14 premium effects in one plug-in</li><li>Stack effects to create custom effect chains</li><li>Use global controls to treat your chain as a single effect</li><li>Blend in subtle parallel effects with the Mix control</li><li>Create unique ambience effects with the Recycle control</li><li>Save and recall effect chains easily in different DAWs</li></ul><br />'),(10544,75,1,1758,'<h1>SoundToys Effect Rack</h1>\n<i>Rack up 14 essential Soundtoys effects in one powerful plug-in.</i><br /><br />\nThe Soundtoys Effect Rack turns SoundToys\' tried-and-true collection of powerful effects into a creative multi-effects system.\n<br /><br />\n	It’s a single, self-contained plug-in that comes preloaded with 14 Soundtoys effects* including creative delays like EchoBoy and PrimalTap, essential saturation effects like Decapitator and Radiator and rhythmic modulation and filtering effects like Tremolator and FilterFreak.\n<br /><br />\n	<i>*Effect Rack includes Crystallizer, Decapitator, Devil-Loc Deluxe, EchoBoy, EchoBoy Jr., FilterFreak, FilterFreak 2, MicroShift, PanMan, PhaseMistress, PrimalTap, Radiator, Sie-Q, and Tremolator.</i>\n<br /><br /><h3>Effect Rack Features:</h3><ul><li>Includes 14 premium effects in one plug-in</li><li>Stack effects to create custom effect chains</li><li>Use global controls to treat your chain as a single effect</li><li>Blend in subtle parallel effects with the Mix control</li><li>Create unique ambience effects with the Recycle control</li><li>Save and recall effect chains easily in different DAWs</li></ul><br />'),(10545,85,0,1758,''),(10546,85,1,1758,''),(10547,76,0,1758,''),(10548,76,1,1758,''),(10549,75,0,1759,'<h1>SoundToys FilterFreak</h1>\n<i>Fat analog sweeps, pounding filter rhythms, big hardware sound – with a dual version for double the analog attitude.<br/></i><br/>\nre you searching for smooth, silky, analog filter sweeps? Or are grimy, resonant squelches more your style? Nothing adds character to a track faster than a great filter, and FilterFreak can do it all. From funky envelope follower sounds reminiscent of the classic Mutron, to wide resonant LFO sweeps like the Sherman Filterbank. From timeless wah-wah tones to campy sci-fi sample-and-hold effects.<br/><br/>\nWhether you’re controlling it manually, or locking it to tempo for rhythmic effects, FilterFreak delivers the warm, fat, resonant tones you crave. And we’ve also added exclusive features you won’t find in the classics, so you can create practically any filter effect you can dream up.<br/><br/>\n<h3>FilterFreak Features</h3>\n<ul>\n	<li>Capture the sound of classic resonant filters, with extended control and flexibility</li>\n	<li>Funk up guitar, fatten bass, reshape drums, sweep synths and freak out vocals</li>\n	<li>Choose from one filter, or two that can be used in series or parallel</li>\n	<li>Select highpass, lowpass, bandpass and band reject modes with 2 to 8 poles</li>\n	<li>Add synth-like resonant sweeps or classic wah-wah tones to your tracks</li>\n	<li>Create funky auto-wah, envelope follower and sample-and-hold effects</li>\n	<li>Grunge things up with 7 different analog saturation styles</li>\n	<li>Construct intricate rhythmic filter sequences with the Rhythm Editor</li>\n	<li>Design your own LFO shapes with the Shape Editor</li>\n</ul>\n<br/>\n<h3>Analog Sound</h3>\nFilterFreak faithfully recreates the sounds of classic analog resonant filters. Twist the frequency knob for smooth retro synth sweeps. Crank up the resonance to add some edge, or even push the filter into self-oscillation. And when you drive it hard, FilterFreak responds by breaking up in a gritty and pleasing way, just like hardware.\n<br/><br/>\nWe’ve included seven different analog saturation “styles” that range from warm or crunchy distortion to pumping compression. From subtle to extreme, FilterFreak packs a ton of analog magic into a convenient digital package.<br/><br/>\n<h3>Rhythm and Groove</h3>\nWhile tweaking knobs is always fun, FilterFreak also includes rhythm and groove tools that add motion to your tracks automatically. Turn on Rhythm Mode and flip the MIDI switch to create auto-wah effects that sync to your DAW.\n<br/><br/>\nChoose a simple note value like eighths or sixteenths, select from a library of pre-made rhythms, or even design your own rhythmic patterns using the Rhythm Editor. Then, to perfectly match the feel of your tune, grab the Groove knob and add some swing or shuffle to drop it in the pocket. For effects that move with the music, choose the Envelope or ADSR modes to trigger the filter with incoming audio. You’ll be amazed by how much one plug-in can transform the feel of your tracks.<br/>\n<h3></h3>\n<h3>Double Your Pleasure</h3>\nFilterFreak actually includes two separate plug-ins — FilterFreak 1 and 2. Load up FilterFreak 1 for a single, simple filter. But if you want more power, fire up FilterFreak 2. It gives you two analog filters side by side that can be used in series or parallel. Combining two filters with FilterFreak’s deep modulation options gives you a huge range of moving sounds to explore.\n<br/><br/>'),(10550,75,1,1759,'<h1>SoundToys FilterFreak</h1>\n<i>Fat analog sweeps, pounding filter rhythms, big hardware sound – with a dual version for double the analog attitude.<br/></i><br/>\nre you searching for smooth, silky, analog filter sweeps? Or are grimy, resonant squelches more your style? Nothing adds character to a track faster than a great filter, and FilterFreak can do it all. From funky envelope follower sounds reminiscent of the classic Mutron, to wide resonant LFO sweeps like the Sherman Filterbank. From timeless wah-wah tones to campy sci-fi sample-and-hold effects.<br/><br/>\nWhether you’re controlling it manually, or locking it to tempo for rhythmic effects, FilterFreak delivers the warm, fat, resonant tones you crave. And we’ve also added exclusive features you won’t find in the classics, so you can create practically any filter effect you can dream up.<br/><br/>\n<h3>FilterFreak Features</h3>\n<ul>\n	<li>Capture the sound of classic resonant filters, with extended control and flexibility</li>\n	<li>Funk up guitar, fatten bass, reshape drums, sweep synths and freak out vocals</li>\n	<li>Choose from one filter, or two that can be used in series or parallel</li>\n	<li>Select highpass, lowpass, bandpass and band reject modes with 2 to 8 poles</li>\n	<li>Add synth-like resonant sweeps or classic wah-wah tones to your tracks</li>\n	<li>Create funky auto-wah, envelope follower and sample-and-hold effects</li>\n	<li>Grunge things up with 7 different analog saturation styles</li>\n	<li>Construct intricate rhythmic filter sequences with the Rhythm Editor</li>\n	<li>Design your own LFO shapes with the Shape Editor</li>\n</ul>\n<br/>\n<h3>Analog Sound</h3>\nFilterFreak faithfully recreates the sounds of classic analog resonant filters. Twist the frequency knob for smooth retro synth sweeps. Crank up the resonance to add some edge, or even push the filter into self-oscillation. And when you drive it hard, FilterFreak responds by breaking up in a gritty and pleasing way, just like hardware.\n<br/><br/>\nWe’ve included seven different analog saturation “styles” that range from warm or crunchy distortion to pumping compression. From subtle to extreme, FilterFreak packs a ton of analog magic into a convenient digital package.<br/><br/>\n<h3>Rhythm and Groove</h3>\nWhile tweaking knobs is always fun, FilterFreak also includes rhythm and groove tools that add motion to your tracks automatically. Turn on Rhythm Mode and flip the MIDI switch to create auto-wah effects that sync to your DAW.\n<br/><br/>\nChoose a simple note value like eighths or sixteenths, select from a library of pre-made rhythms, or even design your own rhythmic patterns using the Rhythm Editor. Then, to perfectly match the feel of your tune, grab the Groove knob and add some swing or shuffle to drop it in the pocket. For effects that move with the music, choose the Envelope or ADSR modes to trigger the filter with incoming audio. You’ll be amazed by how much one plug-in can transform the feel of your tracks.<br/>\n<h3></h3>\n<h3>Double Your Pleasure</h3>\nFilterFreak actually includes two separate plug-ins — FilterFreak 1 and 2. Load up FilterFreak 1 for a single, simple filter. But if you want more power, fire up FilterFreak 2. It gives you two analog filters side by side that can be used in series or parallel. Combining two filters with FilterFreak’s deep modulation options gives you a huge range of moving sounds to explore.\n<br/><br/>'),(10551,85,0,1759,''),(10552,85,1,1759,''),(10553,76,0,1759,''),(10554,76,1,1759,''),(10555,75,0,1760,'<h1>SoundToys Little Plate</h1>\n<span id=\"product_description\"><i>The lush sound of plate reverb – with a modern twist.</i><br/></span><br/>Soundtoys Little Plate, inspired by the original EMT 140 plate reverb, captures the gorgeous sound and vibe of this studio classic and turns it into a fun and musically inspiring plug-in. While the original reverb could only muster a modest five seconds of reverberation time, Soundtoys pushed that number higher. A lot higher. With Decay Time set to infinity, Little Plate’s reverb tails never fade away. <br/><br/>\n<h3>Little Plate Features</h3>\n<ul style=\"\">\n	<li>Add the sound of vintage plate reverb to your tracks</li>\n	<li>Push beyond the limits of the hardware with extended reverb decay time</li>\n	<li>Create infinite reverb effects that never decay</li>\n	<li>Optional modulation for natural-sounding variation in the reverb tail</li>\n	<li>Low Cut filter to tame low frequency build-up</li>\n	<li>25 distinct presets to quickly dial in a sound</li>\n</ul>'),(10556,75,1,1760,'<h1>SoundToys Little Plate</h1>\n<span id=\"product_description\"><i>The lush sound of plate reverb – with a modern twist.</i><br/></span><br/>Soundtoys Little Plate, inspired by the original EMT 140 plate reverb, captures the gorgeous sound and vibe of this studio classic and turns it into a fun and musically inspiring plug-in. While the original reverb could only muster a modest five seconds of reverberation time, Soundtoys pushed that number higher. A lot higher. With Decay Time set to infinity, Little Plate’s reverb tails never fade away. <br/><br/>\n<h3>Little Plate Features</h3>\n<ul style=\"\">\n	<li>Add the sound of vintage plate reverb to your tracks</li>\n	<li>Push beyond the limits of the hardware with extended reverb decay time</li>\n	<li>Create infinite reverb effects that never decay</li>\n	<li>Optional modulation for natural-sounding variation in the reverb tail</li>\n	<li>Low Cut filter to tame low frequency build-up</li>\n	<li>25 distinct presets to quickly dial in a sound</li>\n</ul>'),(10557,85,0,1760,''),(10558,85,1,1760,''),(10559,76,0,1760,''),(10560,76,1,1760,''),(10561,75,0,1761,'<h1>SoundToys Little AlterBoy</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Vocal formant and pitch shifting. Hard Tune FX. Robot/Vocoder Mode. Tube Drive.<br/></span><br/>Little AlterBoy is Soundtoys’ exciting new tool for dramatic voice \nalteration. Get a huge range of vocal transformations from one simple \nplug-in. Change the pitch of a voice, or change the singer’s gender with\n formant shifting. Lock onto a single pitch for robotic sounds. You can \neven control the vocal’s melody using MIDI for creative vocoder-like \neffects.\n<br/><br/>Once you’ve crafted your perfect vocal effect signature, you can use \nMIDI in your DAW to control the pitch for dramatic vocoder or harmony \neffects. It’s a hugely powerful way to find new directions and drive new\n ideas.\n<br/><br/>\n<h3>Little AlterBoy Features</h3>\n<ul style=\"\">\n	<li>Transform vocals with a set of easy-to-use tools in one simple plug-in</li>\n	<li>Shift the pitch and formant (gender) of vocals in real time</li>\n	<li>Use the mix control to create instant vocal harmony</li>\n	<li>Lock vocals to a pitch for robot effects</li>\n	<li>Create vocoder-like effects using MIDI control</li>\n	<li>Get that “hard tune” effect heard in countless hip hop and pop hits</li>\n</ul>'),(10562,75,1,1761,'<h1>SoundToys Little AlterBoy</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Vocal formant and pitch shifting. Hard Tune FX. Robot/Vocoder Mode. Tube Drive.<br/></span><br/>Little AlterBoy is Soundtoys’ exciting new tool for dramatic voice \nalteration. Get a huge range of vocal transformations from one simple \nplug-in. Change the pitch of a voice, or change the singer’s gender with\n formant shifting. Lock onto a single pitch for robotic sounds. You can \neven control the vocal’s melody using MIDI for creative vocoder-like \neffects.\n<br/><br/>Once you’ve crafted your perfect vocal effect signature, you can use \nMIDI in your DAW to control the pitch for dramatic vocoder or harmony \neffects. It’s a hugely powerful way to find new directions and drive new\n ideas.\n<br/><br/>\n<h3>Little AlterBoy Features</h3>\n<ul style=\"\">\n	<li>Transform vocals with a set of easy-to-use tools in one simple plug-in</li>\n	<li>Shift the pitch and formant (gender) of vocals in real time</li>\n	<li>Use the mix control to create instant vocal harmony</li>\n	<li>Lock vocals to a pitch for robot effects</li>\n	<li>Create vocoder-like effects using MIDI control</li>\n	<li>Get that “hard tune” effect heard in countless hip hop and pop hits</li>\n</ul>'),(10563,85,0,1761,''),(10564,85,1,1761,''),(10565,76,0,1761,''),(10566,76,1,1761,''),(10567,75,0,1762,'<h1>SoundToys Little MicroShift</h1>\n<span id=\"product_description\"><span style=\"font-size: 16px; font-style: italic;\"> Massive Vocal Stereo Width. Classic studio trick with classic studio sound. <br/><br/></span></span>Little MicroShift was designed to nail the vibe of sought-after hardware pitch \nshifters like the Eventide H3000 (which featured algorithms originally \ndesigned by Soundtoys’ founders) and the AMS DMX 15-80s.\n        Little MicroShift gives you three different flavors of a classic stereo widening trick at the push of a button.\n<small>\n<p>\n	<br/>Little MicroShift uses a special recipe of pitch shifting and\n delay that varies over time to create rich stereo width. It’s \nincredibly simple to use and perfect for spicing up important \ninstruments, or for blending background vocals subtly into a mix.\n</p>\n</small>\n<h3><br class=\"Apple-interchange-newline\"/>\nLittle MicroShift Features</h3>\n<ul style=\"\">\n	<li>Widen vocals, lead guitars, synths and more</li>\n	<li>Get big sounds fast with an incredibly simple interface</li>\n	<li>Create focus for important instruments, or blend them into the background</li>\n	<li>Select from 3 different flavors of widening based on sought-after hardware</li>\n</ul>\n<small>\n</small><small>\n</small>'),(10568,75,1,1762,'<h1>SoundToys Little MicroShift</h1>\n<span id=\"product_description\"><span style=\"font-size: 16px; font-style: italic;\"> Massive Vocal Stereo Width. Classic studio trick with classic studio sound. <br/><br/></span></span>Little MicroShift was designed to nail the vibe of sought-after hardware pitch \nshifters like the Eventide H3000 (which featured algorithms originally \ndesigned by Soundtoys’ founders) and the AMS DMX 15-80s.\n        Little MicroShift gives you three different flavors of a classic stereo widening trick at the push of a button.\n<small>\n<p>\n	<br/>Little MicroShift uses a special recipe of pitch shifting and\n delay that varies over time to create rich stereo width. It’s \nincredibly simple to use and perfect for spicing up important \ninstruments, or for blending background vocals subtly into a mix.\n</p>\n</small>\n<h3><br class=\"Apple-interchange-newline\"/>\nLittle MicroShift Features</h3>\n<ul style=\"\">\n	<li>Widen vocals, lead guitars, synths and more</li>\n	<li>Get big sounds fast with an incredibly simple interface</li>\n	<li>Create focus for important instruments, or blend them into the background</li>\n	<li>Select from 3 different flavors of widening based on sought-after hardware</li>\n</ul>\n<small>\n</small><small>\n</small>'),(10569,85,0,1762,''),(10570,85,1,1762,''),(10571,76,0,1762,''),(10572,76,1,1762,''),(10573,75,0,1763,'<h1>SoundToys Little PrimalTap</h1>\n<span id=\"product_description\"><span style=\"font-size: 16px; font-style: italic;\">Unique retro delay lets you echo, loop, warp, distort and mangle.	             <br/></span></span><br/><span style=\"font-weight: 400;\">Little PrimalTap captures the highly distinctive sonic imprint of this quirky, and well-loved (by those in the know) vintage digital delay. Don’t be fooled by its simple interface, Little PrimalTap lets you unleash your creative urges to echo, loop, warp, distort, mangle, or create cacophonous cascades of otherworldly sounds. I</span>nspired by the classic Prime Time* from 1978.<br/><br/>The Prime Time was used by a wide variety of artists back in the 80’s \nfor rich guitar delay, chorus, flange and such, and it did a great job \nwith those things. But the really unique character of its sound came \nfrom one of its limitations.\n<br/><br/>The Multiply knob supplies extra delay time that has drastic tonal \nchanges with each increase. The Adjust knob creates pitch shift, chorus,\n or flange when moved. The Feedback and Input drive tie it all together \nto allow for sounds just not found on any of the “normal” delay \nplug-ins.\n<br/><br/>\n<h3></h3>\n<h3>Little PrimalTap Features</h3>\n<ul style=\"\">\n	<li>Get vintage digital delay sounds inspired by the quirky Prime Time echo</li>\n	<li>Create grimy, lo-fi echos and wild pitch jumps with the Multiply knob</li>\n	<li>Warp and bend the echos by tweaking the Adjust control</li>\n	<li>Use automation to bring your tracks to life</li>\n</ul>'),(10574,75,1,1763,'<h1>SoundToys Little PrimalTap</h1>\n<span id=\"product_description\"><span style=\"font-size: 16px; font-style: italic;\">Unique retro delay lets you echo, loop, warp, distort and mangle.	             <br/></span></span><br/><span style=\"font-weight: 400;\">Little PrimalTap captures the highly distinctive sonic imprint of this quirky, and well-loved (by those in the know) vintage digital delay. Don’t be fooled by its simple interface, Little PrimalTap lets you unleash your creative urges to echo, loop, warp, distort, mangle, or create cacophonous cascades of otherworldly sounds. I</span>nspired by the classic Prime Time* from 1978.<br/><br/>The Prime Time was used by a wide variety of artists back in the 80’s \nfor rich guitar delay, chorus, flange and such, and it did a great job \nwith those things. But the really unique character of its sound came \nfrom one of its limitations.\n<br/><br/>The Multiply knob supplies extra delay time that has drastic tonal \nchanges with each increase. The Adjust knob creates pitch shift, chorus,\n or flange when moved. The Feedback and Input drive tie it all together \nto allow for sounds just not found on any of the “normal” delay \nplug-ins.\n<br/><br/>\n<h3></h3>\n<h3>Little PrimalTap Features</h3>\n<ul style=\"\">\n	<li>Get vintage digital delay sounds inspired by the quirky Prime Time echo</li>\n	<li>Create grimy, lo-fi echos and wild pitch jumps with the Multiply knob</li>\n	<li>Warp and bend the echos by tweaking the Adjust control</li>\n	<li>Use automation to bring your tracks to life</li>\n</ul>'),(10575,85,0,1763,''),(10576,85,1,1763,''),(10577,76,0,1763,''),(10578,76,1,1763,''),(10579,75,0,1764,'<h1>SoundToys Little Radiator</h1>\n<span id=\"product_description\"><span style=\"font-size: 16px; font-style: italic;\"> A little tube heat for your tracks.<br/><br/></span></span>\n<p>\n	If you want a touch of 60s warmth on your tracks, reach for Little \nRadiator. It’s great for fattening up bass, guitar, drums, or vocals. \nAnd it’s fantastic on electric piano.\n</p>\nThis modeled tube pre-amp from Soundtoys is based on the Altec 1566A, a simple little preamp straight out of the Motown Era.  Little Radiator drives and breaks up in very interesting ways, creating rich harmonic distortion, exactly like the 1566A.<br/><br/>Looking for something a little dirtier? Flip the Bias switch and dial in a slightly choppy, misaligned sound that’s perfect for lo-fi drums or adding grit to vocals. You can even choose to recreate the noise of the original preamp. Little Radiator has boatloads of color and character. It’s just what you need to shake the “clean” off of your computer recordings.<br/><br/>\n<h3></h3>\n<h3>Little Radiator Features</h3>\n<ul style=\"\">\n	<li>Call up 60’s Motown vibes instantly with the sound of the Altec 1566A pre-amp</li>\n	<li>Add character and grit to vocals, bass, electric piano, drums and more</li>\n	<li>Flip the Bias switch for choppy, lo-fi sounds</li>\n	<li>Add some line noise for a subtle, authentic feel</li>\n</ul>'),(10580,75,1,1764,'<h1>SoundToys Little Radiator</h1>\n<span id=\"product_description\"><span style=\"font-size: 16px; font-style: italic;\"> A little tube heat for your tracks.<br/><br/></span></span>\n<p>\n	If you want a touch of 60s warmth on your tracks, reach for Little \nRadiator. It’s great for fattening up bass, guitar, drums, or vocals. \nAnd it’s fantastic on electric piano.\n</p>\nThis modeled tube pre-amp from Soundtoys is based on the Altec 1566A, a simple little preamp straight out of the Motown Era.  Little Radiator drives and breaks up in very interesting ways, creating rich harmonic distortion, exactly like the 1566A.<br/><br/>Looking for something a little dirtier? Flip the Bias switch and dial in a slightly choppy, misaligned sound that’s perfect for lo-fi drums or adding grit to vocals. You can even choose to recreate the noise of the original preamp. Little Radiator has boatloads of color and character. It’s just what you need to shake the “clean” off of your computer recordings.<br/><br/>\n<h3></h3>\n<h3>Little Radiator Features</h3>\n<ul style=\"\">\n	<li>Call up 60’s Motown vibes instantly with the sound of the Altec 1566A pre-amp</li>\n	<li>Add character and grit to vocals, bass, electric piano, drums and more</li>\n	<li>Flip the Bias switch for choppy, lo-fi sounds</li>\n	<li>Add some line noise for a subtle, authentic feel</li>\n</ul>'),(10581,85,0,1764,''),(10582,85,1,1764,''),(10583,76,0,1764,''),(10584,76,1,1764,''),(10585,75,0,1765,'<h1>SoundToys MicroShift</h1>\n<i>The classic studio trick for super wide vocals – with a powerful new twist.</i><br/>\n<br/>\nNeed some width for your background vocals? Want to make a lead guitar or synth sound larger than life? MicroShift gives you three different flavors of a classic stereo widening trick at the push of a button. It uses a special recipe of pitch shifting, and delay that varies over time, to create rich stereo width. It’s incredibly simple to use and perfect for spicing up important instruments, or for blending background vocals subtly into a mix.\n<br/><br/>\n<h3>Hardware Vibe</h3>\n	We designed MicroShift to nail the vibe of sought-after hardware pitch shifters like the Eventide H3000 (which featured algorithms originally designed by Soundtoys’ founders) and the AMS DMX 15-80s. MicroShift captures the quirks of the originals including saturation and even the different deglitching algorithms used by these units. So now you can have the big, wide sound of the original hardware with a simple and refined interface that makes getting those tried-and-true sounds faster and easier than ever.\n<br/><br/>\n<h3>Expanded Features</h3>\n	While MicroShift is dead simple to use, we also let you precisely adjust the character of the width you’re adding to your tracks. Change the amount of time-varying delay with the Delay control. Adjust the amount of micro pitch shifting with the Detune control. And the Focus control lets you sculpt away low and mid frequencies that might make some tracks sound muddy.\n<br/><br/>\n<h3>A Little Taste is All You Need</h3>\n	When you buy MicroShift, you also get our original mini version of the effect, Little MicroShift. And it’s anything but little. It adds width, space, and spread to any track, just like its big brother, but with a simple three button, one knob interface. Perfect when you want to add width to a track with zero fuss.\n<br/>\n<br/>\n<h3>MicroShift Features</h3>\n<ul>\n	<li>Widen vocals, lead guitars, synths and more</li>\n	<li>Get big sounds fast with a clean, simple interface</li>\n	<li>Put the spotlight on important instruments, or blend them into the background</li>\n	<li>Select from 3 different flavors of widening based on sought-after hardware</li>\n	<li>Add width to a specific frequency range with the Focus knob</li>\n	<li>Control the Detune amount and Delay range of the effect</li>\n</ul>'),(10586,75,1,1765,'<h1>SoundToys MicroShift</h1>\n<i>The classic studio trick for super wide vocals – with a powerful new twist.</i><br/>\n<br/>\nNeed some width for your background vocals? Want to make a lead guitar or synth sound larger than life? MicroShift gives you three different flavors of a classic stereo widening trick at the push of a button. It uses a special recipe of pitch shifting, and delay that varies over time, to create rich stereo width. It’s incredibly simple to use and perfect for spicing up important instruments, or for blending background vocals subtly into a mix.\n<br/><br/>\n<h3>Hardware Vibe</h3>\n	We designed MicroShift to nail the vibe of sought-after hardware pitch shifters like the Eventide H3000 (which featured algorithms originally designed by Soundtoys’ founders) and the AMS DMX 15-80s. MicroShift captures the quirks of the originals including saturation and even the different deglitching algorithms used by these units. So now you can have the big, wide sound of the original hardware with a simple and refined interface that makes getting those tried-and-true sounds faster and easier than ever.\n<br/><br/>\n<h3>Expanded Features</h3>\n	While MicroShift is dead simple to use, we also let you precisely adjust the character of the width you’re adding to your tracks. Change the amount of time-varying delay with the Delay control. Adjust the amount of micro pitch shifting with the Detune control. And the Focus control lets you sculpt away low and mid frequencies that might make some tracks sound muddy.\n<br/><br/>\n<h3>A Little Taste is All You Need</h3>\n	When you buy MicroShift, you also get our original mini version of the effect, Little MicroShift. And it’s anything but little. It adds width, space, and spread to any track, just like its big brother, but with a simple three button, one knob interface. Perfect when you want to add width to a track with zero fuss.\n<br/>\n<br/>\n<h3>MicroShift Features</h3>\n<ul>\n	<li>Widen vocals, lead guitars, synths and more</li>\n	<li>Get big sounds fast with a clean, simple interface</li>\n	<li>Put the spotlight on important instruments, or blend them into the background</li>\n	<li>Select from 3 different flavors of widening based on sought-after hardware</li>\n	<li>Add width to a specific frequency range with the Focus knob</li>\n	<li>Control the Detune amount and Delay range of the effect</li>\n</ul>'),(10587,85,0,1765,''),(10588,85,1,1765,''),(10589,76,0,1765,''),(10590,76,1,1765,''),(10591,75,0,1766,'<h1>SoundToys PanMan</h1>\n<i>Rhythmic auto-panning with cool classic features, new tricks, and analog color.</i><br/><br/>\n<div>\n		Panning. You wouldn’t be alone if you thought of it as nothing more than the simple act of moving sounds from left to right and back again. But it can be so much more. PanMan opens up a Pandora’s Box of panoramic possibilities. Recreate the sounds of classic hardware panning boxes. Trigger panning with the dynamics of a track. Create complex rhythmic patterns and dizzying sweeps. With the full range of Soundtoys modulation tricks at your disposal, PanMan turns the simple act of panning into something incredibly creative and powerful.\n	<br/><br/>\n	<h3>Classic Auto Panning</h3>\n		PanMan incorporates features inspired by classic auto-panners. There are classic auto-panners? Yep! And we tracked down these obscure boxes, like the Spanner and PanScan, to study what makes them tick. One thing we just had to run with comes from the PanScan: the trigger divider. This quirky feature lets you set the number of trigger events it takes to move to a new pan position. For example, you can set it to scan from the left to right in three triggers. Trigger the panning by clicking with your mouse, automate the trigger with your host, or even set a threshold to have it respond to incoming audio. You can even filter the audio going to the trigger so it responds to just low, or high, frequency events. And of course we didn’t stop there: we’ve added 7 different analog modes that add saturation and real analog vibe when you push PanMan hard.\n	<br/><br/>\n	<h3>Modern and Musical Tools</h3>\n		Like our other modulation effects, PanMan also offers advanced rhythmic tools that let you create your own signature pan effects. Two different rhythm modes give you tons of possibilities: Step mode lets you chose a new position on each beat and sync it to your host, while the Shape mode lets you choose from a library of custom panning shapes or even draw your own. Open the Tweak panel and you’ll find a bevy of creative options—you’ll be amazed at how versatile PanMan can be.\n	<br/><br/>\n	<h3>PanMan Features</h3>\n	<ul>\n		<li>Create custom auto panning effects, locked perfectly to your song’s tempo</li>\n		<li>Choose from 6 different panning modes including LFO, step and random</li>\n		<li>Recreates the clever “trigger divider” feature from the vintage PanScan hardware</li>\n		<li>Design your own rhythmic patterns and panning waveshapes</li>\n		<li>Set the threshold to let your music’s dynamics control speed, offset and width</li>\n		<li>Add vintage tone with 7 different analog emulation algorithms</li>\n	</ul>\n</div>'),(10592,75,1,1766,'<h1>SoundToys PanMan</h1>\n<i>Rhythmic auto-panning with cool classic features, new tricks, and analog color.</i><br/><br/>\n<div>\n		Panning. You wouldn’t be alone if you thought of it as nothing more than the simple act of moving sounds from left to right and back again. But it can be so much more. PanMan opens up a Pandora’s Box of panoramic possibilities. Recreate the sounds of classic hardware panning boxes. Trigger panning with the dynamics of a track. Create complex rhythmic patterns and dizzying sweeps. With the full range of Soundtoys modulation tricks at your disposal, PanMan turns the simple act of panning into something incredibly creative and powerful.\n	<br/><br/>\n	<h3>Classic Auto Panning</h3>\n		PanMan incorporates features inspired by classic auto-panners. There are classic auto-panners? Yep! And we tracked down these obscure boxes, like the Spanner and PanScan, to study what makes them tick. One thing we just had to run with comes from the PanScan: the trigger divider. This quirky feature lets you set the number of trigger events it takes to move to a new pan position. For example, you can set it to scan from the left to right in three triggers. Trigger the panning by clicking with your mouse, automate the trigger with your host, or even set a threshold to have it respond to incoming audio. You can even filter the audio going to the trigger so it responds to just low, or high, frequency events. And of course we didn’t stop there: we’ve added 7 different analog modes that add saturation and real analog vibe when you push PanMan hard.\n	<br/><br/>\n	<h3>Modern and Musical Tools</h3>\n		Like our other modulation effects, PanMan also offers advanced rhythmic tools that let you create your own signature pan effects. Two different rhythm modes give you tons of possibilities: Step mode lets you chose a new position on each beat and sync it to your host, while the Shape mode lets you choose from a library of custom panning shapes or even draw your own. Open the Tweak panel and you’ll find a bevy of creative options—you’ll be amazed at how versatile PanMan can be.\n	<br/><br/>\n	<h3>PanMan Features</h3>\n	<ul>\n		<li>Create custom auto panning effects, locked perfectly to your song’s tempo</li>\n		<li>Choose from 6 different panning modes including LFO, step and random</li>\n		<li>Recreates the clever “trigger divider” feature from the vintage PanScan hardware</li>\n		<li>Design your own rhythmic patterns and panning waveshapes</li>\n		<li>Set the threshold to let your music’s dynamics control speed, offset and width</li>\n		<li>Add vintage tone with 7 different analog emulation algorithms</li>\n	</ul>\n</div>'),(10593,85,0,1766,''),(10594,85,1,1766,''),(10595,76,0,1766,''),(10596,76,1,1766,''),(10597,75,0,1767,'<h1>SoundToys PhaseMistress</h1>\n<i>Rich phase sweeps, deep analog vibe, and tempo-locked modulation.</i><br />\n<br />\nSoundToys PhaseMistress captures the sounds of legendary phasers and packs them into one plug-in that takes this creative effect to the next level.\n<br />\n<br />When designing PhaseMistress, SoundToys carefully studied some of the best like the Bi-Phase, Boss Super Phaser, Phase 90, Moogerfooger 12 stage, Small Stone, Trine and many more. They needed to be sure PhaseMistress nailed that rich, silky analog sound. Then they went farther, and added deep tweakability and a range of inspiring rhythmic tools. You’re going to love what SoundToys came up with.\n<br />\n<br />\n<h3>Deeply Customizable</h3>\n		While PhaseMistress comes packed with useful presets and an easy to use hardware-inspired interface, we also give you deep control over the phasing “circuit” that gives this effect its distinctive sound. You can choose from 69 different style presets that alter the phaser’s internal structure. Set the number of stages from subtle 2-stage phasing up to a wild 24 stages. You can also fine-tune the resonance, color and intensity of the effect to craft your own unique phase shifting styles.\n<br />\n<br />\n<h3>Versatile and Creative</h3>\n		Many phasers create their whooshing sound with the help of a humble low frequency oscillator (LFO). That’s great when you want a simple back and forth sweep. But what if you want something a bit more out there? In PhaseMistress you can choose from a multitude of creative LFO shapes that go beyond what you’ll find in hardware–and you can even draw your own curves in the Tweak panel. For cool robotic effects, try the random mode and step mode for phase shifts that jump rather than sweep. Rhythm mode lets you program your own rhythmic patterns, or choose from some great pre-made ones, too. And in Envelope mode, PhaseMistress responds to the dynamics of the incoming audio making it an awesome rhythm-triggered effect for funky drums, slap bass or rhythm guitar sounds.\n<br />\n<br />\nIt’s on guitar, bass, drums, vocals (Queen, ELO, Pink Floyd anybody?), even whole mixes. We’ve heard crushed envelope phased drums and gritty phased out radio guitar. Turns out it’s more powerful than even we thought. This is one phase you won’t grow out of.\n<br />\n<br />\n<h3>PhaseMistress Features</h3>\n<ul>\n	<li>Recreate the silky, funky sounds of a huge range of hardware phasers</li>\n	<li>Get authentic analog sounds with 69 different built-in phasing styles</li>\n	<li>Tweak circuit-level options to design your own phasing styles</li>\n	<li>Choose from 6 different operation modes: LFO, Rhythm, Step, Random and more</li>\n	<li>Create envelope follower and trigger effects that respond to the music</li>\n	<li>Draw your own LFO waveshapes and unique rhythmic patterns</li>\n</ul>'),(10598,75,1,1767,'<h1>SoundToys PhaseMistress</h1>\n<i>Rich phase sweeps, deep analog vibe, and tempo-locked modulation.</i><br />\n<br />\nSoundToys PhaseMistress captures the sounds of legendary phasers and packs them into one plug-in that takes this creative effect to the next level.\n<br />\n<br />When designing PhaseMistress, SoundToys carefully studied some of the best like the Bi-Phase, Boss Super Phaser, Phase 90, Moogerfooger 12 stage, Small Stone, Trine and many more. They needed to be sure PhaseMistress nailed that rich, silky analog sound. Then they went farther, and added deep tweakability and a range of inspiring rhythmic tools. You’re going to love what SoundToys came up with.\n<br />\n<br />\n<h3>Deeply Customizable</h3>\n		While PhaseMistress comes packed with useful presets and an easy to use hardware-inspired interface, we also give you deep control over the phasing “circuit” that gives this effect its distinctive sound. You can choose from 69 different style presets that alter the phaser’s internal structure. Set the number of stages from subtle 2-stage phasing up to a wild 24 stages. You can also fine-tune the resonance, color and intensity of the effect to craft your own unique phase shifting styles.\n<br />\n<br />\n<h3>Versatile and Creative</h3>\n		Many phasers create their whooshing sound with the help of a humble low frequency oscillator (LFO). That’s great when you want a simple back and forth sweep. But what if you want something a bit more out there? In PhaseMistress you can choose from a multitude of creative LFO shapes that go beyond what you’ll find in hardware–and you can even draw your own curves in the Tweak panel. For cool robotic effects, try the random mode and step mode for phase shifts that jump rather than sweep. Rhythm mode lets you program your own rhythmic patterns, or choose from some great pre-made ones, too. And in Envelope mode, PhaseMistress responds to the dynamics of the incoming audio making it an awesome rhythm-triggered effect for funky drums, slap bass or rhythm guitar sounds.\n<br />\n<br />\nIt’s on guitar, bass, drums, vocals (Queen, ELO, Pink Floyd anybody?), even whole mixes. We’ve heard crushed envelope phased drums and gritty phased out radio guitar. Turns out it’s more powerful than even we thought. This is one phase you won’t grow out of.\n<br />\n<br />\n<h3>PhaseMistress Features</h3>\n<ul>\n	<li>Recreate the silky, funky sounds of a huge range of hardware phasers</li>\n	<li>Get authentic analog sounds with 69 different built-in phasing styles</li>\n	<li>Tweak circuit-level options to design your own phasing styles</li>\n	<li>Choose from 6 different operation modes: LFO, Rhythm, Step, Random and more</li>\n	<li>Create envelope follower and trigger effects that respond to the music</li>\n	<li>Draw your own LFO waveshapes and unique rhythmic patterns</li>\n</ul>'),(10599,85,0,1767,''),(10600,85,1,1767,''),(10601,76,0,1767,''),(10602,76,1,1767,''),(10603,75,0,1768,'<span id=\"product_description\">\n<h1>SoundToys PrimalTap</h1>\n<i>Modeled retro dual delay with “freeze” for lo-fi pitch warped loops and delays.</i><br/></span><br/>\n<div>\n	Whether you’re looking for a studio delay that’s full of 80s character, or a performance tool that responds to knob tweaking with mind-bending sounds, PrimalTap is a must!\n	<br/><br/>\n	PrimalTap is an emulation and re-imagining of the unique sound and features of the Prime Time delay, a classic digital delay with some powerful performance and sound design capabilities. Like the original hardware, PrimalTap is a hybrid of digital and analog sound—it packs a surprising amount of grit, vibe, and character for a digital delay. In true Soundtoys fashion, we’ve also evolved and enhanced some of the unique features of the original hardware to give you even more control and creative possibilities.\n	<br/><br/>\n	<h3>PrimalTap Features</h3>\n	<ul>\n		<li>Get vintage digital delay sounds inspired by the quirky Prime Time echo</li>\n		<li>Create complex delay effects and modulations with 2 independent delay taps</li>\n		<li>Create insane pitch jumps with the Multiply knob</li>\n		<li>Create everything from lush chorus to sci-fi warbles with the VCO section</li>\n		<li>Sample, loop and warp incoming audio using the unique Freeze control</li>\n		<li>Go beyond the original hardware with expanded memory and creative new features</li>\n	</ul>\n</div>'),(10604,75,1,1768,'<span id=\"product_description\">\n<h1>SoundToys PrimalTap</h1>\n<i>Modeled retro dual delay with “freeze” for lo-fi pitch warped loops and delays.</i><br/></span><br/>\n<div>\n	Whether you’re looking for a studio delay that’s full of 80s character, or a performance tool that responds to knob tweaking with mind-bending sounds, PrimalTap is a must!\n	<br/><br/>\n	PrimalTap is an emulation and re-imagining of the unique sound and features of the Prime Time delay, a classic digital delay with some powerful performance and sound design capabilities. Like the original hardware, PrimalTap is a hybrid of digital and analog sound—it packs a surprising amount of grit, vibe, and character for a digital delay. In true Soundtoys fashion, we’ve also evolved and enhanced some of the unique features of the original hardware to give you even more control and creative possibilities.\n	<br/><br/>\n	<h3>PrimalTap Features</h3>\n	<ul>\n		<li>Get vintage digital delay sounds inspired by the quirky Prime Time echo</li>\n		<li>Create complex delay effects and modulations with 2 independent delay taps</li>\n		<li>Create insane pitch jumps with the Multiply knob</li>\n		<li>Create everything from lush chorus to sci-fi warbles with the VCO section</li>\n		<li>Sample, loop and warp incoming audio using the unique Freeze control</li>\n		<li>Go beyond the original hardware with expanded memory and creative new features</li>\n	</ul>\n</div>'),(10605,85,0,1768,''),(10606,85,1,1768,''),(10607,76,0,1768,''),(10608,76,1,1768,''),(10609,75,0,1769,'<h1>SoundToys Radiator</h1>\n<i>Vintage vibe, drive, and the magic tone of the 1567a tube mixer. A beast on bass and drums.</i><br/>\n<br/>\nIntroducing Radiator, a dual drive tube input channel and EQ, based on the classic Altec 1567A tube mixer from the 1960s.\n<br/><br/>\nThe original Altec 1567A hardware was a rack-mounted five-input tube mixer with removable transformers, a simple two-knob EQ, an unmistakable green faceplate, and a whopping 97 dB of gain. The sound, by today’s standards, is colored and gritty, with a heaping helping of good old fashioned hardware noise. In its day, it was used on many early Motown hits, and found its way into the PA racks of countless churches and school auditoriums across the USA.\n<br/><br/>\n<h3>A Bit of History</h3>\n	The unmistakable green-faced Altec gear, and in particular the 1566A and 1567A, played a big part in shaping the early “sound” of Motown between 1961 to 1964. Songs by greats like The Four Tops, The Marvelettes and The Supremes went through a 1567A mixer to the massive three track recorder. Ahhh, when life was simple.\n<br/><br/>\nThese mic preamps and mixers have a very colored warm sound and are very loud. The EQ is as simple as it gets, with one knob for bass, and another for treble. After Motown, and after much gear came and went, analog diehards began seeking out the 1566A and 1567A as inexpensive sources for real tube sound.\n<br/><br/>\nMotown Records Chief Enginner, Russ Terrana (shown here), used the 1567A extensively and it became part of the distinctive Motown sound. Producer Matt Wallace was a very big fan. Butch Vig and Billy Bush are also fans.\n<br/><br/>\nRadiator brings the classic Altec tube sound to desktop recording rigs, capturing the distinctive warmth and punch of the original hardware. Featuring the modeled bass and treble tone controls from the original unit, a mix control for easy parallel processing, and the saturation and harmonic effects of the original hardware’s input and output amplifiers.\n<br/><br/>\nAll of these different circuit elements interact, allowing a wide range of tones to be created with just a few simple knobs. Plus we let you decide if the original noise is on or off.\n<br/><br/>\nOver the past few years the Altec mixers have been picked up by recording studios as an inexpensive way to bring analog color and character to computer based digital recording. With producers like Matt Wallace of early Maroon 5 fame utilizing the 1567A on their early hits, and now bands like the Black Keys (who had a custom console made from Altec 1567A’s) the demand, and price, for these funky little color boxes have soared.\n<br/><br/>\nComputer recordists everywhere can now get the Altec tube sound – on every input channel, without the hassles of interfacing to esoteric analog gear, and at a much lower cost. Radiator also includes Little Radiator, a simpler single-stage tube pre-amp model based on the Altec 1566A hardware, the little brother of the Altec 1567A.\n<br/><br/>\n<h3>Radiator Features</h3>\n<ul>\n	<li>Analog modeled tube mixer with EQ</li>\n	<li>Independent input and output amplification stages each add their own character</li>\n	<li>Bring the sound of a Motown era classic to your DAW</li>\n	<li>Load the transformers two different ways with the Mic/Line switch for different sounds</li>\n</ul>'),(10610,75,1,1769,'<h1>SoundToys Radiator</h1>\n<i>Vintage vibe, drive, and the magic tone of the 1567a tube mixer. A beast on bass and drums.</i><br/>\n<br/>\nIntroducing Radiator, a dual drive tube input channel and EQ, based on the classic Altec 1567A tube mixer from the 1960s.\n<br/><br/>\nThe original Altec 1567A hardware was a rack-mounted five-input tube mixer with removable transformers, a simple two-knob EQ, an unmistakable green faceplate, and a whopping 97 dB of gain. The sound, by today’s standards, is colored and gritty, with a heaping helping of good old fashioned hardware noise. In its day, it was used on many early Motown hits, and found its way into the PA racks of countless churches and school auditoriums across the USA.\n<br/><br/>\n<h3>A Bit of History</h3>\n	The unmistakable green-faced Altec gear, and in particular the 1566A and 1567A, played a big part in shaping the early “sound” of Motown between 1961 to 1964. Songs by greats like The Four Tops, The Marvelettes and The Supremes went through a 1567A mixer to the massive three track recorder. Ahhh, when life was simple.\n<br/><br/>\nThese mic preamps and mixers have a very colored warm sound and are very loud. The EQ is as simple as it gets, with one knob for bass, and another for treble. After Motown, and after much gear came and went, analog diehards began seeking out the 1566A and 1567A as inexpensive sources for real tube sound.\n<br/><br/>\nMotown Records Chief Enginner, Russ Terrana (shown here), used the 1567A extensively and it became part of the distinctive Motown sound. Producer Matt Wallace was a very big fan. Butch Vig and Billy Bush are also fans.\n<br/><br/>\nRadiator brings the classic Altec tube sound to desktop recording rigs, capturing the distinctive warmth and punch of the original hardware. Featuring the modeled bass and treble tone controls from the original unit, a mix control for easy parallel processing, and the saturation and harmonic effects of the original hardware’s input and output amplifiers.\n<br/><br/>\nAll of these different circuit elements interact, allowing a wide range of tones to be created with just a few simple knobs. Plus we let you decide if the original noise is on or off.\n<br/><br/>\nOver the past few years the Altec mixers have been picked up by recording studios as an inexpensive way to bring analog color and character to computer based digital recording. With producers like Matt Wallace of early Maroon 5 fame utilizing the 1567A on their early hits, and now bands like the Black Keys (who had a custom console made from Altec 1567A’s) the demand, and price, for these funky little color boxes have soared.\n<br/><br/>\nComputer recordists everywhere can now get the Altec tube sound – on every input channel, without the hassles of interfacing to esoteric analog gear, and at a much lower cost. Radiator also includes Little Radiator, a simpler single-stage tube pre-amp model based on the Altec 1566A hardware, the little brother of the Altec 1567A.\n<br/><br/>\n<h3>Radiator Features</h3>\n<ul>\n	<li>Analog modeled tube mixer with EQ</li>\n	<li>Independent input and output amplification stages each add their own character</li>\n	<li>Bring the sound of a Motown era classic to your DAW</li>\n	<li>Load the transformers two different ways with the Mic/Line switch for different sounds</li>\n</ul>'),(10611,85,0,1769,''),(10612,85,1,1769,''),(10613,76,0,1769,''),(10614,76,1,1769,''),(10615,75,0,1770,'<h1>SoundToys Sie-Q</h1>\n<i>Achieve spacious highs, smooth lows, and great tones fast. This model of German engineering brings a whole new color to your EQ palette.</i><br/>\n<br/>\nIn our quest to capture unique tones and colors from the world of hardware, we dug deep into the Soundtoys gear museum and found  a little known gem: the Siemens W295b. It impressed us so much that it became the the inspiration for our first EQ. Sie-Q faithfully captures the hardware’s smooth curves, airy highs and ease of use, allowing you to get the tone you want fast, without a lot of hassle.\n<br/><br/>\nOf course, in classic Soundtoys tradition, we’ve also carefully modeled its saturation character so you can hit it hard and get the real analog  vibe of the hardware. The magic of this classic piece is now in your hands, and in your mix.\n<br/><br/>\n<h3>Great Highs</h3>\n	The stand out feature of Sie-Q, like the original, is its amazing high end. It adds space and air, and feels perfect on any track, no matter how much you boost.  Turn up the High knob to breathe life into vocals, or pull it back on bright acoustic guitars and cymbals to create a silky sheen. Sie-Q is also a fantastic addition to your master bus–just a touch of the High band can add life and openness. , Is your mix sounding a little too digital? Combining Sie-Q and Decapitator in the Soundtoys Effect Rack is the perfect remedy.\n<br/><br/>\n<h3>EQ with IQ</h3>\n	Like the original, Sie-Q is an EQ that’s hard to make sound bad. One of the things we love so much about the W295b is that even though it’s over half a century old, the design is as intelligent today as it was back in the 60s. When you use it, it just feels like all the hard work has been done for you.\n<br/><br/>\nDesigned for broadcast, its frequencies and curves were carefully chosen to keep things sounding good no matter what. And this clever design translates perfectly to tracking and mixing records, too. From full mixes, to sub mixes, to vocals and guitars, to drums and percussion this EQ helps you find the sweetness without the hassle.\n<br/><br/>\n<h3>Sie-Q Features</h3>\n<ul>\n	<li>Get airy top end with the super-smooth High band</li>\n	<li>Accentuate or tame mid-range details with the switched Mid band</li>\n	<li>Carve out some space or add rich bass with the Low band</li>\n	<li>Push the Drive control to recreate the color of the original EQ</li>\n</ul>'),(10616,75,1,1770,'<h1>SoundToys Sie-Q</h1>\n<i>Achieve spacious highs, smooth lows, and great tones fast. This model of German engineering brings a whole new color to your EQ palette.</i><br/>\n<br/>\nIn our quest to capture unique tones and colors from the world of hardware, we dug deep into the Soundtoys gear museum and found  a little known gem: the Siemens W295b. It impressed us so much that it became the the inspiration for our first EQ. Sie-Q faithfully captures the hardware’s smooth curves, airy highs and ease of use, allowing you to get the tone you want fast, without a lot of hassle.\n<br/><br/>\nOf course, in classic Soundtoys tradition, we’ve also carefully modeled its saturation character so you can hit it hard and get the real analog  vibe of the hardware. The magic of this classic piece is now in your hands, and in your mix.\n<br/><br/>\n<h3>Great Highs</h3>\n	The stand out feature of Sie-Q, like the original, is its amazing high end. It adds space and air, and feels perfect on any track, no matter how much you boost.  Turn up the High knob to breathe life into vocals, or pull it back on bright acoustic guitars and cymbals to create a silky sheen. Sie-Q is also a fantastic addition to your master bus–just a touch of the High band can add life and openness. , Is your mix sounding a little too digital? Combining Sie-Q and Decapitator in the Soundtoys Effect Rack is the perfect remedy.\n<br/><br/>\n<h3>EQ with IQ</h3>\n	Like the original, Sie-Q is an EQ that’s hard to make sound bad. One of the things we love so much about the W295b is that even though it’s over half a century old, the design is as intelligent today as it was back in the 60s. When you use it, it just feels like all the hard work has been done for you.\n<br/><br/>\nDesigned for broadcast, its frequencies and curves were carefully chosen to keep things sounding good no matter what. And this clever design translates perfectly to tracking and mixing records, too. From full mixes, to sub mixes, to vocals and guitars, to drums and percussion this EQ helps you find the sweetness without the hassle.\n<br/><br/>\n<h3>Sie-Q Features</h3>\n<ul>\n	<li>Get airy top end with the super-smooth High band</li>\n	<li>Accentuate or tame mid-range details with the switched Mid band</li>\n	<li>Carve out some space or add rich bass with the Low band</li>\n	<li>Push the Drive control to recreate the color of the original EQ</li>\n</ul>'),(10617,85,0,1770,''),(10618,85,1,1770,''),(10619,76,0,1770,''),(10620,76,1,1770,''),(10621,75,0,1771,'<h1>SoundToys Tremolator</h1>\n<i>Analog guitar tremolo effects and beyond with beat-synced rhythmic chopping.</i><br />\n<br />\nNeed tremolo? We’ve got you covered. Tremolator emulates the tremolo effect of classic hardware like the old Fender Vibrolux guitar amp, and even the great tremolo sound of the Wurlitzer electric piano.\n<br /><br />\nWe added dynamic control of speed and depth that lets the tremolo respond to the music, and then tossed in MIDI sync to lock to your tremolo to tempo. Of course we also included our programmable Rhythm Editor that let’s you write custom patterns and turn Tremolator into a outrageous rhythmic auto-gate. Vintage guitar effect and modern remix tool at your service.\n<br /><br />\n<h3>Tremolo of Old</h3>\n	Gear heads that we are, we broke out the test equipment and analyzed the waveforms created by some of our favorite old hardware. Then we used our custom LFO waveshape editor built into Tremolator to perfectly recreate them.\n<br /><br />\nIt’s very interesting to look at these shapes and see why each of these vintage pieces has a unique sound. Pass that through our Analog mode, which emulates going in and out of a piece of analog hardware, and you’ve got all the pieces of a great sounding tremolo.\n<br /><br />\n<h3>Chop Shop: Auto-Gate Mania</h3>\n	Switch the nice smooth tremolo waveforms over to a sharp squarewave and you turn this into a monster of an auto-gate. You can lock it to MIDI with the flip of a switch, then select 1/8th notes, 16th notes or whatever fits the rhythm you need.\n<br /><br />\nIf straight note pulses isn’t what you need, use the Rhythm Editor to write your own cool groove (You can even pull a groove from our library). More? Add some swing or shuffle, accents, and analog mode. You can even use the Waveshape Editor to tighten or loosen the gate time.\n<br /><br />\n<h3>Get Dynamic</h3>\n	In the Tweak menu you’ll find the Dynamics controls. These parameters let your playing control the speed and/or depth of the modulation.\n<br /><br />\nYou can create cool speed ups or slow downs based on how loud or soft you play. You can create smooth increases in depth as your chords fade out, or heavy tremolo that fades away. Plus there are already some great presets in our Dynamics folder that you can “tweak” to fit your needs.\n<br />\n<br />\n<h3>Tremolator Features</h3>\n<ul>\n	<li>Unmatched auto-gate rhythmic control for a powerful remix tool.</li>\n	<li>Lock to MIDI for tempo and beat-synced tremolo.</li>\n	<li>Dynamic controls allow real-time musical and emotional expression.</li>\n</ul>'),(10622,75,1,1771,'<h1>SoundToys Tremolator</h1>\n<i>Analog guitar tremolo effects and beyond with beat-synced rhythmic chopping.</i><br />\n<br />\nNeed tremolo? We’ve got you covered. Tremolator emulates the tremolo effect of classic hardware like the old Fender Vibrolux guitar amp, and even the great tremolo sound of the Wurlitzer electric piano.\n<br /><br />\nWe added dynamic control of speed and depth that lets the tremolo respond to the music, and then tossed in MIDI sync to lock to your tremolo to tempo. Of course we also included our programmable Rhythm Editor that let’s you write custom patterns and turn Tremolator into a outrageous rhythmic auto-gate. Vintage guitar effect and modern remix tool at your service.\n<br /><br />\n<h3>Tremolo of Old</h3>\n	Gear heads that we are, we broke out the test equipment and analyzed the waveforms created by some of our favorite old hardware. Then we used our custom LFO waveshape editor built into Tremolator to perfectly recreate them.\n<br /><br />\nIt’s very interesting to look at these shapes and see why each of these vintage pieces has a unique sound. Pass that through our Analog mode, which emulates going in and out of a piece of analog hardware, and you’ve got all the pieces of a great sounding tremolo.\n<br /><br />\n<h3>Chop Shop: Auto-Gate Mania</h3>\n	Switch the nice smooth tremolo waveforms over to a sharp squarewave and you turn this into a monster of an auto-gate. You can lock it to MIDI with the flip of a switch, then select 1/8th notes, 16th notes or whatever fits the rhythm you need.\n<br /><br />\nIf straight note pulses isn’t what you need, use the Rhythm Editor to write your own cool groove (You can even pull a groove from our library). More? Add some swing or shuffle, accents, and analog mode. You can even use the Waveshape Editor to tighten or loosen the gate time.\n<br /><br />\n<h3>Get Dynamic</h3>\n	In the Tweak menu you’ll find the Dynamics controls. These parameters let your playing control the speed and/or depth of the modulation.\n<br /><br />\nYou can create cool speed ups or slow downs based on how loud or soft you play. You can create smooth increases in depth as your chords fade out, or heavy tremolo that fades away. Plus there are already some great presets in our Dynamics folder that you can “tweak” to fit your needs.\n<br />\n<br />\n<h3>Tremolator Features</h3>\n<ul>\n	<li>Unmatched auto-gate rhythmic control for a powerful remix tool.</li>\n	<li>Lock to MIDI for tempo and beat-synced tremolo.</li>\n	<li>Dynamic controls allow real-time musical and emotional expression.</li>\n</ul>'),(10623,85,0,1771,''),(10624,85,1,1771,''),(10625,76,0,1771,''),(10626,76,1,1771,''),(10627,75,0,1772,'<h1>Soyuz SU-013 Small-Diaphragm FED Microphone</h1>\n<i>The SU-013 comes\n in Soyuz’ signature cream and brass as well as in classic black.</i><br /><br />The SU-013 features the same capsule as our SU-011 tube microphone but \nwith a FET pre-amp. We worked very hard to develop our own proprietary \ntransformer, which gives the SU-013 a rich and beautiful sound. <br /><br />The SU-013\'s classic internal transformer design creates a detailed \nsound that is robust in the lower frequencies, rich in the midrange, and\n silky smooth in the upper register<span style=\"background-color: initial;\"></span><br /><span style=\"background-color: initial;\"></span><span style=\"background-color: initial;\"><br />\n<h3> Soyuz SU-013 Specifications</h3>\n<ul></ul></span><ul><li>\nType - FET microphone</li><li>\nCapsule -25mm gold sputtered membrane</li><li>\nFrequency Range - 20Hz / 20kHz</li><li>\nPolar Pattern - Cardioid/switchable capsules: hypercardioid, omni</li><li>\nSensitivity - 20 mV/Pa</li><li>\nImpedance - 150 Ohms</li><li>\nSPL  - 143 dB</li><li>\nEquivalent Noise  - 16 dB (a-weighted)</li><li>\nPower - Phantom 48V</li><li>\nSize - 122mm length x 25mm diameter (24mm capsule head diameter)</li><li>\nWeight  - 200 grams (single microphone)</li><li>\nExtras  - Wooden microphone box, -10 dB pad, Clip hoolder\n</li></ul><span style=\"background-color: initial;\"><ul></ul>\n<br />\n<h3> Soyuz SU-013 Includes</h3>\n<ul>\n	<li>Soyuz SU-013 Microphone SU013 mic</li><li><span style=\"background-color: initial;\">Cardioid capsule</span></li>\n	<li>Custom Wooden microphone box wood case </li><li>Power supply and cable, XLR cable and microphone clip</li><li>A microphone clip</li>\n</ul></span>'),(10628,75,1,1772,'<h1>Soyuz SU-013 Small-Diaphragm FED Microphone</h1>\n<i>The SU-013 comes\n in Soyuz’ signature cream and brass as well as in classic black.</i><br /><br />The SU-013 features the same capsule as our SU-011 tube microphone but \nwith a FET pre-amp. We worked very hard to develop our own proprietary \ntransformer, which gives the SU-013 a rich and beautiful sound. <br /><br />The SU-013\'s classic internal transformer design creates a detailed \nsound that is robust in the lower frequencies, rich in the midrange, and\n silky smooth in the upper register<span style=\"background-color: initial;\"></span><br /><span style=\"background-color: initial;\"></span><span style=\"background-color: initial;\"><br />\n<h3> Soyuz SU-013 Specifications</h3>\n<ul></ul></span><ul><li>\nType - FET microphone</li><li>\nCapsule -25mm gold sputtered membrane</li><li>\nFrequency Range - 20Hz / 20kHz</li><li>\nPolar Pattern - Cardioid/switchable capsules: hypercardioid, omni</li><li>\nSensitivity - 20 mV/Pa</li><li>\nImpedance - 150 Ohms</li><li>\nSPL  - 143 dB</li><li>\nEquivalent Noise  - 16 dB (a-weighted)</li><li>\nPower - Phantom 48V</li><li>\nSize - 122mm length x 25mm diameter (24mm capsule head diameter)</li><li>\nWeight  - 200 grams (single microphone)</li><li>\nExtras  - Wooden microphone box, -10 dB pad, Clip hoolder\n</li></ul><span style=\"background-color: initial;\"><ul></ul>\n<br />\n<h3> Soyuz SU-013 Includes</h3>\n<ul>\n	<li>Soyuz SU-013 Microphone SU013 mic</li><li><span style=\"background-color: initial;\">Cardioid capsule</span></li>\n	<li>Custom Wooden microphone box wood case </li><li>Power supply and cable, XLR cable and microphone clip</li><li>A microphone clip</li>\n</ul></span>'),(10629,85,0,1772,'Soyuz SU-013 Small-Diaphragm FED Microphone'),(10630,85,1,1772,'Soyuz SU-013 Small-Diaphragm FED Microphone'),(10631,76,0,1772,''),(10632,76,1,1772,''),(10633,75,0,1773,'<h1>Soyuz SU-017 Large-Diaphragm Tube Condenser Microphone</h1>\n<i>Visually attractive, hand-built valve microphone with a rich sound character to match</i><br /><br />\n	The Soyuz SU-017 large-diaphragm tube condenser microphone delivers sound that is as rich, warm, solid, and beautiful as its hand-crafted, polished design suggests. Swappable capsules make this high performance microphone at home in a wide range of critical recording applications, from vocals to orchestral instruments.\n	<br /><br /><span style=\"background-color: initial;\">Features a cardioid capsule with gold-sputtered, hand-tuned 1 inch diaphragm; optional capsules include omnidirectional and figure 8 patterns.<br /><br />\n<h3>\nSoyuz SU-017 Specifications</h3>\n<ul>\n	<li>Capsules: Two 34mm membranes (one gold sputtered)</li>\n	<li>Frequency Range: 20Hz/20kHz</li>\n	<li>Polar Pattern: Cardioid (swappable) with optional omnidirectional and figure 8</li>\n	<li>Sensitivity: 16mV/Pa</li>\n	<li>Impedance: 270 Ohms</li>\n	<li>SPL: -120 dB</li>\n	<li>Equivalent Noise: 20 dB (a-weighted)</li>\n	<li>Tube Type: 6G1P</li>\n	<li>Power: Dedicated power supply- BP - 017</li>\n	<li>Size: 226mm length x 55mm diameter</li>\n	<li>Weight: 33.51 oz / 950 g</li>\n</ul>\n<br />\n<h3>Soyuz SU-017 Includes</h3>\n<ul>\n	<li>Soyuz SU-107 Microphone</li>\n	<li>Custom Wooden microphone box</li>\n	<li>Power supply, in matching cream color</li>\n	<li>6 pin cable</li>\n	<li>shock mount</li>\n</ul></span>'),(10634,75,1,1773,'<h1>Soyuz SU-017 Large-Diaphragm Tube Condenser Microphone</h1>\n<i>Visually attractive, hand-built valve microphone with a rich sound character to match</i><br /><br />\n	The Soyuz SU-017 large-diaphragm tube condenser microphone delivers sound that is as rich, warm, solid, and beautiful as its hand-crafted, polished design suggests. Swappable capsules make this high performance microphone at home in a wide range of critical recording applications, from vocals to orchestral instruments.\n	<br /><br /><span style=\"background-color: initial;\">Features a cardioid capsule with gold-sputtered, hand-tuned 1 inch diaphragm; optional capsules include omnidirectional and figure 8 patterns.<br /><br />\n<h3>\nSoyuz SU-017 Specifications</h3>\n<ul>\n	<li>Capsules: Two 34mm membranes (one gold sputtered)</li>\n	<li>Frequency Range: 20Hz/20kHz</li>\n	<li>Polar Pattern: Cardioid (swappable) with optional omnidirectional and figure 8</li>\n	<li>Sensitivity: 16mV/Pa</li>\n	<li>Impedance: 270 Ohms</li>\n	<li>SPL: -120 dB</li>\n	<li>Equivalent Noise: 20 dB (a-weighted)</li>\n	<li>Tube Type: 6G1P</li>\n	<li>Power: Dedicated power supply- BP - 017</li>\n	<li>Size: 226mm length x 55mm diameter</li>\n	<li>Weight: 33.51 oz / 950 g</li>\n</ul>\n<br />\n<h3>Soyuz SU-017 Includes</h3>\n<ul>\n	<li>Soyuz SU-107 Microphone</li>\n	<li>Custom Wooden microphone box</li>\n	<li>Power supply, in matching cream color</li>\n	<li>6 pin cable</li>\n	<li>shock mount</li>\n</ul></span>'),(10635,85,0,1773,'Soyuz SU-017 Large-Diaphragm Tube Condenser Microphone'),(10636,85,1,1773,'Soyuz SU-017 Large-Diaphragm Tube Condenser Microphone'),(10637,76,0,1773,''),(10638,76,1,1773,''),(10639,75,0,1774,'<h1>Soyuz SU-019 Large-Diaphragm Tube Condenser Microphone</h1>\n<i>Visually attractive, hand-built valve microphone with a rich sound character to match</i><br /><br />\n	The Soyuz SU-019 large-diaphragm tube condenser microphone features the same handmade K67 style capsule as \nthe SU-017, point to point/wire wrap and a proprietary toroidal \ntransformer, the SU-019 has the smooth, rich sound that people have come\n to expect from Soyuz microphones.<span style=\"background-color: initial;\"><br /><br />\n<h3>\nSoyuz SU-019 Specifications</h3>\n<ul></ul></span><ul><li>Capsules- Two 34mm membranes (one gold sputtered)</li><li><span style=\"background-color: initial;\">\nFrequency Range- 20Hz/20kHz</span></li><li><span style=\"background-color: initial;\">\nPolar Pattern- Cardioid (swappable) with optional omnidirectional and figure 8</span></li><li><span style=\"background-color: initial;\">\nSensitivity- 15mV/Pa</span></li><li><span style=\"background-color: initial;\">\nImpedance- 200 Ohms</span></li><li><span style=\"background-color: initial;\">\nSPL- 140 dB</span></li><li><span style=\"background-color: initial;\">\nEquivalent Noise- 18 dB (a-weighted)</span></li><li><span style=\"background-color: initial;\">\nPower- 48 V Phantom</span></li><li><span style=\"background-color: initial;\">\nSize- 226mm length x 55mm diameter</span></li><li><span style=\"background-color: initial;\">\nWeight- 930g</span></li><li><span style=\"background-color: initial;\">\nExtras- wooden microphone box</span></li></ul><span style=\"background-color: initial;\"><ul></ul>\n<br />\n<h3>Soyuz SU-019 Includes</h3>\n<ul>\n	<li>Soyuz SU-109 Microphone</li>\n	<li>Custom Wooden microphone box</li><li>shock mount</li>\n</ul></span>'),(10640,75,1,1774,'<h1>Soyuz SU-019 Large-Diaphragm Tube Condenser Microphone</h1>\n<i>Visually attractive, hand-built valve microphone with a rich sound character to match</i><br /><br />\n	The Soyuz SU-019 large-diaphragm tube condenser microphone features the same handmade K67 style capsule as \nthe SU-017, point to point/wire wrap and a proprietary toroidal \ntransformer, the SU-019 has the smooth, rich sound that people have come\n to expect from Soyuz microphones.<span style=\"background-color: initial;\"><br /><br />\n<h3>\nSoyuz SU-019 Specifications</h3>\n<ul></ul></span><ul><li>Capsules- Two 34mm membranes (one gold sputtered)</li><li><span style=\"background-color: initial;\">\nFrequency Range- 20Hz/20kHz</span></li><li><span style=\"background-color: initial;\">\nPolar Pattern- Cardioid (swappable) with optional omnidirectional and figure 8</span></li><li><span style=\"background-color: initial;\">\nSensitivity- 15mV/Pa</span></li><li><span style=\"background-color: initial;\">\nImpedance- 200 Ohms</span></li><li><span style=\"background-color: initial;\">\nSPL- 140 dB</span></li><li><span style=\"background-color: initial;\">\nEquivalent Noise- 18 dB (a-weighted)</span></li><li><span style=\"background-color: initial;\">\nPower- 48 V Phantom</span></li><li><span style=\"background-color: initial;\">\nSize- 226mm length x 55mm diameter</span></li><li><span style=\"background-color: initial;\">\nWeight- 930g</span></li><li><span style=\"background-color: initial;\">\nExtras- wooden microphone box</span></li></ul><span style=\"background-color: initial;\"><ul></ul>\n<br />\n<h3>Soyuz SU-019 Includes</h3>\n<ul>\n	<li>Soyuz SU-109 Microphone</li>\n	<li>Custom Wooden microphone box</li><li>shock mount</li>\n</ul></span>'),(10641,85,0,1774,'Soyuz SU-019 Large-Diaphragm Tube Condenser Microphone'),(10642,85,1,1774,'Soyuz SU-019 Large-Diaphragm Tube Condenser Microphone'),(10643,76,0,1774,''),(10644,76,1,1774,''),(10645,75,0,1775,'<h1>Soyuz SU-023 Bomblet Large-Diaphragm Tube Condenser Microphone</h1>\n<i>Modeled after the vintage 19A19 LOMO microphone and handmade by Russian master machinists</i><br /><br />The Bomblet is a unique large diaphragm condenser microphone that, like \nall of our mics, is 100% handmade at our facility in Russia. It features\n a rare Soviet era triple back plate capsule, a proprietary toroidal \ntransformer, a beautiful wooden box and a custom mounting ring. The \nsound and build quality of The Bomblet is unmatched by any microphone in\n its class.<span style=\"background-color: initial;\"><br /><br />\n<h3> Soyuz SU-023 Bomblet Specifications</h3>\n<ul></ul></span><ul><li>Type- Condenser microphone</li><li>\nCapsules- Two 33mm membranes (one gold sputtered)</li><li>\nFrequency Range- 30Hz/18kHz</li><li>\nPolar Pattern- Cardioid</li><li>\nSensitivity- 10mV/Pa</li><li>\nImpedance- 190 Ohms</li><li>\nSPL -140 dB Equivalent Noise- 18 dB (a-weighted)</li><li>\nPower- 48 V Phantom</li><li>\nSize- 194mm length x 47mm diameter</li><li>\nWeight- 510g</li><li>\nExtras- wooden microphone box, -20 dB pad, mic holder</li></ul><span style=\"background-color: initial;\"><ul></ul>\n<br />\n<h3> Soyuz SU-023 Bomblet Includes</h3>\n<ul>\n	<li>Soyuz SU-023 Microphone</li>\n	<li>Custom Wooden microphone box</li><li>A microphone clip</li>\n</ul></span>'),(10646,75,1,1775,'<h1>Soyuz SU-023 Bomblet Large-Diaphragm Tube Condenser Microphone</h1>\n<i>Modeled after the vintage 19A19 LOMO microphone and handmade by Russian master machinists</i><br /><br />The Bomblet is a unique large diaphragm condenser microphone that, like \nall of our mics, is 100% handmade at our facility in Russia. It features\n a rare Soviet era triple back plate capsule, a proprietary toroidal \ntransformer, a beautiful wooden box and a custom mounting ring. The \nsound and build quality of The Bomblet is unmatched by any microphone in\n its class.<span style=\"background-color: initial;\"><br /><br />\n<h3> Soyuz SU-023 Bomblet Specifications</h3>\n<ul></ul></span><ul><li>Type- Condenser microphone</li><li>\nCapsules- Two 33mm membranes (one gold sputtered)</li><li>\nFrequency Range- 30Hz/18kHz</li><li>\nPolar Pattern- Cardioid</li><li>\nSensitivity- 10mV/Pa</li><li>\nImpedance- 190 Ohms</li><li>\nSPL -140 dB Equivalent Noise- 18 dB (a-weighted)</li><li>\nPower- 48 V Phantom</li><li>\nSize- 194mm length x 47mm diameter</li><li>\nWeight- 510g</li><li>\nExtras- wooden microphone box, -20 dB pad, mic holder</li></ul><span style=\"background-color: initial;\"><ul></ul>\n<br />\n<h3> Soyuz SU-023 Bomblet Includes</h3>\n<ul>\n	<li>Soyuz SU-023 Microphone</li>\n	<li>Custom Wooden microphone box</li><li>A microphone clip</li>\n</ul></span>'),(10647,85,0,1775,'Soyuz SU-023 Bomblet Large-Diaphragm Tube Condenser Microphone'),(10648,85,1,1775,'Soyuz SU-023 Bomblet Large-Diaphragm Tube Condenser Microphone'),(10649,76,0,1775,''),(10650,76,1,1775,''),(10651,75,0,1776,'<h2>Spectrasonics Stylus RMX - Realtime Groove Module</h2>\n<span style=\"font-size:16px; font-style:italic;\">Virtual Groove Module plug-in, which combines a massive 7.4 gigabyte core library with a powerful, yet easy to use interface for manipulating sounds in unique and innovative ways. </span><br /><br />\nSpectrasonics Stylus RMX is a powerful groove-based virtual instrument plug-in for Macintosh and Windows. Stylus RMX is the first product to offer the combined power of Groove Control™ with Spectrasonics Advanced Groove Engine (S.A.G.E.™) technology giving users dramatic new control over groove production and performance. Spectrasonics’ in-house development team created the new instrument from the ground up, with dozens of new features including the ground-breaking Chaos Designer™, a completely redesigned multi-page user interface, a new core library of sounds, all with a focus on realtime groove creation and performance.<br /><br />\n\n<h3>Stylus RMX Features</h3>\n<ul>\n<li>First product using new S.A.G.E. technology (Spectrasonics Advanced Groove Engine)                                                                                                                                                         </li>\n<li>Realtime auto-sync to the beat so grooves are always in time, even when performed live! Groove Control is always active for optimum sound quality at virtually any tempo.                                                                  </li>\n<li>Massive cutting-edge 7.4gb Core Library, with nearly triple the sounds of the original Stylus. (the original Stylus core library also included)                                                                                            </li>\n<li>Expandable! Add more grooves with new series of “S.A.G.E. Xpanders” Expandable with Groove Control® activated sample libraries Expandable with Propellerheads REX files, which allow a user to import their own audio loops via ReCycle™.  </li>\n<li>Thousands and thousands of grooves, sounds, patches and interchangeable “Kit modules” for building grooves                                                                                                                                 </li>\n<li>500 Multi Grooves                                                                                                                                                                                                                          </li>\n<li>250 Kits                                                                                                                                                                                                                                   </li>\n<li>World-Class integrated FX Racks w/27 professional effects: Tube Limiter, Tape Slammer, Modern and Vintage Compressors, Wah-Wah, Power Filter, 6 different Vintage/Parametric/Graphic Equalizers, Flame Distortion, Valve Radio, PRO-Verb, EZ-Verb, Spring Verb, Gate Expander, Stereo Imager, Flanger, 2 different Phasers, 3 BPM Delays, Retroplex Tape Delay and Radio Delay</li>\n<li>Easy MIDI Control of all 20,000 parameters with MIDI Learn: simply grab the parameter and the hardware control * Hardware Controller Templates provided for Popular models by Korg, Behringer and M-Audio                    </li>\n<li>Over 9 hours of professional Video Tutorials are included a visual way to quickly learn about Stylus RMX!                                                                                                                    </li>\n<li>Integrated Documentation - A 68,000 word Reference Guide is accessible directly from the plug-in Help menu                                                                                                                   </li>\n<li>Multipage user interface design with fully integrated Browser for easily auditioning & organizing grooves                                                                                                                    </li>\n<li>Innovative Chaos Designer™ adds musical variations and “improvising” within stereo audio grooves!                                                                                                                            </li>\n<li>8-part Multitimbral, each part can have dozens of grooves and samples                                                                                                                                                        </li>\n<li>Multiple stereo outputs (with supported software)                                                                                                                                                                            </li>\n<li>Edit Groups offer unique control of individual beats within an audio loop: add ambience to just the backbeat, control the pitch of the snare inside a stereo loop, reverse only specific slices in the loop…non-destructively</li>\n<li>Favorites Menu creation of user defined suites of grooves, perfect for project-by-project work                                                                                                                               </li>\n<li>Built-in Mixer w/ 8 channels, mute/solo, level, meters, 4 Aux sends, output assignments                                                                                                                                      </li>\n<li>Drag and Drop MIDI files into host sequencer                                                                                                                                                                                 </li>\n<li>User Kit building from core library, User Remixes, cross-platform/cross-host patch compatibility                                                                                                                             </li>\n<li>Groove Menu mode allows any suite of multiple grooves to be played live from the keyboard on a single MIDI channel                                                                                                           </li>\n<li>Grooves can be instantly auditioned at Half Time / Double Time                                                                                                                                                               </li>\n<li>Build Multitrack Grooves in realtime!                                                                                                                                                                                        </li>\n<li>Real-time Jamming in sync!                                                                                                                                                                                                   </li>\n<li>Powerful sound design features include: New multi-mode Power Filter, 3 syncable LFOs, 3 AHDR envelopes, Reverse and more                                                                                                     </li>\n<li>Edit Templates to browse and audition grooves using custom sets of parameter edits                                                                                                                                           </li>\n<li>Easy Edit page with Big Knobs for simple, yet powerful control of key parameters                                                                                                                                             </li>\n</ul><br />\n\n\n<h3>New Core library</h3>\nThe massive new 7.4 gigabyte core-library in Stylus RMX has thousands of cutting-edge grooves and sounds that were created by Spectrasonics’ international sound design team, and produced by Eric Persing. The new core library contains nearly triple the amount of sounds originally offered in the original Stylus, and contains all the original material as well. The new sounds and grooves in Stylus RMX offer a much wider range of modern musical genres than the original Stylus. Mixes of grooves are broken down into individual tracks called Elements for flexibility and infinite combinations. <br /><br />\n\nAlso new in Stylus RMX are thousands of new Kit modules, 250 Kit patches, as well as user Kit construction....Users can create their own customized multitrack remix grooves and kits, save them into the plug-in, and even share them with other Stylus RMX users on different platforms and hosts. RMX 1.5 even comes with 500 new Multi grooves!<br /><br />\n\n<h3>“Xpandable”</h3>\nStylus RMX marks Spectrasonics’ first expandable virtual instrument, with a series of five new “S.A.G.E. Xpanders” for Stylus RMX at $99US retail each. Stylus RMX also can be expanded with existing Groove Control CD-ROM libraries and even REX files – which opens the door for musicians to utilize their own audio loops within the powerful S.A.G.E. Environment.<br /><br />\n\n<h3>Chaos Designer™</h3>\nOf the many new capabilities in Stylus RMX, possibly the most innovative feature is the Chaos Designer™. With simple controls, the user can introduce musical Chaos into the groove, which allows it to have constantly evolving variations— giving the impression that the audio grooves are improvising. The results can be subtle or extreme by setting the simple to use controls. A Capture feature allows the spontaneous audio chaos patterns to be made into a MIDI file, dragged and dropped into the host sequencer, and played back again for further editing by the user. <br /><br />'),(10652,75,1,1776,'<h2>Spectrasonics Stylus RMX - Realtime Groove Module</h2>\n<span style=\"font-size:16px; font-style:italic;\">Virtual Groove Module plug-in, which combines a massive 7.4 gigabyte core library with a powerful, yet easy to use interface for manipulating sounds in unique and innovative ways. </span><br /><br />\nSpectrasonics Stylus RMX is a powerful groove-based virtual instrument plug-in for Macintosh and Windows. Stylus RMX is the first product to offer the combined power of Groove Control™ with Spectrasonics Advanced Groove Engine (S.A.G.E.™) technology giving users dramatic new control over groove production and performance. Spectrasonics’ in-house development team created the new instrument from the ground up, with dozens of new features including the ground-breaking Chaos Designer™, a completely redesigned multi-page user interface, a new core library of sounds, all with a focus on realtime groove creation and performance.<br /><br />\n\n<h3>Stylus RMX Features</h3>\n<ul>\n<li>First product using new S.A.G.E. technology (Spectrasonics Advanced Groove Engine)                                                                                                                                                         </li>\n<li>Realtime auto-sync to the beat so grooves are always in time, even when performed live! Groove Control is always active for optimum sound quality at virtually any tempo.                                                                  </li>\n<li>Massive cutting-edge 7.4gb Core Library, with nearly triple the sounds of the original Stylus. (the original Stylus core library also included)                                                                                            </li>\n<li>Expandable! Add more grooves with new series of “S.A.G.E. Xpanders” Expandable with Groove Control® activated sample libraries Expandable with Propellerheads REX files, which allow a user to import their own audio loops via ReCycle™.  </li>\n<li>Thousands and thousands of grooves, sounds, patches and interchangeable “Kit modules” for building grooves                                                                                                                                 </li>\n<li>500 Multi Grooves                                                                                                                                                                                                                          </li>\n<li>250 Kits                                                                                                                                                                                                                                   </li>\n<li>World-Class integrated FX Racks w/27 professional effects: Tube Limiter, Tape Slammer, Modern and Vintage Compressors, Wah-Wah, Power Filter, 6 different Vintage/Parametric/Graphic Equalizers, Flame Distortion, Valve Radio, PRO-Verb, EZ-Verb, Spring Verb, Gate Expander, Stereo Imager, Flanger, 2 different Phasers, 3 BPM Delays, Retroplex Tape Delay and Radio Delay</li>\n<li>Easy MIDI Control of all 20,000 parameters with MIDI Learn: simply grab the parameter and the hardware control * Hardware Controller Templates provided for Popular models by Korg, Behringer and M-Audio                    </li>\n<li>Over 9 hours of professional Video Tutorials are included a visual way to quickly learn about Stylus RMX!                                                                                                                    </li>\n<li>Integrated Documentation - A 68,000 word Reference Guide is accessible directly from the plug-in Help menu                                                                                                                   </li>\n<li>Multipage user interface design with fully integrated Browser for easily auditioning & organizing grooves                                                                                                                    </li>\n<li>Innovative Chaos Designer™ adds musical variations and “improvising” within stereo audio grooves!                                                                                                                            </li>\n<li>8-part Multitimbral, each part can have dozens of grooves and samples                                                                                                                                                        </li>\n<li>Multiple stereo outputs (with supported software)                                                                                                                                                                            </li>\n<li>Edit Groups offer unique control of individual beats within an audio loop: add ambience to just the backbeat, control the pitch of the snare inside a stereo loop, reverse only specific slices in the loop…non-destructively</li>\n<li>Favorites Menu creation of user defined suites of grooves, perfect for project-by-project work                                                                                                                               </li>\n<li>Built-in Mixer w/ 8 channels, mute/solo, level, meters, 4 Aux sends, output assignments                                                                                                                                      </li>\n<li>Drag and Drop MIDI files into host sequencer                                                                                                                                                                                 </li>\n<li>User Kit building from core library, User Remixes, cross-platform/cross-host patch compatibility                                                                                                                             </li>\n<li>Groove Menu mode allows any suite of multiple grooves to be played live from the keyboard on a single MIDI channel                                                                                                           </li>\n<li>Grooves can be instantly auditioned at Half Time / Double Time                                                                                                                                                               </li>\n<li>Build Multitrack Grooves in realtime!                                                                                                                                                                                        </li>\n<li>Real-time Jamming in sync!                                                                                                                                                                                                   </li>\n<li>Powerful sound design features include: New multi-mode Power Filter, 3 syncable LFOs, 3 AHDR envelopes, Reverse and more                                                                                                     </li>\n<li>Edit Templates to browse and audition grooves using custom sets of parameter edits                                                                                                                                           </li>\n<li>Easy Edit page with Big Knobs for simple, yet powerful control of key parameters                                                                                                                                             </li>\n</ul><br />\n\n\n<h3>New Core library</h3>\nThe massive new 7.4 gigabyte core-library in Stylus RMX has thousands of cutting-edge grooves and sounds that were created by Spectrasonics’ international sound design team, and produced by Eric Persing. The new core library contains nearly triple the amount of sounds originally offered in the original Stylus, and contains all the original material as well. The new sounds and grooves in Stylus RMX offer a much wider range of modern musical genres than the original Stylus. Mixes of grooves are broken down into individual tracks called Elements for flexibility and infinite combinations. <br /><br />\n\nAlso new in Stylus RMX are thousands of new Kit modules, 250 Kit patches, as well as user Kit construction....Users can create their own customized multitrack remix grooves and kits, save them into the plug-in, and even share them with other Stylus RMX users on different platforms and hosts. RMX 1.5 even comes with 500 new Multi grooves!<br /><br />\n\n<h3>“Xpandable”</h3>\nStylus RMX marks Spectrasonics’ first expandable virtual instrument, with a series of five new “S.A.G.E. Xpanders” for Stylus RMX at $99US retail each. Stylus RMX also can be expanded with existing Groove Control CD-ROM libraries and even REX files – which opens the door for musicians to utilize their own audio loops within the powerful S.A.G.E. Environment.<br /><br />\n\n<h3>Chaos Designer™</h3>\nOf the many new capabilities in Stylus RMX, possibly the most innovative feature is the Chaos Designer™. With simple controls, the user can introduce musical Chaos into the groove, which allows it to have constantly evolving variations— giving the impression that the audio grooves are improvising. The results can be subtle or extreme by setting the simple to use controls. A Capture feature allows the spontaneous audio chaos patterns to be made into a MIDI file, dragged and dropped into the host sequencer, and played back again for further editing by the user. <br /><br />'),(10653,85,0,1776,'Spectrasonics Stylus RMX - Realtime Groove Module'),(10654,85,1,1776,'Spectrasonics Stylus RMX - Realtime Groove Module'),(10655,76,0,1776,''),(10656,76,1,1776,''),(10657,75,0,1777,'<h2>Spectrasonics Trilian - Total Bass Module</h2>\n<span style=\"font-size:16px; font-style:italic;\">Trilian brings many different types of Bass together into one extraordinary-sounding virtual instrument. </span><br /><br />\n\n\nSpectrasonics Trilian is designed from the ground up to be the most versatile bass virtual instrument available, with a new level of expressive, real-time performance for acoustic and electric basses – plus cutting-edge synth bass tones with powerful editing and extraordinary sound quality. Trilian is the successor to Spectrasonics’ award-winning Trilogy bass instrument, offering deeper control of musical expression and much greater flexibility of sound shaping. Trilian’s 34GB library is 10-times the size of Trilogy and features all new acoustic, electric and synth basses. <br /><br />\n\nPowered by next generation STEAM Engine technology, Trilian is the first instrument to feature core library integration with Spectrasonics flagship Omnisphere® synth – allowing Trilian’s sounds to be used within the Omnisphere environment for further sound design and keyboard/bass splits.<br /><br />\n\n<h3>STEAM</h3>\nAt Spectrasonics, we’ve always loved Bass sounds.” notes Eric Persing, Founder and Creative Director. “When we started 15 years ago, our very first product was the best-selling Bass Legends sample library. Then in 2002, we introduced Trilogy – the world’s first Bass Virtual Instrument. Now we are very pleased to release Trilian, which represents a whole new generation of our Bass development. Trilian is built on the STEAM Engine that powers Omnisphere, which has allowed us to create the most expressive and flexible Bass module we’ve ever made.”<br /><br />\n\n<h3>Performance </h3>\nThe new acoustic and electric basses in Trilian are sampled at an extremely high level of detail. The combination of the software’s intuitive, automatic selection of legato and release articulations as the user plays - and the extensive ‘Round-Robin’ variations introduced for natural sounding bass lines with repeated notes - create a more dynamic and subtle playing experience. Newly developed multisampled dynamic slides let notes realistically slide from one to another. Each of the new basses feature multi-channel mixing between phase-locked microphone/amplifier and direct outputs of each bass. <br /><br />\n\n<h3>Bass Instruments </h3>\nOver sixty different 4, 5, 6 and 8 string Electric basses are presented in fingered, picked, fretless, slapped, tapped, and muted technique variations – providing a huge variety of sounds for any musical genre. Highlights of the new Electric Basses include a Music Man™ 5-string Studio Bass, Chapman Stick®, Lakland™ Rock P-Bass, Clean Fender® Jazz Bass, a Hardcore Rock Bass, a Retro 1960’s Epiphone® Viola Bass and much more. <br /><br />\n\nTrilian’s stunning new Acoustic Bass is the most detailed instrument Spectrasonics has ever released, with 4 audio channels and over 21,000 samples to create this single instrument! All this combined with Trilian’s high-resolution streaming of the sounds puts a depth of realism into performances that is truly inspiring.<br /><br />\n\n<h3>Sound Creation </h3>\nFor Synth sounds, Trilian features newly-developed 4-Pole “Juicy” and “Power” Filter algorithms with oscillating resonance that are ideal for electronic bass. Hundreds of synth soundsources were created using over 30 of the most exotic and coveted hardware synthesizers – from the original Moog® Taurus Pedals to the latest boutique analog modular synthesizers. A multitude of extremely powerful editing controls are available for sound design – including the “FlexMod” modulation system, Dual Filters with more than 19 filter types, 6 multistage looping envelopes, 6 full-featured LFOs, dual morphing modulation, modulatable FX racks and much more. <br /><br />\n\nTrilian’s FX racks include all of the renowned FX processors from Omnisphere and Stylus RMX – including a wide variety of amp and speaker models, distortions, dynamics processors, equalizers, chorus, phasers, flangers, delays, reverbs, unique specialty FX and more.<br /><br />\n\n<h3>Legacy </h3>\nAs Spectrasonics\' next-generation bass instrument, Trilian includes enhanced, remastered versions of Trilogy’s core library – taking it to a new level of sound and expression. As a special bonus, Spectrasonics’ original “Bass Legends” multisamples have also been remastered and included in the Trilian library, featuring Abraham Laboriel, John Patitucci & Marcus Miller (bass sounds which some hardware synth users may remember from popular Roland Xpansion boards and the classic MBD-1 rack bass module).<br /><br />\n\n<h3>Integration </h3>\nTrilian is the first virtual instrument to feature core library integration with Spectrasonics award-winning, flagship Omnisphere synthesizer. Trilian’s complete sound library can be opened within Omnisphere for further synthesis and expanded performance possibilities.<br /><br />\n\nTrilian’s Arpeggiator features the “Groove Lock” technology Spectrasonics pioneered in Omnisphere and Stylus RMX’s Time Designer – which means that with a simple drag and drop action, the feel of bass patterns created with Trilian’s Arpeggiator can be perfectly synchronized between all three of Spectrasonics instruments.<br /><br />\n\n<h3>Interface </h3>\nThe new Custom Controls interface on the Main page of each patch brings out the most useful and interesting sound modification controls for that specific patch, and a single control can even modify numerous parameters to create unique FX. The Custom Controls are all MIDI Learnable, Automatable and users can create their own configurations of Custom Controls.<br /><br />'),(10658,75,1,1777,'<h2>Spectrasonics Trilian - Total Bass Module</h2>\n<span style=\"font-size:16px; font-style:italic;\">Trilian brings many different types of Bass together into one extraordinary-sounding virtual instrument. </span><br /><br />\n\n\nSpectrasonics Trilian is designed from the ground up to be the most versatile bass virtual instrument available, with a new level of expressive, real-time performance for acoustic and electric basses – plus cutting-edge synth bass tones with powerful editing and extraordinary sound quality. Trilian is the successor to Spectrasonics’ award-winning Trilogy bass instrument, offering deeper control of musical expression and much greater flexibility of sound shaping. Trilian’s 34GB library is 10-times the size of Trilogy and features all new acoustic, electric and synth basses. <br /><br />\n\nPowered by next generation STEAM Engine technology, Trilian is the first instrument to feature core library integration with Spectrasonics flagship Omnisphere® synth – allowing Trilian’s sounds to be used within the Omnisphere environment for further sound design and keyboard/bass splits.<br /><br />\n\n<h3>STEAM</h3>\nAt Spectrasonics, we’ve always loved Bass sounds.” notes Eric Persing, Founder and Creative Director. “When we started 15 years ago, our very first product was the best-selling Bass Legends sample library. Then in 2002, we introduced Trilogy – the world’s first Bass Virtual Instrument. Now we are very pleased to release Trilian, which represents a whole new generation of our Bass development. Trilian is built on the STEAM Engine that powers Omnisphere, which has allowed us to create the most expressive and flexible Bass module we’ve ever made.”<br /><br />\n\n<h3>Performance </h3>\nThe new acoustic and electric basses in Trilian are sampled at an extremely high level of detail. The combination of the software’s intuitive, automatic selection of legato and release articulations as the user plays - and the extensive ‘Round-Robin’ variations introduced for natural sounding bass lines with repeated notes - create a more dynamic and subtle playing experience. Newly developed multisampled dynamic slides let notes realistically slide from one to another. Each of the new basses feature multi-channel mixing between phase-locked microphone/amplifier and direct outputs of each bass. <br /><br />\n\n<h3>Bass Instruments </h3>\nOver sixty different 4, 5, 6 and 8 string Electric basses are presented in fingered, picked, fretless, slapped, tapped, and muted technique variations – providing a huge variety of sounds for any musical genre. Highlights of the new Electric Basses include a Music Man™ 5-string Studio Bass, Chapman Stick®, Lakland™ Rock P-Bass, Clean Fender® Jazz Bass, a Hardcore Rock Bass, a Retro 1960’s Epiphone® Viola Bass and much more. <br /><br />\n\nTrilian’s stunning new Acoustic Bass is the most detailed instrument Spectrasonics has ever released, with 4 audio channels and over 21,000 samples to create this single instrument! All this combined with Trilian’s high-resolution streaming of the sounds puts a depth of realism into performances that is truly inspiring.<br /><br />\n\n<h3>Sound Creation </h3>\nFor Synth sounds, Trilian features newly-developed 4-Pole “Juicy” and “Power” Filter algorithms with oscillating resonance that are ideal for electronic bass. Hundreds of synth soundsources were created using over 30 of the most exotic and coveted hardware synthesizers – from the original Moog® Taurus Pedals to the latest boutique analog modular synthesizers. A multitude of extremely powerful editing controls are available for sound design – including the “FlexMod” modulation system, Dual Filters with more than 19 filter types, 6 multistage looping envelopes, 6 full-featured LFOs, dual morphing modulation, modulatable FX racks and much more. <br /><br />\n\nTrilian’s FX racks include all of the renowned FX processors from Omnisphere and Stylus RMX – including a wide variety of amp and speaker models, distortions, dynamics processors, equalizers, chorus, phasers, flangers, delays, reverbs, unique specialty FX and more.<br /><br />\n\n<h3>Legacy </h3>\nAs Spectrasonics\' next-generation bass instrument, Trilian includes enhanced, remastered versions of Trilogy’s core library – taking it to a new level of sound and expression. As a special bonus, Spectrasonics’ original “Bass Legends” multisamples have also been remastered and included in the Trilian library, featuring Abraham Laboriel, John Patitucci & Marcus Miller (bass sounds which some hardware synth users may remember from popular Roland Xpansion boards and the classic MBD-1 rack bass module).<br /><br />\n\n<h3>Integration </h3>\nTrilian is the first virtual instrument to feature core library integration with Spectrasonics award-winning, flagship Omnisphere synthesizer. Trilian’s complete sound library can be opened within Omnisphere for further synthesis and expanded performance possibilities.<br /><br />\n\nTrilian’s Arpeggiator features the “Groove Lock” technology Spectrasonics pioneered in Omnisphere and Stylus RMX’s Time Designer – which means that with a simple drag and drop action, the feel of bass patterns created with Trilian’s Arpeggiator can be perfectly synchronized between all three of Spectrasonics instruments.<br /><br />\n\n<h3>Interface </h3>\nThe new Custom Controls interface on the Main page of each patch brings out the most useful and interesting sound modification controls for that specific patch, and a single control can even modify numerous parameters to create unique FX. The Custom Controls are all MIDI Learnable, Automatable and users can create their own configurations of Custom Controls.<br /><br />'),(10659,85,0,1777,'Spectrasonics Trilian - Total Bass Module'),(10660,85,1,1777,'Spectrasonics Trilian - Total Bass Module'),(10661,76,0,1777,''),(10662,76,1,1777,''),(10663,75,0,1778,'<h2>Speck Model ASC-V 500 Series Equalizer Module</h2>\n<span style=\"font-size:16px; font-style:italic;\">Simple, useful, high quality 500 Series 4-band equalizer from Speck Electronics</span><br /><br />\nThe Speck ASC-V is a professional single channel 4-band equalizer in a 5.25” vertical module compatible with API Audio® 500 series rack frames. It is simple... it is useful... and it delivers the high quality and specifications found in all Speck Electronics gear.<br /><br />\nThis compact 4-band parametric equalizer has 12 controls for equalization adjustment that covers the audio spectrum from a low 25Hz all the way up to 25kHz. To enhance the classic EQ experience, the ASC-V offers both transformer-balanced and active-balanced outputs.<br /><br />\n\n<h3>ASC-V Features</h3>\n<ul>\n<li>Unified 5.25\" vertical module format that is compatible with API Audio® racks.                           </li>\n<li>Unique design allows module to be operated without rack. Can be self-powered and has 1/4\" TRS I/O jacks. </li>\n<li>Transformer and Active-balanced outputs.                                                                 </li>\n<li>Optional base kit can hold 1 or 2 ASC-V’s for tabletop operation.                                        </li>\n<li>Captive mounting screws stay with the module and extend to pull the module out of the rack.              </li>\n</ul><br />\n\n<h3>4 Sweepable Bands</h3>\n<strong>L Band -</strong> a low band that incorporates a \"Simulated Inductor\" (si) design that sweeps the low frequencies from 20Hz - 150Hz. This band offers a Peak/Shelf select switch.<br /><br />\n<strong>L/M Band - </strong>a switchable low and mid band. This fully parametric section can be switched between a low frequency band that sweeps from 40Hz- 800Hz, or a mid frequency band that sweeps 400Hz-8kHz. This band has a variable bandwidth adjustment.<br /><br />\n<strong>M Band - </strong>a fully parametric mid band with a frequency sweep range from 400Hz to 10kHz.<br /><br />\n<strong>H Band -</strong> a high band that also incorporates a “Simulated Inductor” (si) circuit that adjusts the high frequency from 4kHz all the way up to 25kHz.<br /><br />\n\n<h3>The Rear Panel</h3>\nIn addition to the standard rack friendly edge connector, the ASC-V has a set of 1/4\" TRS input/output jacks, and a power input connector. With these I/O connectors and the optional power module, you can ignore the PC edge connector and use the ASC-V as a stand alone EQ.<br /><br />\n\nConnect the ASC-V to virtually any line level source; balanced, unbalanced, or mixer inserts. The Model ASC-V has high headroom that will handle balanced signals up to +28dBu.\n<br /><br />'),(10664,75,1,1778,'<h2>Speck Model ASC-V 500 Series Equalizer Module</h2>\n<span style=\"font-size:16px; font-style:italic;\">Simple, useful, high quality 500 Series 4-band equalizer from Speck Electronics</span><br /><br />\nThe Speck ASC-V is a professional single channel 4-band equalizer in a 5.25” vertical module compatible with API Audio® 500 series rack frames. It is simple... it is useful... and it delivers the high quality and specifications found in all Speck Electronics gear.<br /><br />\nThis compact 4-band parametric equalizer has 12 controls for equalization adjustment that covers the audio spectrum from a low 25Hz all the way up to 25kHz. To enhance the classic EQ experience, the ASC-V offers both transformer-balanced and active-balanced outputs.<br /><br />\n\n<h3>ASC-V Features</h3>\n<ul>\n<li>Unified 5.25\" vertical module format that is compatible with API Audio® racks.                           </li>\n<li>Unique design allows module to be operated without rack. Can be self-powered and has 1/4\" TRS I/O jacks. </li>\n<li>Transformer and Active-balanced outputs.                                                                 </li>\n<li>Optional base kit can hold 1 or 2 ASC-V’s for tabletop operation.                                        </li>\n<li>Captive mounting screws stay with the module and extend to pull the module out of the rack.              </li>\n</ul><br />\n\n<h3>4 Sweepable Bands</h3>\n<strong>L Band -</strong> a low band that incorporates a \"Simulated Inductor\" (si) design that sweeps the low frequencies from 20Hz - 150Hz. This band offers a Peak/Shelf select switch.<br /><br />\n<strong>L/M Band - </strong>a switchable low and mid band. This fully parametric section can be switched between a low frequency band that sweeps from 40Hz- 800Hz, or a mid frequency band that sweeps 400Hz-8kHz. This band has a variable bandwidth adjustment.<br /><br />\n<strong>M Band - </strong>a fully parametric mid band with a frequency sweep range from 400Hz to 10kHz.<br /><br />\n<strong>H Band -</strong> a high band that also incorporates a “Simulated Inductor” (si) circuit that adjusts the high frequency from 4kHz all the way up to 25kHz.<br /><br />\n\n<h3>The Rear Panel</h3>\nIn addition to the standard rack friendly edge connector, the ASC-V has a set of 1/4\" TRS input/output jacks, and a power input connector. With these I/O connectors and the optional power module, you can ignore the PC edge connector and use the ASC-V as a stand alone EQ.<br /><br />\n\nConnect the ASC-V to virtually any line level source; balanced, unbalanced, or mixer inserts. The Model ASC-V has high headroom that will handle balanced signals up to +28dBu.\n<br /><br />'),(10665,85,0,1778,'Speck Model ASC-V 500 Series Equalizer Module'),(10666,85,1,1778,'Speck Model ASC-V 500 Series Equalizer Module'),(10667,76,0,1778,''),(10668,76,1,1778,''),(10669,75,0,1779,'<h2>Speck MicPre 5.0 Mic Preamp / Mix Node</h2>\n<span style=\"font-size:16px; font-style:italic;\">A seriously powerful single channel Microphone Preamp that includes a mix section for DAWs</span><br /><br />\nThe Speck MicPre 5.0 is a complete single channel microphone preamp that offers features and flexibility for use in the most serious recording applications.<br /><br />\nThe signal path consists of a matched discrete transistor front-end, premium IC\'s, and transformer output stage. With the push of a button, the MP5.0 can change from an \"Transformer-Balanced\" output to a \"Active-Balanced\" output.<br /><br />\nThe compact 1/2 rack format of the MP5.0 can easily be rack mounted and combined with the Speck Model ASC equalizer to create a highly functional outboard channel strip.<br /><br />\nThe MicPre 5.0 also includes a mix section that makes it perfect for DAW\'s and remote recording.<br /><br />\n<h3>MicPre 5.0 Features</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">Matched discrete transistor input and transformer output.</span></li>\n	<li>70 dB of preamp gain.</li>\n	<li>Precision stepped gain control with variable trim control.</li>\n	<li>Variable high pass filter.</li>\n	<li>Mix section can be \"linked\" with additional MP5.0\'s.</li>\n	<li>Transformer \"and\" active balanced outputs.</li>\n	<li>High resolution 10 segment LED VU meter.</li>\n	<li>All input, output, and insert connectors are balanced.</li>\n	<li>Can be combined with the Model ASC EQ to form a Channel Strip</li>\n	\n</ul>\n<br />\n<h3>Flexible signal routing</h3>	\nThe MP5.0 is more than a mic pre. It gives you a surprising number of signal routing alternatives. Just use your imagination when plugging up the MP5.0. Since the MP5.0 works with balanced or unbalanced gear, you will not be stuck looking for the proper cable or worrying about level compatibility between dissimilar gear.<br /><br />\n\n<h3>What is Mix Node?	</h3>	\nThe mix section of the MicPre 5.0 provides a separate left/right mix out with level, pan and mute. With only a simple interface cable, this mix section, or \"Mix Node\" can be linked with any number of MP5.0\'s to form a fully integrated mix section. In many situations such as desktop or location recording, this expandable feature of the MP5.0 can eliminate the need for a separate audio mixer.<br /><br /><h3>About Speck Electronics</h3>Speck Electronics has been producing quality professional audio products for over 35 years. Founded in 1973, Speck Electronics has consistently provided innovations in audio products for all segments of professional recording and touring..'),(10670,75,1,1779,'<h2>Speck MicPre 5.0 Mic Preamp / Mix Node</h2>\n<span style=\"font-size:16px; font-style:italic;\">A seriously powerful single channel Microphone Preamp that includes a mix section for DAWs</span><br /><br />\nThe Speck MicPre 5.0 is a complete single channel microphone preamp that offers features and flexibility for use in the most serious recording applications.<br /><br />\nThe signal path consists of a matched discrete transistor front-end, premium IC\'s, and transformer output stage. With the push of a button, the MP5.0 can change from an \"Transformer-Balanced\" output to a \"Active-Balanced\" output.<br /><br />\nThe compact 1/2 rack format of the MP5.0 can easily be rack mounted and combined with the Speck Model ASC equalizer to create a highly functional outboard channel strip.<br /><br />\nThe MicPre 5.0 also includes a mix section that makes it perfect for DAW\'s and remote recording.<br /><br />\n<h3>MicPre 5.0 Features</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">Matched discrete transistor input and transformer output.</span></li>\n	<li>70 dB of preamp gain.</li>\n	<li>Precision stepped gain control with variable trim control.</li>\n	<li>Variable high pass filter.</li>\n	<li>Mix section can be \"linked\" with additional MP5.0\'s.</li>\n	<li>Transformer \"and\" active balanced outputs.</li>\n	<li>High resolution 10 segment LED VU meter.</li>\n	<li>All input, output, and insert connectors are balanced.</li>\n	<li>Can be combined with the Model ASC EQ to form a Channel Strip</li>\n	\n</ul>\n<br />\n<h3>Flexible signal routing</h3>	\nThe MP5.0 is more than a mic pre. It gives you a surprising number of signal routing alternatives. Just use your imagination when plugging up the MP5.0. Since the MP5.0 works with balanced or unbalanced gear, you will not be stuck looking for the proper cable or worrying about level compatibility between dissimilar gear.<br /><br />\n\n<h3>What is Mix Node?	</h3>	\nThe mix section of the MicPre 5.0 provides a separate left/right mix out with level, pan and mute. With only a simple interface cable, this mix section, or \"Mix Node\" can be linked with any number of MP5.0\'s to form a fully integrated mix section. In many situations such as desktop or location recording, this expandable feature of the MP5.0 can eliminate the need for a separate audio mixer.<br /><br /><h3>About Speck Electronics</h3>Speck Electronics has been producing quality professional audio products for over 35 years. Founded in 1973, Speck Electronics has consistently provided innovations in audio products for all segments of professional recording and touring..'),(10671,85,0,1779,'Speck MicPre 5.0 Mic Preamp / Mix Node'),(10672,85,1,1779,'Speck MicPre 5.0 Mic Preamp / Mix Node'),(10673,76,0,1779,''),(10674,76,1,1779,''),(10675,75,0,1780,'<h1>Speck Via Fader 10 Outboard Fader System</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Via Fader gives you intuitive control of your outboard gear or 500 rack. This outboard fader system features 10 fader channels each with independent inputs and outputs. Price includes external power supply. <br /></span><br />Each of the VF10 fader channels has the necessary input and output electronics to allow the via Fader to interface to any balanced, unbalanced, transformer, or transformer-less line level signal. But most importantly... no additional mixer or audio interface is required.<br /><br />With its clean, uncluttered layout, the via Fader can be placed in a convenient desktop location or installed in your 19\" rack. This gives you more choices when it comes to the studio layout.<br /><br />Not exclusively for 500 rack systems, the via Fader can be used for external DAW summing or as a line mixer for synths and samplers. In many cases, the via Fader can eliminate the need for a mixing console in your studio. <br /><br />The VF10 line inputs and outputs are fully balanced and terminate on DB25 connectors that comply with the Tascam wiring standard.<br />The via Fader has high headroom that will handle balanced signals up to +28dBu.<br /><br />As an added convenience, on the Model VF10 line inputs and outputs 9 and 10 may be accessed with the balanced TRS jacks instead of the DB25 connectors.<br /><br />Included on the bottom panel are jumpers that allow you to add 10dB of additional gain to each fader channel.<br /><br />\n<h3>VF10 Features</h3>\n<ul>\n	<li>Ten - 100mm Fader channels.</li>\n	<li>All fader channels have active-balanced inputs and outputs on DB25 style connectors.</li>\n	<li>100% analog signal path.</li>\n	<li>Ultra-low distortion transparent signal path with +28dBu maximum input and output.</li>\n	<li>10dB gain boost select available for each fader channel.</li>\n	<li>Two mounting choices: Place on your desktop or install in a standard 19\" rack.</li>\n	<li>The Model VF10 has the industry standard 1.5\" spacing found on the 10 slot 500 series rack.</li>\n	<li> 120V or 230V external power supply included</li>\n</ul>\n<br />\n<h3>About Speck Electronics</h3>\nSpeck Electronics has been producing quality professional audio products for over 35 years. Founded in 1973, Speck Electronics has consistently provided innovations in audio products for all segments of professional recording and touring.\n<br /><br />'),(10676,75,1,1780,'<h1>Speck Via Fader 10 Outboard Fader System</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Via Fader gives you intuitive control of your outboard gear or 500 rack. This outboard fader system features 10 fader channels each with independent inputs and outputs. Price includes external power supply. <br /></span><br />Each of the VF10 fader channels has the necessary input and output electronics to allow the via Fader to interface to any balanced, unbalanced, transformer, or transformer-less line level signal. But most importantly... no additional mixer or audio interface is required.<br /><br />With its clean, uncluttered layout, the via Fader can be placed in a convenient desktop location or installed in your 19\" rack. This gives you more choices when it comes to the studio layout.<br /><br />Not exclusively for 500 rack systems, the via Fader can be used for external DAW summing or as a line mixer for synths and samplers. In many cases, the via Fader can eliminate the need for a mixing console in your studio. <br /><br />The VF10 line inputs and outputs are fully balanced and terminate on DB25 connectors that comply with the Tascam wiring standard.<br />The via Fader has high headroom that will handle balanced signals up to +28dBu.<br /><br />As an added convenience, on the Model VF10 line inputs and outputs 9 and 10 may be accessed with the balanced TRS jacks instead of the DB25 connectors.<br /><br />Included on the bottom panel are jumpers that allow you to add 10dB of additional gain to each fader channel.<br /><br />\n<h3>VF10 Features</h3>\n<ul>\n	<li>Ten - 100mm Fader channels.</li>\n	<li>All fader channels have active-balanced inputs and outputs on DB25 style connectors.</li>\n	<li>100% analog signal path.</li>\n	<li>Ultra-low distortion transparent signal path with +28dBu maximum input and output.</li>\n	<li>10dB gain boost select available for each fader channel.</li>\n	<li>Two mounting choices: Place on your desktop or install in a standard 19\" rack.</li>\n	<li>The Model VF10 has the industry standard 1.5\" spacing found on the 10 slot 500 series rack.</li>\n	<li> 120V or 230V external power supply included</li>\n</ul>\n<br />\n<h3>About Speck Electronics</h3>\nSpeck Electronics has been producing quality professional audio products for over 35 years. Founded in 1973, Speck Electronics has consistently provided innovations in audio products for all segments of professional recording and touring.\n<br /><br />'),(10677,85,0,1780,'Speck Via Fader 10 Outboard Fader System'),(10678,85,1,1780,'Speck Via Fader 10 Outboard Fader System'),(10679,76,0,1780,''),(10680,76,1,1780,''),(10681,75,0,1781,'<h1>Speck Via Fader 10 Outboard Fader System Plus Mix</h1>\n<i>Via Fader gives you intuitive control of your outboard gear or 500 rack. This outboard fader system features 10 fader channels plus stereo mix section. Each channel features independent inputs and outputs, plus pan, mix-assign, and solo. The master section has a stereo fader and monitor master level. Price includes external power supply. </i><br /><br />Each of the VF10 fader channels has the necessary input and output electronics to allow the via Fader to interface to any balanced, unbalanced, transformer, or transformer-less line level signal. But most importantly... no additional mixer or audio interface is required.<br /><br />With its clean, uncluttered layout, the via Fader can be placed in a convenient desktop location or installed in your 19\" rack. This gives you more choices when it comes to the studio layout.<br /><br />Not exclusively for 500 rack systems, the via Fader can be used for external DAW summing or as a line mixer for synths and samplers. In many cases, the via Fader can eliminate the need for a mixing console in your studio. <br /><br />The VF10 line inputs and outputs are fully balanced and terminate on DB25 connectors that comply with the Tascam wiring standard.<br />The via Fader has high headroom that will handle balanced signals up to +28dBu.<br /><br />As an added convenience, on the Model VF10 line inputs and outputs 9 and 10 may be accessed with the balanced TRS jacks instead of the DB25 connectors.<br /><br />Included on the bottom panel are jumpers that allow you to add 10dB of additional gain to each fader channel.<br /><br />\n<h3>VF10 Features</h3>\n<ul>\n	<li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline><inline style=\"font-family: Arial;\">Channel mix assign in conjunction with the pan pot, allows the channel to be mixed to the main output</inline></inline></inline><inline style=\"font-size: 12px;\">.</inline></span></li><li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline style=\"font-family: Arial;\">Channel In-place solo allows you to isolate any input channel to the monitor.</inline></inline></span></li><li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline style=\"font-family: Arial;\">100mm stereo master fader.</inline></inline></span></li><li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline style=\"font-family: Arial;\">Monitor master that operates \"post\" of the mix stereo master fader.</inline></inline></span></li><li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline style=\"font-family: Arial;\">Master output connectors: Balanced TRS mix output jacks, balanced TRS mix Insert send & return jacks, and balanced TRS monitor output jacks.</inline></inline></span></li><li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline style=\"font-family: Arial;\">Optional Link connectors for expandable mix section</inline></inline></span></li>\n</ul>\n<br />\n<h3>About Speck Electronics</h3>\nSpeck Electronics has been producing quality professional audio products for over 35 years. Founded in 1973, Speck Electronics has consistently provided innovations in audio products for all segments of professional recording and touring.\n<br /><br />'),(10682,75,1,1781,'<h1>Speck Via Fader 10 Outboard Fader System Plus Mix</h1>\n<i>Via Fader gives you intuitive control of your outboard gear or 500 rack. This outboard fader system features 10 fader channels plus stereo mix section. Each channel features independent inputs and outputs, plus pan, mix-assign, and solo. The master section has a stereo fader and monitor master level. Price includes external power supply. </i><br /><br />Each of the VF10 fader channels has the necessary input and output electronics to allow the via Fader to interface to any balanced, unbalanced, transformer, or transformer-less line level signal. But most importantly... no additional mixer or audio interface is required.<br /><br />With its clean, uncluttered layout, the via Fader can be placed in a convenient desktop location or installed in your 19\" rack. This gives you more choices when it comes to the studio layout.<br /><br />Not exclusively for 500 rack systems, the via Fader can be used for external DAW summing or as a line mixer for synths and samplers. In many cases, the via Fader can eliminate the need for a mixing console in your studio. <br /><br />The VF10 line inputs and outputs are fully balanced and terminate on DB25 connectors that comply with the Tascam wiring standard.<br />The via Fader has high headroom that will handle balanced signals up to +28dBu.<br /><br />As an added convenience, on the Model VF10 line inputs and outputs 9 and 10 may be accessed with the balanced TRS jacks instead of the DB25 connectors.<br /><br />Included on the bottom panel are jumpers that allow you to add 10dB of additional gain to each fader channel.<br /><br />\n<h3>VF10 Features</h3>\n<ul>\n	<li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline><inline style=\"font-family: Arial;\">Channel mix assign in conjunction with the pan pot, allows the channel to be mixed to the main output</inline></inline></inline><inline style=\"font-size: 12px;\">.</inline></span></li><li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline style=\"font-family: Arial;\">Channel In-place solo allows you to isolate any input channel to the monitor.</inline></inline></span></li><li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline style=\"font-family: Arial;\">100mm stereo master fader.</inline></inline></span></li><li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline style=\"font-family: Arial;\">Monitor master that operates \"post\" of the mix stereo master fader.</inline></inline></span></li><li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline style=\"font-family: Arial;\">Master output connectors: Balanced TRS mix output jacks, balanced TRS mix Insert send & return jacks, and balanced TRS monitor output jacks.</inline></inline></span></li><li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline style=\"font-family: Arial;\">Optional Link connectors for expandable mix section</inline></inline></span></li>\n</ul>\n<br />\n<h3>About Speck Electronics</h3>\nSpeck Electronics has been producing quality professional audio products for over 35 years. Founded in 1973, Speck Electronics has consistently provided innovations in audio products for all segments of professional recording and touring.\n<br /><br />'),(10683,85,0,1781,'Speck Via Fader 10 Outboard Fader System plus Mix'),(10684,85,1,1781,'Speck Via Fader 10 Outboard Fader System plus Mix'),(10685,76,0,1781,''),(10686,76,1,1781,''),(10687,75,0,1782,'<h1>Speck Via Fader 16 Outboard Fader System </h1>\n<span style=\"font-style: italic;\">Via Fader gives you intuitive control of your outboard gear or 500 rack. This outboard fader system features 16 fader channels each with independent inputs and outputs. Price includes external power supply. </span><span style=\"font-size: 16px; font-style: italic;\"><br /></span><br />Each of the VF16 fader channels has the necessary input and output electronics to allow the via Fader to interface to any balanced, unbalanced, transformer, or transformer-less line level signal. But most importantly... no additional mixer or audio interface is required.<br /><br />With its clean, uncluttered layout, the via Fader can be placed in a convenient desktop location or installed in your 19\" rack. This gives you more choices when it comes to the studio layout.<br /><br />Not exclusively for 500 rack systems, the via Fader can be used for external DAW summing or as a line mixer for synths and samplers. In many cases, the via Fader can eliminate the need for a mixing console in your studio. <br /><br />The VF16 line inputs and outputs are fully balanced and terminate on DB25 connectors that comply with the Tascam wiring standard.<br />The via Fader has high headroom that will handle balanced signals up to +28dBu.<br /><br />As an added convenience, on the Model VF10 line inputs and outputs 9 and 10 may be accessed with the balanced TRS jacks instead of the DB25 connectors.<br /><br />Included on the bottom panel are jumpers that allow you to add 10dB of additional gain to each fader channel.<br /><br />\n<h3>VF16 Features</h3>\n<ul><li><inline><inline style=\"font-size: 16px;\"><span style=\"font-family: Arial;\">Sixteen - 100mm Fader channels.</span></inline></inline></li><li><span style=\"font-family: Arial;\"><inline><inline style=\"font-size: 16px;\">All fader channels have active-balanced inputs and outputs on DB25 style connectors.</inline></inline></span></li><li><span style=\"font-family: Arial;\"><inline><inline style=\"font-size: 16px;\">100% analog signal path.</inline></inline></span></li><li><span style=\"font-family: Arial;\"><inline><inline style=\"font-size: 16px;\">Ultra-low distortion transparent signal path with +28dBu maximum input and output.</inline></inline></span></li><li><inline><inline style=\"font-size: 16px;\"><span style=\"font-family: Arial;\">10dB gain boost select available for each fader channel. </span><b style=\"font-family: Arial;\">·</b><span style=\"font-family: Arial;\">Two mounting choices: Place on your desktop or install in a standard 19\" rack. </span></inline></inline></li><li><inline style=\"font-family: Arial; font-size: 16px;\"></inline><inline style=\"font-family: Arial; font-size: 16px;\">120V or 230V external power supply included.</inline></li></ul><inline style=\"font-family: Arial; font-size: 14px;\"></inline>\n<br />\n<h3>About Speck Electronics</h3>\nSpeck Electronics has been producing quality professional audio products for over 35 years. Founded in 1973, Speck Electronics has consistently provided innovations in audio products for all segments of professional recording and touring.\n<br /><br />'),(10688,75,1,1782,'<h1>Speck Via Fader 16 Outboard Fader System </h1>\n<span style=\"font-style: italic;\">Via Fader gives you intuitive control of your outboard gear or 500 rack. This outboard fader system features 16 fader channels each with independent inputs and outputs. Price includes external power supply. </span><span style=\"font-size: 16px; font-style: italic;\"><br /></span><br />Each of the VF16 fader channels has the necessary input and output electronics to allow the via Fader to interface to any balanced, unbalanced, transformer, or transformer-less line level signal. But most importantly... no additional mixer or audio interface is required.<br /><br />With its clean, uncluttered layout, the via Fader can be placed in a convenient desktop location or installed in your 19\" rack. This gives you more choices when it comes to the studio layout.<br /><br />Not exclusively for 500 rack systems, the via Fader can be used for external DAW summing or as a line mixer for synths and samplers. In many cases, the via Fader can eliminate the need for a mixing console in your studio. <br /><br />The VF16 line inputs and outputs are fully balanced and terminate on DB25 connectors that comply with the Tascam wiring standard.<br />The via Fader has high headroom that will handle balanced signals up to +28dBu.<br /><br />As an added convenience, on the Model VF10 line inputs and outputs 9 and 10 may be accessed with the balanced TRS jacks instead of the DB25 connectors.<br /><br />Included on the bottom panel are jumpers that allow you to add 10dB of additional gain to each fader channel.<br /><br />\n<h3>VF16 Features</h3>\n<ul><li><inline><inline style=\"font-size: 16px;\"><span style=\"font-family: Arial;\">Sixteen - 100mm Fader channels.</span></inline></inline></li><li><span style=\"font-family: Arial;\"><inline><inline style=\"font-size: 16px;\">All fader channels have active-balanced inputs and outputs on DB25 style connectors.</inline></inline></span></li><li><span style=\"font-family: Arial;\"><inline><inline style=\"font-size: 16px;\">100% analog signal path.</inline></inline></span></li><li><span style=\"font-family: Arial;\"><inline><inline style=\"font-size: 16px;\">Ultra-low distortion transparent signal path with +28dBu maximum input and output.</inline></inline></span></li><li><inline><inline style=\"font-size: 16px;\"><span style=\"font-family: Arial;\">10dB gain boost select available for each fader channel. </span><b style=\"font-family: Arial;\">·</b><span style=\"font-family: Arial;\">Two mounting choices: Place on your desktop or install in a standard 19\" rack. </span></inline></inline></li><li><inline style=\"font-family: Arial; font-size: 16px;\"></inline><inline style=\"font-family: Arial; font-size: 16px;\">120V or 230V external power supply included.</inline></li></ul><inline style=\"font-family: Arial; font-size: 14px;\"></inline>\n<br />\n<h3>About Speck Electronics</h3>\nSpeck Electronics has been producing quality professional audio products for over 35 years. Founded in 1973, Speck Electronics has consistently provided innovations in audio products for all segments of professional recording and touring.\n<br /><br />'),(10689,85,0,1782,'Speck Via Fader 16 Outboard Fader System'),(10690,85,1,1782,'Speck Via Fader 16 Outboard Fader System'),(10691,76,0,1782,''),(10692,76,1,1782,''),(10693,75,0,1783,'<h1>Speck Via Fader 16 Outboard Fader System Plus Mix</h1>\n<i>Via Fader gives you intuitive control of your outboard gear or 500 rack. This outboard fader system features 16 fader channels plus stereo mix section. Each channel features independent inputs and outputs, plus pan, mix-assign, and solo. The master section has a stereo fader and monitor master level. Price includes external power supply. </i><span style=\"font-size: 16px; font-style: italic;\"><br /></span><br />Each of the VF16 fader channels has the necessary input and output electronics to allow the via Fader to interface to any balanced, unbalanced, transformer, or transformer-less line level signal. But most importantly... no additional mixer or audio interface is required.<br /><br />With its clean, uncluttered layout, the via Fader can be placed in a convenient desktop location or installed in your 19\" rack. This gives you more choices when it comes to the studio layout.<br /><br />Not exclusively for 500 rack systems, the via Fader can be used for external DAW summing or as a line mixer for synths and samplers. In many cases, the via Fader can eliminate the need for a mixing console in your studio. <br /><br />The VF16 line inputs and outputs are fully balanced and terminate on DB25 connectors that comply with the Tascam wiring standard.<br />The via Fader has high headroom that will handle balanced signals up to +28dBu.<br /><br />As an added convenience, on the Model VF10 line inputs and outputs 9 and 10 may be accessed with the balanced TRS jacks instead of the DB25 connectors.<br /><br />Included on the bottom panel are jumpers that allow you to add 10dB of additional gain to each fader channel.<br /><br />\n<h3>VF16 Features</h3>\n<ul>\n	<li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline><inline style=\"font-family: Arial;\">Channel mix assign in conjunction with the pan pot, allows the channel to be mixed to the main output</inline></inline></inline><inline style=\"font-size: 12px;\">.</inline></span></li><li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline style=\"font-family: Arial;\">Channel In-place solo allows you to isolate any input channel to the monitor.</inline></inline></span></li><li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline style=\"font-family: Arial;\">100mm stereo master fader.</inline></inline></span></li><li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline style=\"font-family: Arial;\">Monitor master that operates \"post\" of the mix stereo master fader.</inline></inline></span></li><li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline style=\"font-family: Arial;\">Master output connectors: Balanced TRS mix output jacks, balanced TRS mix Insert send & return jacks, and balanced TRS monitor output jacks.</inline></inline></span></li><li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline style=\"font-family: Arial;\">Optional Link connectors for expandable mix section</inline></inline></span></li>\n</ul>\n<br />\n<h3>About Speck Electronics</h3>\nSpeck Electronics has been producing quality professional audio products for over 35 years. Founded in 1973, Speck Electronics has consistently provided innovations in audio products for all segments of professional recording and touring.\n<br /><br />'),(10694,75,1,1783,'<h1>Speck Via Fader 16 Outboard Fader System Plus Mix</h1>\n<i>Via Fader gives you intuitive control of your outboard gear or 500 rack. This outboard fader system features 16 fader channels plus stereo mix section. Each channel features independent inputs and outputs, plus pan, mix-assign, and solo. The master section has a stereo fader and monitor master level. Price includes external power supply. </i><span style=\"font-size: 16px; font-style: italic;\"><br /></span><br />Each of the VF16 fader channels has the necessary input and output electronics to allow the via Fader to interface to any balanced, unbalanced, transformer, or transformer-less line level signal. But most importantly... no additional mixer or audio interface is required.<br /><br />With its clean, uncluttered layout, the via Fader can be placed in a convenient desktop location or installed in your 19\" rack. This gives you more choices when it comes to the studio layout.<br /><br />Not exclusively for 500 rack systems, the via Fader can be used for external DAW summing or as a line mixer for synths and samplers. In many cases, the via Fader can eliminate the need for a mixing console in your studio. <br /><br />The VF16 line inputs and outputs are fully balanced and terminate on DB25 connectors that comply with the Tascam wiring standard.<br />The via Fader has high headroom that will handle balanced signals up to +28dBu.<br /><br />As an added convenience, on the Model VF10 line inputs and outputs 9 and 10 may be accessed with the balanced TRS jacks instead of the DB25 connectors.<br /><br />Included on the bottom panel are jumpers that allow you to add 10dB of additional gain to each fader channel.<br /><br />\n<h3>VF16 Features</h3>\n<ul>\n	<li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline><inline style=\"font-family: Arial;\">Channel mix assign in conjunction with the pan pot, allows the channel to be mixed to the main output</inline></inline></inline><inline style=\"font-size: 12px;\">.</inline></span></li><li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline style=\"font-family: Arial;\">Channel In-place solo allows you to isolate any input channel to the monitor.</inline></inline></span></li><li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline style=\"font-family: Arial;\">100mm stereo master fader.</inline></inline></span></li><li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline style=\"font-family: Arial;\">Monitor master that operates \"post\" of the mix stereo master fader.</inline></inline></span></li><li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline style=\"font-family: Arial;\">Master output connectors: Balanced TRS mix output jacks, balanced TRS mix Insert send & return jacks, and balanced TRS monitor output jacks.</inline></inline></span></li><li><span style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Arial, Helvetica, Geneva, Swiss, SunSans-Regular;\"><inline><inline style=\"font-family: Arial;\">Optional Link connectors for expandable mix section</inline></inline></span></li>\n</ul>\n<br />\n<h3>About Speck Electronics</h3>\nSpeck Electronics has been producing quality professional audio products for over 35 years. Founded in 1973, Speck Electronics has consistently provided innovations in audio products for all segments of professional recording and touring.\n<br /><br />'),(10695,85,0,1783,'Speck Via Fader 16 Outboard Fader System plus Mix'),(10696,85,1,1783,'Speck Via Fader 16 Outboard Fader System plus Mix'),(10697,76,0,1783,''),(10698,76,1,1783,''),(10699,75,0,1784,'<h2>Speck X.Sum Summing Line Mixer</h2>\n<i>X.Sum is the ultimate keyboard summing mixer, featuring the highest fidelity, extremely low noise and flexible summing that any all 16 stereo channels to be sub mixed to main stereo Mix or stereo Mix-B output. </i><br /><br />\nThe Speck X.Sum is a 32 x 4 line mixer that can be used for external DAW summing or as a line mixer for synths, samplers, and effect returns. Any of the 16 stereo channels can be assigned to either the main stereo Mix output or the stereo Mix-B output. <br /><br />Price includes power supply and BB-03 breakout box.<br /><br />\n<h3>Speck X.Sum Features</h3>\n<ul>\n	<li><b>16 Stereo Line Inputs-                                                                 </b></li>\n	<ul>\n		<li>Stereo level control.                                                                  </li>\n		<li>Pan/balance control.                                                                   </li>\n		<li>Mix assign switch that routes input channel to the main stereo mix or Mix-B stereo mix.</li>\n		<li>Mono Switch.                                                                           </li>\n		<li>Left and right balanced TRS inputs.                                                    </li>\n	</ul>\n	<li><b>Master Section-</b></li>\n	<ul>\n		<li>Master level control.                                                      </li>\n		<li>Stereo/mono switch                                                         </li>\n		<li>Monitor/Phone level provides adjustment to headphone jack and Mix-B output.</li>\n		<li>Balanced TRS stereo mix output.                                            </li>\n	</ul>\n	<li><b>Expandable to 128 inputs.</b></li>\n</ul>\n<br />\n<h3>X.Sum Ins & Outs</h3>\n	Connect the X.Sum to virtually any line level source: balanced, unbalanced, transformer, or transformer-less. The  X.Sum has high headroom that will handle balanced signals up to +28dBu. All audio inputs and outputs are fully balanced and available on TRS connectors.\n<br /><br />\nLooking a bit closer at the rear panel, you will notice a Multi-function I/O connector. This connection increases the functionailty of the X.Sum\'s inputs and outputs.<br /><br />\nThe X.Sum includes an external breakout box that adds connectors for the Mix-B outputs and \"Pre\" Mix-A outputs. The left/right \"Pre\" Mix-A outputs bypass the X.Sum\'s master section so you can use your own external preamps to add character and color to your mix.<br /><br />\n\n<h3>About Speck Electronics</h3>\nSpeck Electronics has been producing quality professional audio products for over 35 years.  Founded in 1973, Speck Electronics has consistently provided innovations in audio products for all segments of professional recording and touring.'),(10700,75,1,1784,'<h2>Speck X.Sum Summing Line Mixer</h2>\n<i>X.Sum is the ultimate keyboard summing mixer, featuring the highest fidelity, extremely low noise and flexible summing that any all 16 stereo channels to be sub mixed to main stereo Mix or stereo Mix-B output. </i><br /><br />\nThe Speck X.Sum is a 32 x 4 line mixer that can be used for external DAW summing or as a line mixer for synths, samplers, and effect returns. Any of the 16 stereo channels can be assigned to either the main stereo Mix output or the stereo Mix-B output. <br /><br />Price includes power supply and BB-03 breakout box.<br /><br />\n<h3>Speck X.Sum Features</h3>\n<ul>\n	<li><b>16 Stereo Line Inputs-                                                                 </b></li>\n	<ul>\n		<li>Stereo level control.                                                                  </li>\n		<li>Pan/balance control.                                                                   </li>\n		<li>Mix assign switch that routes input channel to the main stereo mix or Mix-B stereo mix.</li>\n		<li>Mono Switch.                                                                           </li>\n		<li>Left and right balanced TRS inputs.                                                    </li>\n	</ul>\n	<li><b>Master Section-</b></li>\n	<ul>\n		<li>Master level control.                                                      </li>\n		<li>Stereo/mono switch                                                         </li>\n		<li>Monitor/Phone level provides adjustment to headphone jack and Mix-B output.</li>\n		<li>Balanced TRS stereo mix output.                                            </li>\n	</ul>\n	<li><b>Expandable to 128 inputs.</b></li>\n</ul>\n<br />\n<h3>X.Sum Ins & Outs</h3>\n	Connect the X.Sum to virtually any line level source: balanced, unbalanced, transformer, or transformer-less. The  X.Sum has high headroom that will handle balanced signals up to +28dBu. All audio inputs and outputs are fully balanced and available on TRS connectors.\n<br /><br />\nLooking a bit closer at the rear panel, you will notice a Multi-function I/O connector. This connection increases the functionailty of the X.Sum\'s inputs and outputs.<br /><br />\nThe X.Sum includes an external breakout box that adds connectors for the Mix-B outputs and \"Pre\" Mix-A outputs. The left/right \"Pre\" Mix-A outputs bypass the X.Sum\'s master section so you can use your own external preamps to add character and color to your mix.<br /><br />\n\n<h3>About Speck Electronics</h3>\nSpeck Electronics has been producing quality professional audio products for over 35 years.  Founded in 1973, Speck Electronics has consistently provided innovations in audio products for all segments of professional recording and touring.'),(10701,85,0,1784,'Speck X.Sum Line Mixer'),(10702,85,1,1784,'Speck X.Sum Line Mixer'),(10703,76,0,1784,''),(10704,76,1,1784,''),(10705,75,0,1785,'<h2>Speck X.Sum Summing Line Mixer (B-Stock)</h2>\n<i>Get a great deal on a B-Stock Speck X.Sum. This unit is brand-new and comes in open-box, original packaging. In mint condition. Call or Chat for more information. </i><br /><br />The Speck X.Sum is the ultimate keyboard summing mixer, featuring the highest fidelity, extremely low noise and flexible summing that any all 16 stereo channels to be sub mixed to main stereo Mix or stereo Mix-B output. <br /><br />The Speck X.Sum is a 32 x 4 line mixer that can be used for external DAW summing or as a line mixer for synths, samplers, and effect returns. Any of the 16 stereo channels can be assigned to either the main stereo Mix output or the stereo Mix-B output. <br /><br />Price includes power supply and BB-03 breakout box.<br /><br />\n<h3>Speck X.Sum Features</h3>\n<ul>\n	<li><b>16 Stereo Line Inputs-                                                                 </b></li>\n	<ul>\n		<li>Stereo level control.                                                                  </li>\n		<li>Pan/balance control.                                                                   </li>\n		<li>Mix assign switch that routes input channel to the main stereo mix or Mix-B stereo mix.</li>\n		<li>Mono Switch.                                                                           </li>\n		<li>Left and right balanced TRS inputs.                                                    </li>\n	</ul>\n	<li><b>Master Section-</b></li>\n	<ul>\n		<li>Master level control.                                                      </li>\n		<li>Stereo/mono switch                                                         </li>\n		<li>Monitor/Phone level provides adjustment to headphone jack and Mix-B output.</li>\n		<li>Balanced TRS stereo mix output.                                            </li>\n	</ul>\n	<li><b>Expandable to 128 inputs.</b></li>\n</ul>\n<br />\n<h3>X.Sum Ins & Outs</h3>\n	Connect the X.Sum to virtually any line level source: balanced, unbalanced, transformer, or transformer-less. The  X.Sum has high headroom that will handle balanced signals up to +28dBu. All audio inputs and outputs are fully balanced and available on TRS connectors.\n<br /><br />\nLooking a bit closer at the rear panel, you will notice a Multi-function I/O connector. This connection increases the functionailty of the X.Sum\'s inputs and outputs.<br /><br />\nThe X.Sum includes an external breakout box that adds connectors for the Mix-B outputs and \"Pre\" Mix-A outputs. The left/right \"Pre\" Mix-A outputs bypass the X.Sum\'s master section so you can use your own external preamps to add character and color to your mix.<br /><br />\n\n<h3>About Speck Electronics</h3>\nSpeck Electronics has been producing quality professional audio products for over 35 years.  Founded in 1973, Speck Electronics has consistently provided innovations in audio products for all segments of professional recording and touring.'),(10706,75,1,1785,'<h2>Speck X.Sum Summing Line Mixer (B-Stock)</h2>\n<i>Get a great deal on a B-Stock Speck X.Sum. This unit is brand-new and comes in open-box, original packaging. In mint condition. Call or Chat for more information. </i><br /><br />The Speck X.Sum is the ultimate keyboard summing mixer, featuring the highest fidelity, extremely low noise and flexible summing that any all 16 stereo channels to be sub mixed to main stereo Mix or stereo Mix-B output. <br /><br />The Speck X.Sum is a 32 x 4 line mixer that can be used for external DAW summing or as a line mixer for synths, samplers, and effect returns. Any of the 16 stereo channels can be assigned to either the main stereo Mix output or the stereo Mix-B output. <br /><br />Price includes power supply and BB-03 breakout box.<br /><br />\n<h3>Speck X.Sum Features</h3>\n<ul>\n	<li><b>16 Stereo Line Inputs-                                                                 </b></li>\n	<ul>\n		<li>Stereo level control.                                                                  </li>\n		<li>Pan/balance control.                                                                   </li>\n		<li>Mix assign switch that routes input channel to the main stereo mix or Mix-B stereo mix.</li>\n		<li>Mono Switch.                                                                           </li>\n		<li>Left and right balanced TRS inputs.                                                    </li>\n	</ul>\n	<li><b>Master Section-</b></li>\n	<ul>\n		<li>Master level control.                                                      </li>\n		<li>Stereo/mono switch                                                         </li>\n		<li>Monitor/Phone level provides adjustment to headphone jack and Mix-B output.</li>\n		<li>Balanced TRS stereo mix output.                                            </li>\n	</ul>\n	<li><b>Expandable to 128 inputs.</b></li>\n</ul>\n<br />\n<h3>X.Sum Ins & Outs</h3>\n	Connect the X.Sum to virtually any line level source: balanced, unbalanced, transformer, or transformer-less. The  X.Sum has high headroom that will handle balanced signals up to +28dBu. All audio inputs and outputs are fully balanced and available on TRS connectors.\n<br /><br />\nLooking a bit closer at the rear panel, you will notice a Multi-function I/O connector. This connection increases the functionailty of the X.Sum\'s inputs and outputs.<br /><br />\nThe X.Sum includes an external breakout box that adds connectors for the Mix-B outputs and \"Pre\" Mix-A outputs. The left/right \"Pre\" Mix-A outputs bypass the X.Sum\'s master section so you can use your own external preamps to add character and color to your mix.<br /><br />\n\n<h3>About Speck Electronics</h3>\nSpeck Electronics has been producing quality professional audio products for over 35 years.  Founded in 1973, Speck Electronics has consistently provided innovations in audio products for all segments of professional recording and touring.'),(10707,85,0,1785,'Speck X.Sum Line Mixer'),(10708,85,1,1785,'Speck X.Sum Line Mixer'),(10709,76,0,1785,''),(10710,76,1,1785,''),(10711,75,0,1786,'<h2>Spectrasonics Omnisphere 2 Virtual Synthesizer - Boxed Version</h2>\n<span style=\"font-size:16px; font-style:italic;\">An extremely powerful and versatile, virtual synth with over 10,000 sounds and audio import functions for even more sounds!</span><br /><br />\nSpectrasonics Omnisphere 2 is a major upgrade to the best-selling flagship software synthesizer. This award-winning plugin brings many different types of synthesis together into one amazing-sounding instrument that will inspire a lifetime of exploration. \'Version 2.0\' adds a vast amount of new synthesis and creative capabilities for sound design and significant user interface innovations.<br /><br />\nOmnispere 2 implements the most requested Omnisphere feature: Audio import for user created soundsources, along with major new oscillator features including 100 times the number of DSP Oscillator waveforms, morphing Wavetables, new granular synthesis options, over 3,000 unique new sounds created by Spectrasonics acclaimed sound design team, 25 new FX units, an enhanced User Interface, and innovative production/browsing features like Sound Match to instantly locate any related sounds in the library, and Sound Lock to create endless useful patch variations by locking sound aspects while browsing other patches. There are over 10,000 sounds available at your fingertips with Omnisphere 2.<br /><br />\n\n<h3>Audio Import</h3>\nYou can now use your own audio file as a soundsource in Omnisphere 2, by simply dragging onto the interface! Go wild with using the new Granular Synthesis, Harmonia, Innerspace and many other creative tools inside Omnisphere!<br /><br />\n\n<h3>Vast New Synthesis Possibilities:</h3>\n<ul>\n	<li>Audio Import - Use your own audio file as a soundsource in Omnisphere     </li>\n	<li>Over 400 New DSP Waveforms for the Synth Oscillator - an increase of 100X </li>\n	<li>Wavetable Synthesis - Each Waveform is now a Morphing Wavetable           </li>\n	<li>Powerful New Granular Synthesis algorithm                                 </li>\n	<li>Deeper FM/Ring Mod capabilities for aggressive timbres                    </li>\n	<li>8 New Filter Types - New Power Filters, Vowel, Resonators                 </li>\n	<li>New Unison Drift models Analog Polysynth behavior                         </li>\n	<li>Expanded Modulation with new sources and many more targets                </li>\n	<li>Polyphonic LFO and Modulation Envelope options                            </li>\n	<li>Soundsource Reversing                                                     </li>\n</ul>\n<br />\n<h3>Now includes over 10,000 sounds!</h3>\n<ul>\n	<li>More than 3,000 New patches and soundsources from acclaimed Spectrasonics Sound Design Team</li>\n	<li>New Omnisphere EDM library with cutting-edge, modern sounds                                </li>\n	<li>New Exclusive Soundsources from Diego Stocco\'s Custom Built Instruments                    </li>\n	<li>New category of Phrase-based Soundsources for granular synthesis                           </li>\n	<li>Hundreds of new Circuit Bent Soundsources                                                  </li>\n	<li>Many Innovative new Psychoacoustic Soundsources                                            </li>\n	<li>New Melodic Cave Stalactites Soundsources                                                  </li>\n	<li>…and much, much more!                                                                      </li>\n</ul>\n<br />\n<h3>New Interface:</h3>\n<ul>\n	<li>Redesigned Wider User Interface with many improvements                 </li>\n	<li>New Show Modulation pane opens modulation routings/sources on left side</li>\n	<li>New Mini-Browser available at all times                                </li>\n	<li>Larger Full Browser Design                                             </li>\n</ul>\n<br />\n<h3>Enhanced Browsing Experience:</h3>\n<ul>\n	<li>Sound Match™ feature instantly locates any related sounds in the library              </li>\n	<li>Sound Lock™ allows endless useful variations by locking sound aspects while you browse</li>\n	<li>Easy Sound/Project Sharing for collaborators and third party libraries                </li>\n	<li>Greatly Improved sound organization system                                            </li>\n	<li>Fast Progressive Loading allows rapid auditioning                                     </li>\n	<li>Browse Patches by Mood                                                                </li>\n	<li>Expanded Genres                                                                       </li>\n	<li>Browse by Oscillator type                                                             </li>\n	<li>Boolean search options                                                                </li>\n</ul>\n<br />\n<h3>New Arpeggiator Features:</h3>\n<ul>\n	<li>Note transposition for step seq-style patterns         </li>\n	<li>Arp pattern lock while browsing                        </li>\n	<li>Speed Offset control allows slow down/speed up effects </li>\n	<li>New modulation capabilities                            </li>\n</ul>\n<br />\n<h3>25 New FX Units:</h3>\n<ul>\n	<li>Innerspace                                         </li>\n	<li>Quad Resonator                                     </li>\n	<li>Thriftshop Speaker                                 </li>\n	<li>Classic Twin                                       </li>\n	<li>Bassman                                            </li>\n	<li>Hi-Wattage                                         </li>\n	<li>Rock Stack                                         </li>\n	<li>Brit-Vox                                           </li>\n	<li>Boutique                                           </li>\n	<li>San-Z-Amp                                          </li>\n	<li>Stompbox Modeler                                   </li>\n	<li>Metalzone Distortion                               </li>\n	<li>Toxic Smasher                                      </li>\n	<li>Foxxy Fuzz                                         </li>\n	<li>Analog Phaser                                      </li>\n	<li>Analog Flanger                                     </li>\n	<li>Analog Chorus                                      </li>\n	<li>Analog Vibrato                                     </li>\n	<li>Solina Ensemble                                    </li>\n	<li>Vintage Tremolo                                    </li>\n	<li>Envelope Filter                                    </li>\n	<li>Crying Wah                                         </li>\n	<li>Stomp-Comp                                         </li>\n	<li>Precision Compressor                               </li>\n	<li>Studio 2-Band EQ                                   </li>\n	<li>Flexible New FX Features:                          </li>\n	<li>16 FX units per patch                              </li>\n	<li>Full matrix modulation of every FX slot            </li>\n	<li>New Aux FX rack per patch with Pre/Post fader sends</li>\n	<li>Hundreds of New FX Presets and Racks               </li>\n	<li>Lock FX while browsing                             </li>\n</ul>\n<br />\n<h3>Improvements/Special Features:</h3>\n<ul>\n	<li>Live Mode with key splits</li>\n	<li>Enhanced Orb with Attractor mode</li>\n	<li>Tweak Trilian Custom Controls Interface inside Omnisphere</li>\n	<li>Global Clock Speed (Halftime, Doubletime, etc)</li>\n</ul>\n<br />'),(10712,75,1,1786,'<h2>Spectrasonics Omnisphere 2 Virtual Synthesizer - Boxed Version</h2>\n<span style=\"font-size:16px; font-style:italic;\">An extremely powerful and versatile, virtual synth with over 10,000 sounds and audio import functions for even more sounds!</span><br /><br />\nSpectrasonics Omnisphere 2 is a major upgrade to the best-selling flagship software synthesizer. This award-winning plugin brings many different types of synthesis together into one amazing-sounding instrument that will inspire a lifetime of exploration. \'Version 2.0\' adds a vast amount of new synthesis and creative capabilities for sound design and significant user interface innovations.<br /><br />\nOmnispere 2 implements the most requested Omnisphere feature: Audio import for user created soundsources, along with major new oscillator features including 100 times the number of DSP Oscillator waveforms, morphing Wavetables, new granular synthesis options, over 3,000 unique new sounds created by Spectrasonics acclaimed sound design team, 25 new FX units, an enhanced User Interface, and innovative production/browsing features like Sound Match to instantly locate any related sounds in the library, and Sound Lock to create endless useful patch variations by locking sound aspects while browsing other patches. There are over 10,000 sounds available at your fingertips with Omnisphere 2.<br /><br />\n\n<h3>Audio Import</h3>\nYou can now use your own audio file as a soundsource in Omnisphere 2, by simply dragging onto the interface! Go wild with using the new Granular Synthesis, Harmonia, Innerspace and many other creative tools inside Omnisphere!<br /><br />\n\n<h3>Vast New Synthesis Possibilities:</h3>\n<ul>\n	<li>Audio Import - Use your own audio file as a soundsource in Omnisphere     </li>\n	<li>Over 400 New DSP Waveforms for the Synth Oscillator - an increase of 100X </li>\n	<li>Wavetable Synthesis - Each Waveform is now a Morphing Wavetable           </li>\n	<li>Powerful New Granular Synthesis algorithm                                 </li>\n	<li>Deeper FM/Ring Mod capabilities for aggressive timbres                    </li>\n	<li>8 New Filter Types - New Power Filters, Vowel, Resonators                 </li>\n	<li>New Unison Drift models Analog Polysynth behavior                         </li>\n	<li>Expanded Modulation with new sources and many more targets                </li>\n	<li>Polyphonic LFO and Modulation Envelope options                            </li>\n	<li>Soundsource Reversing                                                     </li>\n</ul>\n<br />\n<h3>Now includes over 10,000 sounds!</h3>\n<ul>\n	<li>More than 3,000 New patches and soundsources from acclaimed Spectrasonics Sound Design Team</li>\n	<li>New Omnisphere EDM library with cutting-edge, modern sounds                                </li>\n	<li>New Exclusive Soundsources from Diego Stocco\'s Custom Built Instruments                    </li>\n	<li>New category of Phrase-based Soundsources for granular synthesis                           </li>\n	<li>Hundreds of new Circuit Bent Soundsources                                                  </li>\n	<li>Many Innovative new Psychoacoustic Soundsources                                            </li>\n	<li>New Melodic Cave Stalactites Soundsources                                                  </li>\n	<li>…and much, much more!                                                                      </li>\n</ul>\n<br />\n<h3>New Interface:</h3>\n<ul>\n	<li>Redesigned Wider User Interface with many improvements                 </li>\n	<li>New Show Modulation pane opens modulation routings/sources on left side</li>\n	<li>New Mini-Browser available at all times                                </li>\n	<li>Larger Full Browser Design                                             </li>\n</ul>\n<br />\n<h3>Enhanced Browsing Experience:</h3>\n<ul>\n	<li>Sound Match™ feature instantly locates any related sounds in the library              </li>\n	<li>Sound Lock™ allows endless useful variations by locking sound aspects while you browse</li>\n	<li>Easy Sound/Project Sharing for collaborators and third party libraries                </li>\n	<li>Greatly Improved sound organization system                                            </li>\n	<li>Fast Progressive Loading allows rapid auditioning                                     </li>\n	<li>Browse Patches by Mood                                                                </li>\n	<li>Expanded Genres                                                                       </li>\n	<li>Browse by Oscillator type                                                             </li>\n	<li>Boolean search options                                                                </li>\n</ul>\n<br />\n<h3>New Arpeggiator Features:</h3>\n<ul>\n	<li>Note transposition for step seq-style patterns         </li>\n	<li>Arp pattern lock while browsing                        </li>\n	<li>Speed Offset control allows slow down/speed up effects </li>\n	<li>New modulation capabilities                            </li>\n</ul>\n<br />\n<h3>25 New FX Units:</h3>\n<ul>\n	<li>Innerspace                                         </li>\n	<li>Quad Resonator                                     </li>\n	<li>Thriftshop Speaker                                 </li>\n	<li>Classic Twin                                       </li>\n	<li>Bassman                                            </li>\n	<li>Hi-Wattage                                         </li>\n	<li>Rock Stack                                         </li>\n	<li>Brit-Vox                                           </li>\n	<li>Boutique                                           </li>\n	<li>San-Z-Amp                                          </li>\n	<li>Stompbox Modeler                                   </li>\n	<li>Metalzone Distortion                               </li>\n	<li>Toxic Smasher                                      </li>\n	<li>Foxxy Fuzz                                         </li>\n	<li>Analog Phaser                                      </li>\n	<li>Analog Flanger                                     </li>\n	<li>Analog Chorus                                      </li>\n	<li>Analog Vibrato                                     </li>\n	<li>Solina Ensemble                                    </li>\n	<li>Vintage Tremolo                                    </li>\n	<li>Envelope Filter                                    </li>\n	<li>Crying Wah                                         </li>\n	<li>Stomp-Comp                                         </li>\n	<li>Precision Compressor                               </li>\n	<li>Studio 2-Band EQ                                   </li>\n	<li>Flexible New FX Features:                          </li>\n	<li>16 FX units per patch                              </li>\n	<li>Full matrix modulation of every FX slot            </li>\n	<li>New Aux FX rack per patch with Pre/Post fader sends</li>\n	<li>Hundreds of New FX Presets and Racks               </li>\n	<li>Lock FX while browsing                             </li>\n</ul>\n<br />\n<h3>Improvements/Special Features:</h3>\n<ul>\n	<li>Live Mode with key splits</li>\n	<li>Enhanced Orb with Attractor mode</li>\n	<li>Tweak Trilian Custom Controls Interface inside Omnisphere</li>\n	<li>Global Clock Speed (Halftime, Doubletime, etc)</li>\n</ul>\n<br />'),(10713,85,0,1786,'Spectrasonics Omnisphere 2 Virtual Synthesizer'),(10714,85,1,1786,'Spectrasonics Omnisphere 2 Virtual Synthesizer'),(10715,76,0,1786,''),(10716,76,1,1786,''),(10717,75,0,1787,'<h2>SPL 2Control Speaker & Headphone Monitoring Controller </h2>\n<span style=\"font-size: 16px; font-style: italic;\">The 2Control combines loudspeaker and headphone monitoring in a compact, user-friendly and high quality control device</span><br /><br /><div>The 2Control with its unique Crossfeed control allows to judge a stereo panorama on headphones just like with loudspeakers. The unit\'s concept is consequently based upon duality: Two channels, two sources, two loudspeaker sets, two headphones—2Control.</div><div><span class=\"Apple-style-span\" style=\"font-family: Verdana,sans-serif; font-size: 13px; border-collapse: separate;\"> Any studio based on a digital audio workstation (DAW) can benefit from its important and essential monitoring functions.</span> </div>\n\n \n\n<h3>2Control Key Features</h3><ul><li>The speakers and headphones monitoring center</li><li>Analog volume control for your DAW</li><li>Two excellent headphone amplifiers</li><li>Crossfeed control</li><li>Extend the range of headphone applications</li><li>High-grade balancing stages</li><li>Unbalanced connections (e. g. RCA, TS Jack)</li><li>Separate mono speaker output</li>\n</ul>'),(10718,75,1,1787,'<h2>SPL 2Control Speaker & Headphone Monitoring Controller </h2>\n<span style=\"font-size: 16px; font-style: italic;\">The 2Control combines loudspeaker and headphone monitoring in a compact, user-friendly and high quality control device</span><br /><br /><div>The 2Control with its unique Crossfeed control allows to judge a stereo panorama on headphones just like with loudspeakers. The unit\'s concept is consequently based upon duality: Two channels, two sources, two loudspeaker sets, two headphones—2Control.</div><div><span class=\"Apple-style-span\" style=\"font-family: Verdana,sans-serif; font-size: 13px; border-collapse: separate;\"> Any studio based on a digital audio workstation (DAW) can benefit from its important and essential monitoring functions.</span> </div>\n\n \n\n<h3>2Control Key Features</h3><ul><li>The speakers and headphones monitoring center</li><li>Analog volume control for your DAW</li><li>Two excellent headphone amplifiers</li><li>Crossfeed control</li><li>Extend the range of headphone applications</li><li>High-grade balancing stages</li><li>Unbalanced connections (e. g. RCA, TS Jack)</li><li>Separate mono speaker output</li>\n</ul>'),(10719,85,0,1787,'SPL 2Control Speaker & Headphone Monitoring Controller'),(10720,85,1,1787,'SPL 2Control Speaker & Headphone Monitoring Controller'),(10721,76,0,1787,''),(10722,76,1,1787,''),(10723,75,0,1788,'<h2>Sound Performance Lab DeS Dual Band De-Esser — 500-Series Module</h2>\n<span style=\"font-size: 16px; font-style: italic;\">The Dual-Band De-Esser expands on this concept by making use of two frequency bands that can be used independently or jointly.<br /></span><br />\nThe Dual-Band De-Esser has two de-esser stages increase processing effectiveness without introducing audible artifacts. Focused processing with high and low bands makes it possible to process sibilant sounds with great precision. Furthermore, input signals are automatically adjusted so the processing is uniform, regardless of the distance between source and microphone. The Male/Female modes adapt processing in the lower band to male or female voices.<br /><br />Now, the Dual Band De-Esser DeS is also available in 500 Series format.<br /><br />Back in the 1990‘s, we developed an alternative way to process signals based on phase cancellation in order to reduce sibilance. Unlike traditional compression methods, this procedure is much more unobtrusive and simplifies control to one single parameter. SPL‘s De-Esser quickly became a standard reference among recording studios, broadcast stations and live sound engineers.<br /><br /><h3>Application: Voice (Male/Female)</h3><p>The Male/Female switch allows you to adjust the Low-Band De-Esser to the type of voice being processed. These values have been determined by practical experience, so that the processor adapts better to gender. Nevertheless, you cannot take for granted that these settings will suit every single male and female voice.<br /><br />Consider the Male/Female function as an additional tool to help you set the Low-Band De-Esser more precisely according to your needs. Always trust your ears to find the best settings.</p><h3>Hi-S</h3>Use the Hi-S control to adjust the intensity of the sibilance reduction in the upper frequency range. The center frequency for sibilance recognition is set at 11.2kHz with a 3kHz  bandwidth. Scale values for the filter are displayed in dB. The actual reduction values, i.e. after phase cancellation, might be less. Please note that the Voice Male/Female button has no effect on the high band de-esser. In practice, for most applications, the best results are usually achieved when Hi-S setting  is set between 3 and 7.With the ON/Bypass button you can switch the DeS into the signal path. If the button is in position “On”, the DeS is active. If the button is in position “Bypass”, the audio signal passes through unprocessed<br /><br /><h3>Lo-S</h3>Use the Lo-S control to adjust the intensity of the sibilance reduction in the lower frequency range. The center frequency for sibilance recognition is set at 7.6kHz in Voice Female mode and 6.4kHz in Voice Male mode. For more information, please refer to section “Voice Male/Female” on page 13. The bandwidth of the low band de-esser is  1.44kHz. Scale values for the filter are displayed in dB. The actual reduction values, i.e. after phase cancellation, might be less.In practice, for most applications, the best results are usually achieved when Lo-S setting is set between 3 and 7.<br /><br /><h3>High Band/Low Band De-Essing On/Off</h3>Use the High Band De-Essing On/Off button to turn the Hi-S reduction on or off. Use the Low Band De-Essing On/Off button to turn the Lo-S reduction on or off. You can use the two processing stages separately or jointly. They are connected in series as independent de-esser modules. The low band de-esser is set first in the chain. If both de-essers are engaged, there is interaction between them: a signal already processed with the low band de-esser is different from the raw material that the high band de-esser would otherwise process.<br /><br class=\"Apple-interchange-newline\" /><div><div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\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 /><h3>Dual Band De-Esser 500 Series Module Specifications:</h3><div id=\"c56913\"><p class=\"paragraphNoMargin\"><strong>Input</strong>:</p><ul><li>Balanced</li><li>Impedance: 20kOhm</li><li>Max. Input level: +22 dBu</li></ul><p class=\"paragraphNoMargin\"><strong>Output:</strong></p><ul><li>Balanced<span id=\"1452761662412S\" data-htmlarea-bookmark=\"true\"> <br /></span></li><li>Impedance<span id=\"1452761667790S\" data-htmlarea-bookmark=\"true\"> </span>: 150 Ohm</li><li>Max. Output Level: +22 dBu</li></ul><p><strong>Frequency Range: </strong>10Hz -100kHz</p><p><strong>Noise: </strong>-93 dBu (A-weighted)</p><p><strong>Dynamic Range:</strong> 116 dB<span id=\"1452761493465S\" data-htmlarea-bookmark=\"true\"> </span></p><p class=\"paragraphNoMargin\"><strong>CMRR:</strong> &gt; -80 dBu</p><p><em>(at 1 kHz, 0 dBu input level, unity gain)</em></p><p class=\"paragraphNoMargin\"><strong>THD:</strong> 0,03%</p><p class=\"paragraphNoMargin\"><em>(at 0 dBu input level, unity gain)</em></p><p class=\"paragraphNoMargin text-left\"> <strong>Housing: </strong>Single Slot 500er-Serie rack modul</p><p><strong>Weight</strong>: 0,65 kg /1.43 lbs</p><p> <em>0dBu = 0,775V. Specifications subject to change without notice.</em><span id=\"1452761629696S\" data-htmlarea-bookmark=\"true\"></span></p></div><br />\n<h3>For more information, call or chat with an RSPE representative today. </h3>\n<br />\nThis product is also available as part of the RSPE Demo 4 Free & Rental Program, <span class=\"colors_productprice\" style=\"font-weight: bold; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/SSL_E_Series_Dynamics_Module_for_500_Series_RENT_p/ssl-500comp-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(10724,75,1,1788,'<h2>Sound Performance Lab DeS Dual Band De-Esser — 500-Series Module</h2>\n<span style=\"font-size: 16px; font-style: italic;\">The Dual-Band De-Esser expands on this concept by making use of two frequency bands that can be used independently or jointly.<br /></span><br />\nThe Dual-Band De-Esser has two de-esser stages increase processing effectiveness without introducing audible artifacts. Focused processing with high and low bands makes it possible to process sibilant sounds with great precision. Furthermore, input signals are automatically adjusted so the processing is uniform, regardless of the distance between source and microphone. The Male/Female modes adapt processing in the lower band to male or female voices.<br /><br />Now, the Dual Band De-Esser DeS is also available in 500 Series format.<br /><br />Back in the 1990‘s, we developed an alternative way to process signals based on phase cancellation in order to reduce sibilance. Unlike traditional compression methods, this procedure is much more unobtrusive and simplifies control to one single parameter. SPL‘s De-Esser quickly became a standard reference among recording studios, broadcast stations and live sound engineers.<br /><br /><h3>Application: Voice (Male/Female)</h3><p>The Male/Female switch allows you to adjust the Low-Band De-Esser to the type of voice being processed. These values have been determined by practical experience, so that the processor adapts better to gender. Nevertheless, you cannot take for granted that these settings will suit every single male and female voice.<br /><br />Consider the Male/Female function as an additional tool to help you set the Low-Band De-Esser more precisely according to your needs. Always trust your ears to find the best settings.</p><h3>Hi-S</h3>Use the Hi-S control to adjust the intensity of the sibilance reduction in the upper frequency range. The center frequency for sibilance recognition is set at 11.2kHz with a 3kHz  bandwidth. Scale values for the filter are displayed in dB. The actual reduction values, i.e. after phase cancellation, might be less. Please note that the Voice Male/Female button has no effect on the high band de-esser. In practice, for most applications, the best results are usually achieved when Hi-S setting  is set between 3 and 7.With the ON/Bypass button you can switch the DeS into the signal path. If the button is in position “On”, the DeS is active. If the button is in position “Bypass”, the audio signal passes through unprocessed<br /><br /><h3>Lo-S</h3>Use the Lo-S control to adjust the intensity of the sibilance reduction in the lower frequency range. The center frequency for sibilance recognition is set at 7.6kHz in Voice Female mode and 6.4kHz in Voice Male mode. For more information, please refer to section “Voice Male/Female” on page 13. The bandwidth of the low band de-esser is  1.44kHz. Scale values for the filter are displayed in dB. The actual reduction values, i.e. after phase cancellation, might be less.In practice, for most applications, the best results are usually achieved when Lo-S setting is set between 3 and 7.<br /><br /><h3>High Band/Low Band De-Essing On/Off</h3>Use the High Band De-Essing On/Off button to turn the Hi-S reduction on or off. Use the Low Band De-Essing On/Off button to turn the Lo-S reduction on or off. You can use the two processing stages separately or jointly. They are connected in series as independent de-esser modules. The low band de-esser is set first in the chain. If both de-essers are engaged, there is interaction between them: a signal already processed with the low band de-esser is different from the raw material that the high band de-esser would otherwise process.<br /><br class=\"Apple-interchange-newline\" /><div><div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\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 /><h3>Dual Band De-Esser 500 Series Module Specifications:</h3><div id=\"c56913\"><p class=\"paragraphNoMargin\"><strong>Input</strong>:</p><ul><li>Balanced</li><li>Impedance: 20kOhm</li><li>Max. Input level: +22 dBu</li></ul><p class=\"paragraphNoMargin\"><strong>Output:</strong></p><ul><li>Balanced<span id=\"1452761662412S\" data-htmlarea-bookmark=\"true\"> <br /></span></li><li>Impedance<span id=\"1452761667790S\" data-htmlarea-bookmark=\"true\"> </span>: 150 Ohm</li><li>Max. Output Level: +22 dBu</li></ul><p><strong>Frequency Range: </strong>10Hz -100kHz</p><p><strong>Noise: </strong>-93 dBu (A-weighted)</p><p><strong>Dynamic Range:</strong> 116 dB<span id=\"1452761493465S\" data-htmlarea-bookmark=\"true\"> </span></p><p class=\"paragraphNoMargin\"><strong>CMRR:</strong> &gt; -80 dBu</p><p><em>(at 1 kHz, 0 dBu input level, unity gain)</em></p><p class=\"paragraphNoMargin\"><strong>THD:</strong> 0,03%</p><p class=\"paragraphNoMargin\"><em>(at 0 dBu input level, unity gain)</em></p><p class=\"paragraphNoMargin text-left\"> <strong>Housing: </strong>Single Slot 500er-Serie rack modul</p><p><strong>Weight</strong>: 0,65 kg /1.43 lbs</p><p> <em>0dBu = 0,775V. Specifications subject to change without notice.</em><span id=\"1452761629696S\" data-htmlarea-bookmark=\"true\"></span></p></div><br />\n<h3>For more information, call or chat with an RSPE representative today. </h3>\n<br />\nThis product is also available as part of the RSPE Demo 4 Free & Rental Program, <span class=\"colors_productprice\" style=\"font-weight: bold; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/SSL_E_Series_Dynamics_Module_for_500_Series_RENT_p/ssl-500comp-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(10725,85,0,1788,'SPL DeS Dual Band De-Esser 500 Series Module'),(10726,85,1,1788,'SPL DeS Dual Band De-Esser 500 Series Module'),(10727,76,0,1788,''),(10728,76,1,1788,''),(10729,75,0,1789,'<h2>Sound Performance Lab TDx Transient Designer — 500-Series Module</h2>\n<span style=\"font-size: 16px; font-style: italic;\">Thanks to the new TDx feature MIX (parallel mix) you can continuously blend between the processed and the unprocessed signal.</span><br /><br />\nThe Transient Designer TDx\'s level-independent processing of signal paths is making headway into the world of 500 series rack modules. Working with the Transient Designer is very simple: Attacks can be amplified or attenuated and sustain may be prolonged or shortened. However, the possibilities for studio and live application are seemingly endless. Technical foundation is SPL‘s Differential Envelope Technology (DET) which allows level-independent dynamic processing by calculating differences in generated envelopes. These envelopes are always tracking the curve of the original signal to provide optimal results in every moment of the music. So only two controls per channel are required to allow the user to completely reshape the attack and sustain characteristics of a sound. <br /><br /><h3>Applications</h3><p>The Transient Designer is ideally suited for use\n in professional recording, project or home studios and in sound \nreinforcement applications. Applied to single instruments or loops the \nTransient Designer allows you to create entirely new sounds and/or \neffects. The following examples are given as suggestions and examples. <span class=\"s1\">You will find more examples in the </span><span class=\"s1\">manual</span>. The described procedures with specific instruments can of course be transferred to others which are not mentioned here.</p><br /><h3>Drums & Percussions</h3>Processing drum and percussion sounds is probably the Transient Designer’s most typical range of application, both from samples to live drum sets: Emphasize the attack of a kick drum or a loop to increase the power and presence in the mix by increasing ATTACK.<br /><br /><h3>Drums Ambience</h3>If your drums happen to sound as if the room mics have been placed in a shoe closet, the Transient Designer can immediately turn that sound into the ambience of an empty warehouse. Just send the room mic through the Transient Designer module and crank the ATTACK control to emphasize the first wave. Now slowly increase SUSTAIN values to bring up an “all-buttons-in- 1176-sound“ room tone—but without pumping cymbals.<br /><br /><h3>Bass: Staccato vs. Legato</h3>Speaking of bass: imagine a too sluggishly played bass track ... you may not have to re-record it: reduce the SUSTAIN until you can hear clear gaps between the downbeats—the legato will turn into a nice staccato, driving the rhythm-section forward.<br /><br class=\"Apple-interchange-newline\" /><div><div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\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 /><h3>TDx Transient Designer 500 Series Module Specifications:</h3><b>Input:</b><br />    Balanced<br />    Impedance: 20kOhm<br />    Max. Input level: +22 dBu<br /><br /><b>Output:</b><br />    Balanced <br />    Impedance : 150 Ohm<br />    Max. Output Level: +22 dBu<br /><br /><b>Frequency Range: </b>10Hz -100kHz<br /><br /><b>Noise:</b> -93 dBu (A-weighted)<br /><br /><b>Dynamic Range:</b> 116 dB <br /><br /><b>CMRR: </b>&gt; -80 dBu<br /><br />(at 1 kHz, 0 dBu input level, unity gain)<br /><br /><b>THD: </b>0,03%<br /><br />(at 0 dBu input level, unity gain)<br /><br /><b> Housing:</b> Single Slot 500er-Serie rack module<br /><br /><b>Weight:</b> 0,65 kg /1.43 lbs<br /><br /><i> 0dBu = 0,775V. Specifications subject to change without notice. </i><br /><br />\n<h3>For more information, call or chat with an RSPE representative today. </h3>\n<br />\nThis product is also available as part of the RSPE Demo 4 Free & Rental Program, <span class=\"colors_productprice\" style=\"font-weight: bold; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/SSL_E_Series_Dynamics_Module_for_500_Series_RENT_p/ssl-500comp-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(10730,75,1,1789,'<h2>Sound Performance Lab TDx Transient Designer — 500-Series Module</h2>\n<span style=\"font-size: 16px; font-style: italic;\">Thanks to the new TDx feature MIX (parallel mix) you can continuously blend between the processed and the unprocessed signal.</span><br /><br />\nThe Transient Designer TDx\'s level-independent processing of signal paths is making headway into the world of 500 series rack modules. Working with the Transient Designer is very simple: Attacks can be amplified or attenuated and sustain may be prolonged or shortened. However, the possibilities for studio and live application are seemingly endless. Technical foundation is SPL‘s Differential Envelope Technology (DET) which allows level-independent dynamic processing by calculating differences in generated envelopes. These envelopes are always tracking the curve of the original signal to provide optimal results in every moment of the music. So only two controls per channel are required to allow the user to completely reshape the attack and sustain characteristics of a sound. <br /><br /><h3>Applications</h3><p>The Transient Designer is ideally suited for use\n in professional recording, project or home studios and in sound \nreinforcement applications. Applied to single instruments or loops the \nTransient Designer allows you to create entirely new sounds and/or \neffects. The following examples are given as suggestions and examples. <span class=\"s1\">You will find more examples in the </span><span class=\"s1\">manual</span>. The described procedures with specific instruments can of course be transferred to others which are not mentioned here.</p><br /><h3>Drums & Percussions</h3>Processing drum and percussion sounds is probably the Transient Designer’s most typical range of application, both from samples to live drum sets: Emphasize the attack of a kick drum or a loop to increase the power and presence in the mix by increasing ATTACK.<br /><br /><h3>Drums Ambience</h3>If your drums happen to sound as if the room mics have been placed in a shoe closet, the Transient Designer can immediately turn that sound into the ambience of an empty warehouse. Just send the room mic through the Transient Designer module and crank the ATTACK control to emphasize the first wave. Now slowly increase SUSTAIN values to bring up an “all-buttons-in- 1176-sound“ room tone—but without pumping cymbals.<br /><br /><h3>Bass: Staccato vs. Legato</h3>Speaking of bass: imagine a too sluggishly played bass track ... you may not have to re-record it: reduce the SUSTAIN until you can hear clear gaps between the downbeats—the legato will turn into a nice staccato, driving the rhythm-section forward.<br /><br class=\"Apple-interchange-newline\" /><div><div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\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 /><h3>TDx Transient Designer 500 Series Module Specifications:</h3><b>Input:</b><br />    Balanced<br />    Impedance: 20kOhm<br />    Max. Input level: +22 dBu<br /><br /><b>Output:</b><br />    Balanced <br />    Impedance : 150 Ohm<br />    Max. Output Level: +22 dBu<br /><br /><b>Frequency Range: </b>10Hz -100kHz<br /><br /><b>Noise:</b> -93 dBu (A-weighted)<br /><br /><b>Dynamic Range:</b> 116 dB <br /><br /><b>CMRR: </b>&gt; -80 dBu<br /><br />(at 1 kHz, 0 dBu input level, unity gain)<br /><br /><b>THD: </b>0,03%<br /><br />(at 0 dBu input level, unity gain)<br /><br /><b> Housing:</b> Single Slot 500er-Serie rack module<br /><br /><b>Weight:</b> 0,65 kg /1.43 lbs<br /><br /><i> 0dBu = 0,775V. Specifications subject to change without notice. </i><br /><br />\n<h3>For more information, call or chat with an RSPE representative today. </h3>\n<br />\nThis product is also available as part of the RSPE Demo 4 Free & Rental Program, <span class=\"colors_productprice\" style=\"font-weight: bold; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/SSL_E_Series_Dynamics_Module_for_500_Series_RENT_p/ssl-500comp-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(10731,85,0,1789,'SPL TDx Transient Designer Module for 500 Series Rack'),(10732,85,1,1789,'SPL TDx Transient Designer Module for 500 Series Rack'),(10733,76,0,1789,''),(10734,76,1,1789,''),(10735,75,0,1790,'<span id=\"product_description\" itemprop=\"description\">\n<h2>SPL Channel One <span id=\"product_description\" itemprop=\"description\"></span></h2></span><span id=\"product_description\" itemprop=\"description\"><h2> </h2>\n<span style=\"font-size: 16px; font-style: italic;\">Recording Channel<br /></span><br />\n<div>\n	<div>\n		Modern audio production relies increasingly on digital systems for \nrecording and mixing processes (DAW\'s, digital consoles etc.). But still\n digital systems do not offer the same audio qualities and sound \ncharacteristics of high-end analog equipment. Especially digital \nequalizers and other aspects of the mixing domain cannot compete with \nthe open, transparent sound of the best analog gear. So today more than \never, your input signal has to sound as good as possible—the quality of \nyour original tracks will largely define the end result.\n	</div><br />\n	<div>\n		Attacking this problem on the preamplification front, with the goal of\n noticeably improving a signal and sending it along its path with a \nhealthy foundation, requires a great deal of thought and engineering \neffort – like with the GainStation 1.\n	</div><br />\n	<div>\n		Its very compact design allows for free placing also outside of a rack\n (e. g. close to the microphone). Musicians can place the GainStation 1 \neasily on a rack or amplifier.\n	</div><br />\n	<div>\n		To accommodate portability, the optionally available SPL GainBag \nensures safe transport of the GainStation 1 and offers additional \nstorage for cables and an average-sized microphone. For more permanent \ninstallations, up to four GainStation 1\'s can be rack-mounted in one \noptionally available 3-unit mounting frame.<br />\n	</div><br />\n</div>\n<h3>Channel One Key Features</h3>\n<ul><li>Hybrid Transistor/tube preamplifier</li><li>De-Esser</li><li>Compressor/limiter</li><li>Noise gate</li><li>3-band EQ</li><li>Headphone monitor</li><li>Made in Germany</li></ul></span>'),(10736,75,1,1790,'<span id=\"product_description\" itemprop=\"description\">\n<h2>SPL Channel One <span id=\"product_description\" itemprop=\"description\"></span></h2></span><span id=\"product_description\" itemprop=\"description\"><h2> </h2>\n<span style=\"font-size: 16px; font-style: italic;\">Recording Channel<br /></span><br />\n<div>\n	<div>\n		Modern audio production relies increasingly on digital systems for \nrecording and mixing processes (DAW\'s, digital consoles etc.). But still\n digital systems do not offer the same audio qualities and sound \ncharacteristics of high-end analog equipment. Especially digital \nequalizers and other aspects of the mixing domain cannot compete with \nthe open, transparent sound of the best analog gear. So today more than \never, your input signal has to sound as good as possible—the quality of \nyour original tracks will largely define the end result.\n	</div><br />\n	<div>\n		Attacking this problem on the preamplification front, with the goal of\n noticeably improving a signal and sending it along its path with a \nhealthy foundation, requires a great deal of thought and engineering \neffort – like with the GainStation 1.\n	</div><br />\n	<div>\n		Its very compact design allows for free placing also outside of a rack\n (e. g. close to the microphone). Musicians can place the GainStation 1 \neasily on a rack or amplifier.\n	</div><br />\n	<div>\n		To accommodate portability, the optionally available SPL GainBag \nensures safe transport of the GainStation 1 and offers additional \nstorage for cables and an average-sized microphone. For more permanent \ninstallations, up to four GainStation 1\'s can be rack-mounted in one \noptionally available 3-unit mounting frame.<br />\n	</div><br />\n</div>\n<h3>Channel One Key Features</h3>\n<ul><li>Hybrid Transistor/tube preamplifier</li><li>De-Esser</li><li>Compressor/limiter</li><li>Noise gate</li><li>3-band EQ</li><li>Headphone monitor</li><li>Made in Germany</li></ul></span>'),(10737,85,0,1790,'SPL Channel One'),(10738,85,1,1790,'SPL Channel One'),(10739,76,0,1790,''),(10740,76,1,1790,''),(10741,75,0,1791,'<span id=\"product_description\" itemprop=\"description\">\n<h2>SPL Channel One with A/D Converter<span id=\"product_description\" itemprop=\"description\"><span id=\"product_description\" itemprop=\"description\"></span></span><span id=\"product_description\" itemprop=\"description\"></span></h2></span><span id=\"product_description\" itemprop=\"description\"><h2> </h2>\n<span style=\"font-size: 16px; font-style: italic;\">Recording Channel<br /></span><br />\n<div>\n	<div>\n		Modern audio production relies increasingly on digital systems for \nrecording and mixing processes (DAW\'s, digital consoles etc.). But still\n digital systems do not offer the same audio qualities and sound \ncharacteristics of high-end analog equipment. Especially digital \nequalizers and other aspects of the mixing domain cannot compete with \nthe open, transparent sound of the best analog gear. So today more than \never, your input signal has to sound as good as possible—the quality of \nyour original tracks will largely define the end result.\n	</div><br />\n	<div>\n		Attacking this problem on the preamplification front, with the goal of\n noticeably improving a signal and sending it along its path with a \nhealthy foundation, requires a great deal of thought and engineering \neffort – like with the GainStation 1.\n	</div><br />\n	<div>\n		Its very compact design allows for free placing also outside of a rack\n (e. g. close to the microphone). Musicians can place the GainStation 1 \neasily on a rack or amplifier.\n	</div><br />\n	<div>\n		To accommodate portability, the optionally available SPL GainBag \nensures safe transport of the GainStation 1 and offers additional \nstorage for cables and an average-sized microphone. For more permanent \ninstallations, up to four GainStation 1\'s can be rack-mounted in one \noptionally available 3-unit mounting frame.<br />\n	</div><br />\n</div>\n<h3>Channel One AD Key Features</h3>\n<ul><li>Hybrid Transistor/tube preamplifier</li><li>De-Esser</li><li>Compressor/limiter</li><li>Noise gate</li><li>3-band EQ</li><li>Headphone monitor</li><li>Options: AD converter, I/O transformers<a href=\"http://spl.info/en/products/options-accessories/lundahl-transformer/in-short.html\" title=\"Opens internal link in current window\"></a></li><li>Made in Germany</li></ul></span>'),(10742,75,1,1791,'<span id=\"product_description\" itemprop=\"description\">\n<h2>SPL Channel One with A/D Converter<span id=\"product_description\" itemprop=\"description\"><span id=\"product_description\" itemprop=\"description\"></span></span><span id=\"product_description\" itemprop=\"description\"></span></h2></span><span id=\"product_description\" itemprop=\"description\"><h2> </h2>\n<span style=\"font-size: 16px; font-style: italic;\">Recording Channel<br /></span><br />\n<div>\n	<div>\n		Modern audio production relies increasingly on digital systems for \nrecording and mixing processes (DAW\'s, digital consoles etc.). But still\n digital systems do not offer the same audio qualities and sound \ncharacteristics of high-end analog equipment. Especially digital \nequalizers and other aspects of the mixing domain cannot compete with \nthe open, transparent sound of the best analog gear. So today more than \never, your input signal has to sound as good as possible—the quality of \nyour original tracks will largely define the end result.\n	</div><br />\n	<div>\n		Attacking this problem on the preamplification front, with the goal of\n noticeably improving a signal and sending it along its path with a \nhealthy foundation, requires a great deal of thought and engineering \neffort – like with the GainStation 1.\n	</div><br />\n	<div>\n		Its very compact design allows for free placing also outside of a rack\n (e. g. close to the microphone). Musicians can place the GainStation 1 \neasily on a rack or amplifier.\n	</div><br />\n	<div>\n		To accommodate portability, the optionally available SPL GainBag \nensures safe transport of the GainStation 1 and offers additional \nstorage for cables and an average-sized microphone. For more permanent \ninstallations, up to four GainStation 1\'s can be rack-mounted in one \noptionally available 3-unit mounting frame.<br />\n	</div><br />\n</div>\n<h3>Channel One AD Key Features</h3>\n<ul><li>Hybrid Transistor/tube preamplifier</li><li>De-Esser</li><li>Compressor/limiter</li><li>Noise gate</li><li>3-band EQ</li><li>Headphone monitor</li><li>Options: AD converter, I/O transformers<a href=\"http://spl.info/en/products/options-accessories/lundahl-transformer/in-short.html\" title=\"Opens internal link in current window\"></a></li><li>Made in Germany</li></ul></span>'),(10743,85,0,1791,'SPL Channel One with A/D Converter'),(10744,85,1,1791,'SPL Channel One with A/D Converter'),(10745,76,0,1791,''),(10746,76,1,1791,''),(10747,75,0,1792,'<h2>SPL Crimson USB Interface & Monitor Controller </h2>\n<span style=\"font-size:16px; font-style:italic;\">Professional pre-amplifying, interfacing and monitoring via USB, S/P-DIF, Analog XLR, RCA, 1/4\" and mini Jacks.</span><br /><br />\n	SPL Crimson combines a USB interface with high-quality preamps and a separate, fully-featured monitor controller and headphone amlifier. You can play and play back, record and convert, control and listen with one single device. The new Crimson 3, now includes a Built-In Talkback mic with talkback gain and SPL\'s patented Phonitor Matirx, which creates a highly realistic loudspeaker simulation for headphone mixing. <br /><br />\n\n	So all you essentially need for a truly professional recording setup is the Crimson and a DAW.<br /><br />\n\n<h3>SPL Crimson 3 New Fetaures</h3>\n<ul>\n	<li>Built-In talkback mic, with talkback gain</li>\n	<li>SPL Phonitor Matrix creates a highly realistic loudspeaker simulation for headphone mixing </li>\n</ul>\n<br />\n<h3>Crimson Key Features</h3>\n<ul>\n	<li>16 Inputs</li><li>6 Recording Channels (24Bit/192kHz)</li><li>2 High-Quality Discrete Mic Preamps</li><li>2 Instrument Inputs</li><li>4 Balanced Line Inputs</li><li>Stereo Digital I/Os</li><li>MIDI I/O</li><li>2 Stereo Speaker Outputs</li><li>2 Stereo Headphone Amplifier</li><li>Phonitor Matrix (NEW)</li><li>Talkback Mic (NEW)</li><li>One Knob Monitor Mix</li><li>Artist Mode</li><li>Real-Time Analog Monitoring</li><li>Play-along and monitoring also without DAW (stand-alone)</li><li>Class 2.0 compliant for iOS device recording/monitoring</li><li>34V operational voltage for professional levels up to +22 dBu</li><li>Pro level boost for consumer electronics</li><li>Very low jitter due to FMCTM (Fixed-Master-Clock)</li><li>No sample rate conversion or clock recovery for true 1:1 audio</li><li>Hi-Speed USB</li><li>Windows XP/7/8/10</li><li>Mac OS X 10.6 or higher, iOS 6 and higher</li><li>HxWxD: 60x330x207 mm, 2.36\"x13\"x8.15\" inch</li><li>Made in Germany</li>\n</ul>\n<br />\n<h3>Use With or without DAW</h3>\nCrimson is designed to operate with your Digital Audio Workstation. Crimson can operate without a USB connection too. Everything is fully functional except for USB, MIDI and SPDIF in/out. You can use Crimson as your studio preamplifer to monitor your audio sources and to rehearse and play or sing along with the DAW\n<br /><br />\nMix your own monitor signal with playback or guide tracks from any source – including your smartphone. What you are playing is not bad? Turn on the DAW and record it.<br /><br />\n<h3>iPad Recording</h3>\nCrimson has built-in USB Audio Class 2 drivers for hot-plugging and recording with an iPad. Do note that the original Apple Camera Adapter is required.\n<br /><br />\n<h3>A new concept with phenomenal value</h3>\nAt SPL we design audio equipment in all price ranges – except cheap gear. Therefore each SPL unit provides professional quality. The Crimson leaps forward and sets a new sound quality benchmark in its price range: We have re-designed proven circuitries and created a new, fully integrated design. Together with new production methods we are able to break through usual price limits.\n<br /><br />\nSo with the Crimson interface and controller you have a boutique standard recording and monitoring device at a fraction of the price we used to know from traditional engineering and manufacturing.'),(10748,75,1,1792,'<h2>SPL Crimson USB Interface & Monitor Controller </h2>\n<span style=\"font-size:16px; font-style:italic;\">Professional pre-amplifying, interfacing and monitoring via USB, S/P-DIF, Analog XLR, RCA, 1/4\" and mini Jacks.</span><br /><br />\n	SPL Crimson combines a USB interface with high-quality preamps and a separate, fully-featured monitor controller and headphone amlifier. You can play and play back, record and convert, control and listen with one single device. The new Crimson 3, now includes a Built-In Talkback mic with talkback gain and SPL\'s patented Phonitor Matirx, which creates a highly realistic loudspeaker simulation for headphone mixing. <br /><br />\n\n	So all you essentially need for a truly professional recording setup is the Crimson and a DAW.<br /><br />\n\n<h3>SPL Crimson 3 New Fetaures</h3>\n<ul>\n	<li>Built-In talkback mic, with talkback gain</li>\n	<li>SPL Phonitor Matrix creates a highly realistic loudspeaker simulation for headphone mixing </li>\n</ul>\n<br />\n<h3>Crimson Key Features</h3>\n<ul>\n	<li>16 Inputs</li><li>6 Recording Channels (24Bit/192kHz)</li><li>2 High-Quality Discrete Mic Preamps</li><li>2 Instrument Inputs</li><li>4 Balanced Line Inputs</li><li>Stereo Digital I/Os</li><li>MIDI I/O</li><li>2 Stereo Speaker Outputs</li><li>2 Stereo Headphone Amplifier</li><li>Phonitor Matrix (NEW)</li><li>Talkback Mic (NEW)</li><li>One Knob Monitor Mix</li><li>Artist Mode</li><li>Real-Time Analog Monitoring</li><li>Play-along and monitoring also without DAW (stand-alone)</li><li>Class 2.0 compliant for iOS device recording/monitoring</li><li>34V operational voltage for professional levels up to +22 dBu</li><li>Pro level boost for consumer electronics</li><li>Very low jitter due to FMCTM (Fixed-Master-Clock)</li><li>No sample rate conversion or clock recovery for true 1:1 audio</li><li>Hi-Speed USB</li><li>Windows XP/7/8/10</li><li>Mac OS X 10.6 or higher, iOS 6 and higher</li><li>HxWxD: 60x330x207 mm, 2.36\"x13\"x8.15\" inch</li><li>Made in Germany</li>\n</ul>\n<br />\n<h3>Use With or without DAW</h3>\nCrimson is designed to operate with your Digital Audio Workstation. Crimson can operate without a USB connection too. Everything is fully functional except for USB, MIDI and SPDIF in/out. You can use Crimson as your studio preamplifer to monitor your audio sources and to rehearse and play or sing along with the DAW\n<br /><br />\nMix your own monitor signal with playback or guide tracks from any source – including your smartphone. What you are playing is not bad? Turn on the DAW and record it.<br /><br />\n<h3>iPad Recording</h3>\nCrimson has built-in USB Audio Class 2 drivers for hot-plugging and recording with an iPad. Do note that the original Apple Camera Adapter is required.\n<br /><br />\n<h3>A new concept with phenomenal value</h3>\nAt SPL we design audio equipment in all price ranges – except cheap gear. Therefore each SPL unit provides professional quality. The Crimson leaps forward and sets a new sound quality benchmark in its price range: We have re-designed proven circuitries and created a new, fully integrated design. Together with new production methods we are able to break through usual price limits.\n<br /><br />\nSo with the Crimson interface and controller you have a boutique standard recording and monitoring device at a fraction of the price we used to know from traditional engineering and manufacturing.'),(10749,85,0,1792,'SPL Crimson USB Interface & Monitor Controller'),(10750,85,1,1792,'SPL Crimson USB Interface & Monitor Controller'),(10751,76,0,1792,''),(10752,76,1,1792,''),(10753,75,0,1793,'<h2>SPL De-Esser</h2>\n<span style=\"font-size:16px; font-style:italic;\">Auto-Dynamic De-Esser</span><br /><br />\nThe SPL De-Esser is a specialized audio tool for removing undesired sibilant frequencies in a very simple and musical way without compromising the timbre and natural character of a voice.<br /><br />\nTo solve this difficult problem, SPL has developed a new circuit design that combines ease of use with natural sound characteristics and the highest level of technical performance. The SPL De-Esser monitors the S-frequency spectrum and automatically detects the sibilant frequencies. The de-ess bandwidth is set so narrowly around the range of the sibilance that neighbouring frequencies remain unaffected. Input processed via this frequency band is mixed back into the main signal phase-inverted so that only the S-sounds are cancelled where the S-reduction controller determines the intensity of the phase-cancelled mix.<br /><br />\nThe result is a neutral, unobtrusive and extremely effective de-essing process. Even at high S-reduction values the de-essing has a negligible effect on the character and timbre of the voice.\nRounding out the amazingly simple control system is an automatic threshold-adjusting function. Differences in the input level caused by the varying distance to the mic, are compensated for automatically. This ensures even de-essing independent of signal level so any necessary compression may be applied post the de-esser.\n<br /><br />\n<h3>Conventional De-Essing</h3>\nTraditional de-essers use compression techniques. In addition to the threshold parameter used to set the processing level, there is a frequency controller for setting the center frequency of the process (with bandwidths generally up to 4 kHz). Processing therefore compresses the entire selected range, notjust the sibilant or S sounds. This results in the familiar and undesired side-effects such as lisping and a nasal-sounding vocal.<br /><br />\n\n<h3>SPL\'s De-Essing</h3>\nSPL’s Auto Dynamic De-Esser monitors the entire frequency spectrum and automatically detects the sibilant frequencies. The bandwidth is set so narrowly around the range of the sibilance that neighboring frequencies remain unaffected. This frequency band is mixed back into the main signal phase-inverted to cancel out the sibilance. The result is a sound-neutral, inconspicuous and extremely effective process. Even at high s-reduction values the de-essing has an egligible effect on the character and timbre of the voice.<br /><br /><b>\n\nAuto-Threshold</b><br />\n\nRounding our this outstanding concept is an automaticthreshold-adjusting function: Differences in the input levelcaused by the singer moving in relation to the microphone are automatically compensated, so that the selected reduction value remains constant. In traditional de-essers, the processing intensity drops off with increasing distance, and compressors placed after the de-esser for signal correction tend to respond incorrectly to the changed values.<br /><br /><b>\n\nMale/Female</b><br />\nThe SPL system doesn’t just look for sibilance in a wide ’general sibilance’ region of the spectrum. Instead, the user simply sets a front-panel switch to Male or Female to adjust for the vocal characteristics of male or female voices.Features<br /><br />\n\nBalanced XLR and jack plugs for the in- and outputs, internal power supply with toroidal transformer, GND lift switch, relay hard bypass/power fail safety, voltage selector switch.<br /><br />'),(10754,75,1,1793,'<h2>SPL De-Esser</h2>\n<span style=\"font-size:16px; font-style:italic;\">Auto-Dynamic De-Esser</span><br /><br />\nThe SPL De-Esser is a specialized audio tool for removing undesired sibilant frequencies in a very simple and musical way without compromising the timbre and natural character of a voice.<br /><br />\nTo solve this difficult problem, SPL has developed a new circuit design that combines ease of use with natural sound characteristics and the highest level of technical performance. The SPL De-Esser monitors the S-frequency spectrum and automatically detects the sibilant frequencies. The de-ess bandwidth is set so narrowly around the range of the sibilance that neighbouring frequencies remain unaffected. Input processed via this frequency band is mixed back into the main signal phase-inverted so that only the S-sounds are cancelled where the S-reduction controller determines the intensity of the phase-cancelled mix.<br /><br />\nThe result is a neutral, unobtrusive and extremely effective de-essing process. Even at high S-reduction values the de-essing has a negligible effect on the character and timbre of the voice.\nRounding out the amazingly simple control system is an automatic threshold-adjusting function. Differences in the input level caused by the varying distance to the mic, are compensated for automatically. This ensures even de-essing independent of signal level so any necessary compression may be applied post the de-esser.\n<br /><br />\n<h3>Conventional De-Essing</h3>\nTraditional de-essers use compression techniques. In addition to the threshold parameter used to set the processing level, there is a frequency controller for setting the center frequency of the process (with bandwidths generally up to 4 kHz). Processing therefore compresses the entire selected range, notjust the sibilant or S sounds. This results in the familiar and undesired side-effects such as lisping and a nasal-sounding vocal.<br /><br />\n\n<h3>SPL\'s De-Essing</h3>\nSPL’s Auto Dynamic De-Esser monitors the entire frequency spectrum and automatically detects the sibilant frequencies. The bandwidth is set so narrowly around the range of the sibilance that neighboring frequencies remain unaffected. This frequency band is mixed back into the main signal phase-inverted to cancel out the sibilance. The result is a sound-neutral, inconspicuous and extremely effective process. Even at high s-reduction values the de-essing has an egligible effect on the character and timbre of the voice.<br /><br /><b>\n\nAuto-Threshold</b><br />\n\nRounding our this outstanding concept is an automaticthreshold-adjusting function: Differences in the input levelcaused by the singer moving in relation to the microphone are automatically compensated, so that the selected reduction value remains constant. In traditional de-essers, the processing intensity drops off with increasing distance, and compressors placed after the de-esser for signal correction tend to respond incorrectly to the changed values.<br /><br /><b>\n\nMale/Female</b><br />\nThe SPL system doesn’t just look for sibilance in a wide ’general sibilance’ region of the spectrum. Instead, the user simply sets a front-panel switch to Male or Female to adjust for the vocal characteristics of male or female voices.Features<br /><br />\n\nBalanced XLR and jack plugs for the in- and outputs, internal power supply with toroidal transformer, GND lift switch, relay hard bypass/power fail safety, voltage selector switch.<br /><br />'),(10755,85,0,1793,'SPL De-Esser'),(10756,85,1,1793,'SPL De-Esser'),(10757,76,0,1793,''),(10758,76,1,1793,''),(10759,75,0,1794,'<h2>SPL DMC Stereo Mastering Console </h2>\n<i>Mastering-Grade Stereo Console with 4 stereo inputs and 4 stereo sources, with 2 stereo recording outputs, as well as 3 stereo and 2 mono speaker outputs that can be expanded with the new MC16 controller</i><br /><br />\n	The SPL DMC stereo mastering console is engineered from the ground-up making it not only more flexible with better specs than SPL’s previous console, but also more ergonomic and sized to fit in all types of studio furniture. \n	The 3RU console has 4 stereo inputs and 4 stereo sources, with 2 stereo recording outputs, as well as 3 stereo and 2 mono speaker outputs that can be expanded with the new MC16 controller.\n<br /><br />The new DMC console operates on the same unequaled 120V DC audio rail like each of the other SPL Mastering Series processors.\n<br /><br />\nThe DMC Mastering Console was designed, developed and manufactured in Germany.\n<br /><br />\n<h3>SPL DMC Features</h3>\n<ul>\n	<li>Dual channel mastering console (3U)</li>\n	<li>120V DC Audio Rail - 5G SUPRA op-amps</li>\n	<li>4 stereo inputs and 4 stereo sources</li>\n	<li>2 stereo recording outputs</li>\n	<li>3 stereo and 2 mono speaker outputs (sub, radio speaker)</li>\n	<li>Expandable multi-channel monitoring</li>\n	<li>0.25dB stepped input & insert return trims</li>\n	<li>Insert & Source Auto Bypass</li>\n	<li>Phonitor direct output</li>\n	<li>Variable dim (e.g. loudness compensation)</li>\n	<li>GPI switch function (Talkback, Red light etc.)</li>\n	<li>Stereo and mono metering outputs</li>\n</ul>'),(10760,75,1,1794,'<h2>SPL DMC Stereo Mastering Console </h2>\n<i>Mastering-Grade Stereo Console with 4 stereo inputs and 4 stereo sources, with 2 stereo recording outputs, as well as 3 stereo and 2 mono speaker outputs that can be expanded with the new MC16 controller</i><br /><br />\n	The SPL DMC stereo mastering console is engineered from the ground-up making it not only more flexible with better specs than SPL’s previous console, but also more ergonomic and sized to fit in all types of studio furniture. \n	The 3RU console has 4 stereo inputs and 4 stereo sources, with 2 stereo recording outputs, as well as 3 stereo and 2 mono speaker outputs that can be expanded with the new MC16 controller.\n<br /><br />The new DMC console operates on the same unequaled 120V DC audio rail like each of the other SPL Mastering Series processors.\n<br /><br />\nThe DMC Mastering Console was designed, developed and manufactured in Germany.\n<br /><br />\n<h3>SPL DMC Features</h3>\n<ul>\n	<li>Dual channel mastering console (3U)</li>\n	<li>120V DC Audio Rail - 5G SUPRA op-amps</li>\n	<li>4 stereo inputs and 4 stereo sources</li>\n	<li>2 stereo recording outputs</li>\n	<li>3 stereo and 2 mono speaker outputs (sub, radio speaker)</li>\n	<li>Expandable multi-channel monitoring</li>\n	<li>0.25dB stepped input & insert return trims</li>\n	<li>Insert & Source Auto Bypass</li>\n	<li>Phonitor direct output</li>\n	<li>Variable dim (e.g. loudness compensation)</li>\n	<li>GPI switch function (Talkback, Red light etc.)</li>\n	<li>Stereo and mono metering outputs</li>\n</ul>'),(10761,85,0,1794,'SPL DMC Stereo Mastering Console'),(10762,85,1,1794,'SPL DMC Stereo Mastering Console'),(10763,76,0,1794,''),(10764,76,1,1794,''),(10765,75,0,1795,'With the finest ingredients from SPL, the new flagship of SPL\'s channel strips establishes the basis for world-class recordings – and each of its particular processing stages can be inserted into studio environments or DAWs like analog plug-ins!\n\nThe brand-new Frontliner has all tools on board to record vocals and instruments in perfect quality: it merges a preamp, a de-esser, an EQ and a compressor.\n\nThanks to it\'s individual analog I/Os, all these powerful, hi-end analog processors can be inserted into any studio by the Frontliner pilot, i. e. to use them also during mixing and mastering. Thus it appears that the Frontliner is not reduced to a frontend device – especially DAW based studios get the chance to integrate high-grade analog processing at any stage of the audio production process.'),(10766,75,1,1795,'With the finest ingredients from SPL, the new flagship of SPL\'s channel strips establishes the basis for world-class recordings – and each of its particular processing stages can be inserted into studio environments or DAWs like analog plug-ins!\n\nThe brand-new Frontliner has all tools on board to record vocals and instruments in perfect quality: it merges a preamp, a de-esser, an EQ and a compressor.\n\nThanks to it\'s individual analog I/Os, all these powerful, hi-end analog processors can be inserted into any studio by the Frontliner pilot, i. e. to use them also during mixing and mastering. Thus it appears that the Frontliner is not reduced to a frontend device – especially DAW based studios get the chance to integrate high-grade analog processing at any stage of the audio production process.'),(10767,85,0,1795,'SPL Frontliner Model 2800 Modular Recording Channel'),(10768,85,1,1795,'SPL Frontliner Model 2800 Modular Recording Channel'),(10769,76,0,1795,''),(10770,76,1,1795,''),(10771,75,0,1796,'<img class=\"spacer\" src=\"http://www.rspeaudio.com/v/vspfiles/templates/RSPE/images/clear1x1.gif\" alt=\"\" height=\"1\" width=\"1\" />\n                 \n                  \n                     \n                      \n						  \n                            <span id=\"product_description\" itemprop=\"description\">\n<span id=\"product_description\" itemprop=\"description\">\n<h2>SPL Frontliner AD Modular Recording Channel with A/D Converter<span id=\"product_description\" itemprop=\"description\"></span></h2></span><span id=\"product_description\" itemprop=\"description\"><h2> </h2>\n</span></span><span id=\"product_description\" itemprop=\"description\"><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">The new flagship channel strip.<br /><br />\n</span>\n<div>With the finest ingredients from SPL, the new flagship of SPL\'s channel strips establishes the basis for world-class recordings – and each of its particular processing stages can be inserted into studio environments or DAWs like analog plug-ins! The brand-new Frontliner has all tools on board to record vocals and instruments in perfect quality: it merges a preamp, a de-esser, an EQ and a compressor. Thanks to it\'s individual analog I/Os, all these powerful, hi-end analog processors can be inserted into any studio by the Frontliner pilot, i. e. to use them also during mixing and mastering. Thus it appears that the Frontliner is not reduced to a frontend device – especially DAW based studios get the chance to integrate high-grade analog processing at any stage of the audio production process.<br /></div>\n<h3>Frontliner AD Key Features</h3></span></span><ul><li>Three separate, individually optimized inputs for microphones, line signals and instruments.</li><li>Discrete\n transistors/tube hybrid preamplifier to combine the advantages – high \ndynamic range and low noise operation of semiconductors with the musical\n qualities of tube sounds (appealing top end, beautiful spacial \nimpression). </li><li>250 volts tube circuits in the preamplifier and for tube saturation stages.</li><li>High-grade operational amplifiers from Burr-Brown at critical positions.</li><li>The\n De-Esser applies SPL\'s method of phase cancellation for reducing \nsibilants. This innovative approach works much more neutral than \ntraditional compression methods – a unique method for unobtrusive \nresults and extremely fast operation.</li><li>The compressor is operated\n by SPL’s double VCA drive circuitry. A differential stage eliminates \nside effects and the half load per VCA dramatically reduces THD.</li><li>The\n operational amplifiers for the compressor circuitry meet military \nspecifications. Therefore the regulating voltages are extremely precise –\n a precondition for high signal processing quality.</li><li>Selected \ncondensers for the EQ filters with pleasant sound characteristics. \nEspecially with vocals, amplified frequencies are not sounding too \nbright, and on the other hand reductions can tame harsh sounds without \nsounding dull.</li><li>Central star ground wiring scheme minimizes \ninfluences that could affect the ground paths. The audio ground is \nseparated from the ground of the remaining equipment. This leads, in the\n truest sense of the word ”clean”, to considerably improved tonal \nquality.</li><li>The power supply is built around two toroidal \ntransformers, one for the audio voltages and one for the other supply \nvoltages (tube heating, LEDs, micro controller etc.) Mutual \ninterferences are excluded and lavishly over-dimensioned capacities \nensure absolutely stable supplies for all audio circuitries.</li><li>Options include 24/192 AD converter and in/output transformers by Lundahi</li></ul>'),(10772,75,1,1796,'<img class=\"spacer\" src=\"http://www.rspeaudio.com/v/vspfiles/templates/RSPE/images/clear1x1.gif\" alt=\"\" height=\"1\" width=\"1\" />\n                 \n                  \n                     \n                      \n						  \n                            <span id=\"product_description\" itemprop=\"description\">\n<span id=\"product_description\" itemprop=\"description\">\n<h2>SPL Frontliner AD Modular Recording Channel with A/D Converter<span id=\"product_description\" itemprop=\"description\"></span></h2></span><span id=\"product_description\" itemprop=\"description\"><h2> </h2>\n</span></span><span id=\"product_description\" itemprop=\"description\"><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">The new flagship channel strip.<br /><br />\n</span>\n<div>With the finest ingredients from SPL, the new flagship of SPL\'s channel strips establishes the basis for world-class recordings – and each of its particular processing stages can be inserted into studio environments or DAWs like analog plug-ins! The brand-new Frontliner has all tools on board to record vocals and instruments in perfect quality: it merges a preamp, a de-esser, an EQ and a compressor. Thanks to it\'s individual analog I/Os, all these powerful, hi-end analog processors can be inserted into any studio by the Frontliner pilot, i. e. to use them also during mixing and mastering. Thus it appears that the Frontliner is not reduced to a frontend device – especially DAW based studios get the chance to integrate high-grade analog processing at any stage of the audio production process.<br /></div>\n<h3>Frontliner AD Key Features</h3></span></span><ul><li>Three separate, individually optimized inputs for microphones, line signals and instruments.</li><li>Discrete\n transistors/tube hybrid preamplifier to combine the advantages – high \ndynamic range and low noise operation of semiconductors with the musical\n qualities of tube sounds (appealing top end, beautiful spacial \nimpression). </li><li>250 volts tube circuits in the preamplifier and for tube saturation stages.</li><li>High-grade operational amplifiers from Burr-Brown at critical positions.</li><li>The\n De-Esser applies SPL\'s method of phase cancellation for reducing \nsibilants. This innovative approach works much more neutral than \ntraditional compression methods – a unique method for unobtrusive \nresults and extremely fast operation.</li><li>The compressor is operated\n by SPL’s double VCA drive circuitry. A differential stage eliminates \nside effects and the half load per VCA dramatically reduces THD.</li><li>The\n operational amplifiers for the compressor circuitry meet military \nspecifications. Therefore the regulating voltages are extremely precise –\n a precondition for high signal processing quality.</li><li>Selected \ncondensers for the EQ filters with pleasant sound characteristics. \nEspecially with vocals, amplified frequencies are not sounding too \nbright, and on the other hand reductions can tame harsh sounds without \nsounding dull.</li><li>Central star ground wiring scheme minimizes \ninfluences that could affect the ground paths. The audio ground is \nseparated from the ground of the remaining equipment. This leads, in the\n truest sense of the word ”clean”, to considerably improved tonal \nquality.</li><li>The power supply is built around two toroidal \ntransformers, one for the audio voltages and one for the other supply \nvoltages (tube heating, LEDs, micro controller etc.) Mutual \ninterferences are excluded and lavishly over-dimensioned capacities \nensure absolutely stable supplies for all audio circuitries.</li><li>Options include 24/192 AD converter and in/output transformers by Lundahi</li></ul>'),(10773,85,0,1796,'SPL Frontliner AD Modular Recording Channel with A/D Converter'),(10774,85,1,1796,'SPL Frontliner AD Modular Recording Channel with A/D Converter'),(10775,76,0,1796,''),(10776,76,1,1796,''),(10777,75,0,1797,'<h2>SPL GainStation 1 Microphone and Instrument Preamplifier </h2>\n<span style=\"font-size:16px; font-style:italic;\">Single channel microphone and instrument preamplifier</span><br/><br/>\n<div>\n	<div>\n		Modern audio production relies increasingly on digital systems for recording and mixing processes (DAW\'s, digital consoles etc.). But still digital systems do not offer the same audio qualities and sound characteristics of high-end analog equipment. Especially digital equalizers and other aspects of the mixing domain cannot compete with the open, transparent sound of the best analog gear. So today more than ever, your input signal has to sound as good as possible—the quality of your original tracks will largely define the end result.\n	</div><br>\n	<div>\n		Attacking this problem on the preamplification front, with the goal of noticeably improving a signal and sending it along its path with a healthy foundation, requires a great deal of thought and engineering effort – like with the GainStation 1.\n	</div><br>\n	<div>\n		Its very compact design allows for free placing also outside of a rack (e. g. close to the microphone). Musicians can place the GainStation 1 easily on a rack or amplifier.\n	</div><br>\n	<div>\n		To accommodate portability, the optionally available SPL GainBag ensures safe transport of the GainStation 1 and offers additional storage for cables and an average-sized microphone. For more permanent installations, up to four GainStation 1\'s can be rack-mounted in one optionally available 3-unit mounting frame.<br/>\n	</div><br>\n</div>\n<h3>GainStation 1 Key Features</h3>\n<ul>\n	<li>Separated Solid state and tube preamps. The tube preamp can be used additionally to the solid state stage to add tube saturations, for clean recordings it can be switched off.</li>\n	<li>Peak/FET Limiter</li>\n	<li>Switchable Mic Input Impedance (200 Ohms, 1,2 & 10 kOhms)</li>\n	<li>Custom-designed and built, fully discrete, class A op-amps (no off-the-shelf stuff here). The GainStation\'s op-amps feature 60-Volt operating voltage—twice as high as most common op-amps—for an incredible dynamic range.</li>\n	<li>All switching functions are handled by encapsulated relays with gold-plated contacts.</li>\n	<li>A no-compromise power supply with extensive additional shielding and seven separately wound and regulated voltages</li>\n	<li>Internal 24/192 AD converter, Lundahl input transformer, SPL GainBag and rack mounting frame optionally available</li>\n</ul>'),(10778,75,1,1797,'<h2>SPL GainStation 1 Microphone and Instrument Preamplifier </h2>\n<span style=\"font-size:16px; font-style:italic;\">Single channel microphone and instrument preamplifier</span><br/><br/>\n<div>\n	<div>\n		Modern audio production relies increasingly on digital systems for recording and mixing processes (DAW\'s, digital consoles etc.). But still digital systems do not offer the same audio qualities and sound characteristics of high-end analog equipment. Especially digital equalizers and other aspects of the mixing domain cannot compete with the open, transparent sound of the best analog gear. So today more than ever, your input signal has to sound as good as possible—the quality of your original tracks will largely define the end result.\n	</div><br>\n	<div>\n		Attacking this problem on the preamplification front, with the goal of noticeably improving a signal and sending it along its path with a healthy foundation, requires a great deal of thought and engineering effort – like with the GainStation 1.\n	</div><br>\n	<div>\n		Its very compact design allows for free placing also outside of a rack (e. g. close to the microphone). Musicians can place the GainStation 1 easily on a rack or amplifier.\n	</div><br>\n	<div>\n		To accommodate portability, the optionally available SPL GainBag ensures safe transport of the GainStation 1 and offers additional storage for cables and an average-sized microphone. For more permanent installations, up to four GainStation 1\'s can be rack-mounted in one optionally available 3-unit mounting frame.<br/>\n	</div><br>\n</div>\n<h3>GainStation 1 Key Features</h3>\n<ul>\n	<li>Separated Solid state and tube preamps. The tube preamp can be used additionally to the solid state stage to add tube saturations, for clean recordings it can be switched off.</li>\n	<li>Peak/FET Limiter</li>\n	<li>Switchable Mic Input Impedance (200 Ohms, 1,2 & 10 kOhms)</li>\n	<li>Custom-designed and built, fully discrete, class A op-amps (no off-the-shelf stuff here). The GainStation\'s op-amps feature 60-Volt operating voltage—twice as high as most common op-amps—for an incredible dynamic range.</li>\n	<li>All switching functions are handled by encapsulated relays with gold-plated contacts.</li>\n	<li>A no-compromise power supply with extensive additional shielding and seven separately wound and regulated voltages</li>\n	<li>Internal 24/192 AD converter, Lundahl input transformer, SPL GainBag and rack mounting frame optionally available</li>\n</ul>'),(10779,85,0,1797,'SPL GainStation 1 Microphone and Instrument Preamplifier'),(10780,85,1,1797,'SPL GainStation 1 Microphone and Instrument Preamplifier'),(10781,76,0,1797,''),(10782,76,1,1797,''),(10783,75,0,1798,'<h2>SPL GainStation 1 AD Microphone and Instrument Preamplifier with A/D Converter </h2>\n<span style=\"font-size: 16px; font-style: italic;\">Single channel microphone and instrument preamplifier</span><br /><br />\n<div>\n	<div>\n		Modern audio production relies increasingly on digital systems for recording and mixing processes (DAW\'s, digital consoles etc.). But still digital systems do not offer the same audio qualities and sound characteristics of high-end analog equipment. Especially digital equalizers and other aspects of the mixing domain cannot compete with the open, transparent sound of the best analog gear. So today more than ever, your input signal has to sound as good as possible—the quality of your original tracks will largely define the end result.\n	</div><br />\n	<div>\n		Attacking this problem on the preamplification front, with the goal of noticeably improving a signal and sending it along its path with a healthy foundation, requires a great deal of thought and engineering effort – like with the GainStation 1.\n	</div><br />\n	<div>\n		Its very compact design allows for free placing also outside of a rack (e. g. close to the microphone). Musicians can place the GainStation 1 easily on a rack or amplifier.\n	</div><br />\n	<div>\n		To accommodate portability, the optionally available SPL GainBag ensures safe transport of the GainStation 1 and offers additional storage for cables and an average-sized microphone. For more permanent installations, up to four GainStation 1\'s can be rack-mounted in one optionally available 3-unit mounting frame.<br />\n	</div><br />\n</div>\n<h3>GainStation 1 Key Features</h3>\n<ul>\n	<li>Separated Solid state and tube preamps. The tube preamp can be used additionally to the solid state stage to add tube saturations, for clean recordings it can be switched off.</li>\n	<li>Peak/FET Limiter</li>\n	<li>Switchable Mic Input Impedance (200 Ohms, 1,2 & 10 kOhms)</li>\n	<li>Custom-designed and built, fully discrete, class A op-amps (no off-the-shelf stuff here). The GainStation\'s op-amps feature 60-Volt operating voltage—twice as high as most common op-amps—for an incredible dynamic range.</li>\n	<li>All switching functions are handled by encapsulated relays with gold-plated contacts.</li>\n	<li>A no-compromise power supply with extensive additional shielding and seven separately wound and regulated voltages</li>\n	<li>Internal 24/192 AD converter, Lundahl input transformer, SPL GainBag and rack mounting frame optionally available</li>\n</ul>'),(10784,75,1,1798,'<h2>SPL GainStation 1 AD Microphone and Instrument Preamplifier with A/D Converter </h2>\n<span style=\"font-size: 16px; font-style: italic;\">Single channel microphone and instrument preamplifier</span><br /><br />\n<div>\n	<div>\n		Modern audio production relies increasingly on digital systems for recording and mixing processes (DAW\'s, digital consoles etc.). But still digital systems do not offer the same audio qualities and sound characteristics of high-end analog equipment. Especially digital equalizers and other aspects of the mixing domain cannot compete with the open, transparent sound of the best analog gear. So today more than ever, your input signal has to sound as good as possible—the quality of your original tracks will largely define the end result.\n	</div><br />\n	<div>\n		Attacking this problem on the preamplification front, with the goal of noticeably improving a signal and sending it along its path with a healthy foundation, requires a great deal of thought and engineering effort – like with the GainStation 1.\n	</div><br />\n	<div>\n		Its very compact design allows for free placing also outside of a rack (e. g. close to the microphone). Musicians can place the GainStation 1 easily on a rack or amplifier.\n	</div><br />\n	<div>\n		To accommodate portability, the optionally available SPL GainBag ensures safe transport of the GainStation 1 and offers additional storage for cables and an average-sized microphone. For more permanent installations, up to four GainStation 1\'s can be rack-mounted in one optionally available 3-unit mounting frame.<br />\n	</div><br />\n</div>\n<h3>GainStation 1 Key Features</h3>\n<ul>\n	<li>Separated Solid state and tube preamps. The tube preamp can be used additionally to the solid state stage to add tube saturations, for clean recordings it can be switched off.</li>\n	<li>Peak/FET Limiter</li>\n	<li>Switchable Mic Input Impedance (200 Ohms, 1,2 & 10 kOhms)</li>\n	<li>Custom-designed and built, fully discrete, class A op-amps (no off-the-shelf stuff here). The GainStation\'s op-amps feature 60-Volt operating voltage—twice as high as most common op-amps—for an incredible dynamic range.</li>\n	<li>All switching functions are handled by encapsulated relays with gold-plated contacts.</li>\n	<li>A no-compromise power supply with extensive additional shielding and seven separately wound and regulated voltages</li>\n	<li>Internal 24/192 AD converter, Lundahl input transformer, SPL GainBag and rack mounting frame optionally available</li>\n</ul>'),(10785,85,0,1798,'SPL GainStation 1 AD Microphone and Instrument Preamplifier with A/D Converter'),(10786,85,1,1798,'SPL GainStation 1 AD Microphone and Instrument Preamplifier with A/D Converter'),(10787,76,0,1798,''),(10788,76,1,1798,''),(10789,75,0,1799,'<h2>SPL GoldMike MK2 Microphone and Instrument Preamplifier </h2>\n<span style=\"font-size:16px; font-style:italic;\">Dual-channel microphone and instrument preamplifier</span><br /><br />\n<div>\n	<div>\n		<div>\n			<div>\n				Like its successful predecessor, the GoldMike Mark2 retains a hybrid solid state and tube construction to combine the best of both worlds.\n			</div>\n			<div>\n				The transistor stage is composed of single transistors in a class A design. The circuitry is fully discrete, and each transistor is completely optimized for its specific task. You will not find any IC’s in this preamplifier stage because they cannot be optimized for this specific application to the degree we aimed for.\n			</div>\n			<div>\n				This all new discrete class A transistor stage is a genuine innovation in the entire preamplifier market at this price level.\n			</div>\n		</div>\n	</div>\n</div>\n<h3>GoldMike MK2 Key Features</h3>\nThe GoldMike MK2\'s new features provide an amazing tonal flexibility and versatility, making it a perfect dual-channel frontend for any modern production environment.<br /><br />\n<ul>\n	<li>Frequency response ‹10Hz bis 90kHz (-3dB)</li>\n	<li>THD+N (Input level -30dBu, 30dB Gain) 0,016%</li>\n	<li>Noise (A-w., R=40Ohm, 30dB Gain) -91,2dBu</li>\n	<li>Dynamic range (30dB Gain) 110dB</li>\n	<li>E.I.N. 128dBu</li>\n	<li>Max. output level (sym., XLR+Jack) +26,8dBu</li>\n	<li>Slew rate solid state stage 200V/µs</li><li>Discrete Class A solid stage</li><li>Tube drive in three different intensity levels</li><li>Flair presence enhancement in two switchable settings</li><li>Switching inserts</li><li>Pre-output limiter stage (extremely fast diode-based operation, perfect for A/D converter protection)</li><li>VU metering with three different, switchable display ranges</li><li>Front panel instrument input, separate rear-side microphone and line inputs</li><li>Phantom power, phase reverse, pad and high-pass filter (50Hz)</li><li>Options include 24/192 AD converter and in/output transformers by Lundahl</li>\n	<br />\n</ul>'),(10790,75,1,1799,'<h2>SPL GoldMike MK2 Microphone and Instrument Preamplifier </h2>\n<span style=\"font-size:16px; font-style:italic;\">Dual-channel microphone and instrument preamplifier</span><br /><br />\n<div>\n	<div>\n		<div>\n			<div>\n				Like its successful predecessor, the GoldMike Mark2 retains a hybrid solid state and tube construction to combine the best of both worlds.\n			</div>\n			<div>\n				The transistor stage is composed of single transistors in a class A design. The circuitry is fully discrete, and each transistor is completely optimized for its specific task. You will not find any IC’s in this preamplifier stage because they cannot be optimized for this specific application to the degree we aimed for.\n			</div>\n			<div>\n				This all new discrete class A transistor stage is a genuine innovation in the entire preamplifier market at this price level.\n			</div>\n		</div>\n	</div>\n</div>\n<h3>GoldMike MK2 Key Features</h3>\nThe GoldMike MK2\'s new features provide an amazing tonal flexibility and versatility, making it a perfect dual-channel frontend for any modern production environment.<br /><br />\n<ul>\n	<li>Frequency response ‹10Hz bis 90kHz (-3dB)</li>\n	<li>THD+N (Input level -30dBu, 30dB Gain) 0,016%</li>\n	<li>Noise (A-w., R=40Ohm, 30dB Gain) -91,2dBu</li>\n	<li>Dynamic range (30dB Gain) 110dB</li>\n	<li>E.I.N. 128dBu</li>\n	<li>Max. output level (sym., XLR+Jack) +26,8dBu</li>\n	<li>Slew rate solid state stage 200V/µs</li><li>Discrete Class A solid stage</li><li>Tube drive in three different intensity levels</li><li>Flair presence enhancement in two switchable settings</li><li>Switching inserts</li><li>Pre-output limiter stage (extremely fast diode-based operation, perfect for A/D converter protection)</li><li>VU metering with three different, switchable display ranges</li><li>Front panel instrument input, separate rear-side microphone and line inputs</li><li>Phantom power, phase reverse, pad and high-pass filter (50Hz)</li><li>Options include 24/192 AD converter and in/output transformers by Lundahl</li>\n	<br />\n</ul>'),(10791,85,0,1799,'SPL GoldMike MK2 Microphone and Instrument Preamplifier'),(10792,85,1,1799,'SPL GoldMike MK2 Microphone and Instrument Preamplifier'),(10793,76,0,1799,''),(10794,76,1,1799,''),(10795,75,0,1800,'<h2>SPL GoldMike MK2 AD Microphone and Instrument Preamplifier with A/D Converter</h2>\n<span style=\"font-size: 16px; font-style: italic;\">Dual-channel microphone and instrument preamplifier</span><br /><br />\n<div>\n	<div>\n		<div>\n			<div>\n				Like its successful predecessor, the GoldMike Mark2 retains a hybrid solid state and tube construction to combine the best of both worlds.\n			</div>\n			<div>\n				The transistor stage is composed of single transistors in a class A design. The circuitry is fully discrete, and each transistor is completely optimized for its specific task. You will not find any IC’s in this preamplifier stage because they cannot be optimized for this specific application to the degree we aimed for.\n			</div>\n			<div>\n				This all new discrete class A transistor stage is a genuine innovation in the entire preamplifier market at this price level.\n			</div>\n		</div>\n	</div>\n</div>\n<h3>GoldMike MK2 AD Key Features</h3>\nThe GoldMike MK2\'s new features provide an amazing tonal flexibility and versatility, making it a perfect dual-channel frontend for any modern production environment.<br /><br />\n<ul>\n	<li>Frequency response ‹10Hz bis 90kHz (-3dB)</li>\n	<li>THD+N (Input level -30dBu, 30dB Gain) 0,016%</li>\n	<li>Noise (A-w., R=40Ohm, 30dB Gain) -91,2dBu</li>\n	<li>Dynamic range (30dB Gain) 110dB</li>\n	<li>E.I.N. 128dBu</li>\n	<li>Max. output level (sym., XLR+Jack) +26,8dBu</li>\n	<li>Slew rate solid state stage 200V/µs</li><li>Discrete Class A solid stage</li><li>Tube drive in three different intensity levels</li><li>Flair presence enhancement in two switchable settings</li><li>Switching inserts</li><li>Pre-output limiter stage (extremely fast diode-based operation, perfect for A/D converter protection)</li><li>VU metering with three different, switchable display ranges</li><li>Front panel instrument input, separate rear-side microphone and line inputs</li><li>Phantom power, phase reverse, pad and high-pass filter (50Hz)</li><li>Options include 24/192 AD converter and in/output transformers by Lundahl</li>\n	<br />\n</ul>'),(10796,75,1,1800,'<h2>SPL GoldMike MK2 AD Microphone and Instrument Preamplifier with A/D Converter</h2>\n<span style=\"font-size: 16px; font-style: italic;\">Dual-channel microphone and instrument preamplifier</span><br /><br />\n<div>\n	<div>\n		<div>\n			<div>\n				Like its successful predecessor, the GoldMike Mark2 retains a hybrid solid state and tube construction to combine the best of both worlds.\n			</div>\n			<div>\n				The transistor stage is composed of single transistors in a class A design. The circuitry is fully discrete, and each transistor is completely optimized for its specific task. You will not find any IC’s in this preamplifier stage because they cannot be optimized for this specific application to the degree we aimed for.\n			</div>\n			<div>\n				This all new discrete class A transistor stage is a genuine innovation in the entire preamplifier market at this price level.\n			</div>\n		</div>\n	</div>\n</div>\n<h3>GoldMike MK2 AD Key Features</h3>\nThe GoldMike MK2\'s new features provide an amazing tonal flexibility and versatility, making it a perfect dual-channel frontend for any modern production environment.<br /><br />\n<ul>\n	<li>Frequency response ‹10Hz bis 90kHz (-3dB)</li>\n	<li>THD+N (Input level -30dBu, 30dB Gain) 0,016%</li>\n	<li>Noise (A-w., R=40Ohm, 30dB Gain) -91,2dBu</li>\n	<li>Dynamic range (30dB Gain) 110dB</li>\n	<li>E.I.N. 128dBu</li>\n	<li>Max. output level (sym., XLR+Jack) +26,8dBu</li>\n	<li>Slew rate solid state stage 200V/µs</li><li>Discrete Class A solid stage</li><li>Tube drive in three different intensity levels</li><li>Flair presence enhancement in two switchable settings</li><li>Switching inserts</li><li>Pre-output limiter stage (extremely fast diode-based operation, perfect for A/D converter protection)</li><li>VU metering with three different, switchable display ranges</li><li>Front panel instrument input, separate rear-side microphone and line inputs</li><li>Phantom power, phase reverse, pad and high-pass filter (50Hz)</li><li>Options include 24/192 AD converter and in/output transformers by Lundahl</li>\n	<br />\n</ul>'),(10797,85,0,1800,'SPL GoldMike MK2 AD Microphone and Instrument Preamplifier with A/D Converter'),(10798,85,1,1800,'SPL GoldMike MK2 AD Microphone and Instrument Preamplifier with A/D Converter'),(10799,76,0,1800,''),(10800,76,1,1800,''),(10801,75,0,1801,'<h1>SPL Hermes Mastering Router with dual Parallel Mix</h1>\n<i>Mastering insert router with connections for up to eight dual-channel processors, dual parallel mix channels, powered by SPL’s 120V technology</i><br /><br />SPL Hermes is a mastering router with dual parallel mixing that revolutionizes Mastering. Now it is possible to route an audio signal through up to eight dual-channel processors in any order. User definable presets allow the comparison of complex processing chains with just a flip of a button.\n<br /><br />\n	In addition, Hermes has two integrated parallel mix stages that work with any of the eight processors allowing for comparison of two compressors with different parallel mix settings. The parallel mix stages are stored with the processing chains.\n<br /><br />\n	Hermes routing is entirely passive using gas-capsuled and gold-plated high-end relays. All active electronics like the I/O stages and the Parallel Mixes use SPL\'s proprietary and unequaled 120V Technology.\n<br /><br />\n	Hermes speeds up the workflow in mastering in ways that were previously extremely difficult, and makes the most out of your existing mastering gear. Repatching to hear a simple change is a thing of the past with Hermes – you can change processor sequences on the fly, store them, and compare settings instantly. All with real switches, relays and no software application.\n<br /><br />\n<h3>SPL Hermes Key Features</h3>\n<ul>\n	<li>Mastering router for 8 dual-channel processors</li><li>Two Parallel Mix stages</li><li>Create, store and compare complex processing chains</li><li>With gain compensation</li><li>Fast comparison of up to 4 processing chains</li><li>Can be assigned to any device</li><li>Fully passive routing using</li><li>120V Technology</li><li>Gold-plated and gas-capsuled relays</li><li>Label mode to enter device names</li>\n</ul>\n<br />'),(10802,75,1,1801,'<h1>SPL Hermes Mastering Router with dual Parallel Mix</h1>\n<i>Mastering insert router with connections for up to eight dual-channel processors, dual parallel mix channels, powered by SPL’s 120V technology</i><br /><br />SPL Hermes is a mastering router with dual parallel mixing that revolutionizes Mastering. Now it is possible to route an audio signal through up to eight dual-channel processors in any order. User definable presets allow the comparison of complex processing chains with just a flip of a button.\n<br /><br />\n	In addition, Hermes has two integrated parallel mix stages that work with any of the eight processors allowing for comparison of two compressors with different parallel mix settings. The parallel mix stages are stored with the processing chains.\n<br /><br />\n	Hermes routing is entirely passive using gas-capsuled and gold-plated high-end relays. All active electronics like the I/O stages and the Parallel Mixes use SPL\'s proprietary and unequaled 120V Technology.\n<br /><br />\n	Hermes speeds up the workflow in mastering in ways that were previously extremely difficult, and makes the most out of your existing mastering gear. Repatching to hear a simple change is a thing of the past with Hermes – you can change processor sequences on the fly, store them, and compare settings instantly. All with real switches, relays and no software application.\n<br /><br />\n<h3>SPL Hermes Key Features</h3>\n<ul>\n	<li>Mastering router for 8 dual-channel processors</li><li>Two Parallel Mix stages</li><li>Create, store and compare complex processing chains</li><li>With gain compensation</li><li>Fast comparison of up to 4 processing chains</li><li>Can be assigned to any device</li><li>Fully passive routing using</li><li>120V Technology</li><li>Gold-plated and gas-capsuled relays</li><li>Label mode to enter device names</li>\n</ul>\n<br />'),(10803,85,0,1801,'SPL Hermes Mastering Router with dual Parallel Mix'),(10804,85,1,1801,'SPL Hermes Mastering Router with dual Parallel Mix'),(10805,76,0,1801,''),(10806,76,1,1801,''),(10807,75,0,1802,'<h2>SPL Iron Mastering Compressor</h2>\n<i>\n<div>\n	<font class=\"Apple-style-span\" size=\"3\">A beautifully sounding mastering compressor based on the vintage Variable-Mu/Tube design</font>\n</div>\n</i><br />\n<div>\n	<div>\n		The SPL Iron Mastering Compressor is<span style=\"background-color: initial;\"> a tube compressor with a Vari-Mu circuit that features six selectable rectifier and four different filters on the side chain. </span><span style=\"background-color: initial;\">Each channel of the Iron compressor has a threshold, attack, release, input and output level controls, </span><span style=\"background-color: initial;\">selected using the beautifully</span><span style=\"background-color: initial;\"> designed rotary switch on the front of the unit</span><span style=\"background-color: initial;\">. </span><span style=\"background-color: initial;\">It also features two Airbass and Tape Roll Off filters for different timbres and a Sidechain function with 4 filters is also available. Last, each channel has its own VU-meter with 3-way calibration switch.<br /><br />The SPL Iron allows you to easily \"Iron\" out the wrinkles of a mix and add the finishing touches to any production.</span>\n	</div>\n	<div>\n		<br /><span class=\"Apple-style-span\" style=\"font-size: 24px; font-weight: bold; color: rgb(0, 0, 0);\">SPL Iron Key Features</span>\n	</div>\n</div>\n<ul>\n	<li><span style=\"background-color: initial;\">Variable bias tube compressor</span></li>\n	<li>Parallel dual tube circuit</li>\n	<li>Tube selection and pairing with Weigl Roe Test</li>\n	<li>Specially conceived Mu-Metal iron transformers</li>\n	<li>Feed-forward resistive vactrol-opto-isolator</li>\n	<li>Six different Rectifier settings available</li>\n	<li>Sidechain that allows you to choose between Off, four sidechain-filter presets or an external sidechain signal.</li>\n	<li>All functions can be adjusted via switches or, in the case of the Threshold, with a detented potentiometer</li>\n	<li>In Link mode, the Threshold, Tube Bias, Attack, Release, and Rectifier parameters, as well as the Sidechain EQs, are controlled with the right side (channel 2) of the unit.</li>\n	<li>Additional passive 120V equalizer with two presets</li>\n	<li>High Dynamic 120V operating voltage</li>\n	<li>Auto Bypass mode</li>\n	<li>Made in Germany</li>\n	\n</ul><br />\n<h3>Iron Mastering Compressor In Depth</h3>\nThe IRON Mastering compressor combines not only the sonic virtues of legendary vintage tube compressors with the advantages of the High Dynamic 120V operating voltage in a single unit. It is also perfect for the needs of modern mastering studios and sets a new benchmark in terms of tube compressor technology, with the innovative implementation of a parallel dual-tube circuit.<br /><br />\n\nThanks to the especially conceived Mu-Metal iron transformers, the signal of each channel is split across two different twin-triode tubes. The combination of the different response curves of both tubes results in a transparent and musically pleasant compression. Additionally, peak signals of the control voltage are limited by a feed-forward resistive vactrol-opto-isolator. Thus, the output signal remains lively even with a high gain reduction. The compression is only noticeable with extreme settings.\n<br /><br />\nThe Tube Bias has three different settings. Together with the Input Gain of up to +/- 12dB and the Threshold control, it allows the compression behavior of the tubes to be perfectly adapted to any material.<br /><br />\nThe Attack and Release parameters have six different settings ranging from Slow to Fast. The times are not constant, they vary according to the Rectifier circuit selected: There are six different Rectifier settings available with different diodes (germanium, silicon, LED, mixed).<br /><br />\nThe Sidechain EQ is yet another option to adjust the Iron to the signal being processed in an optimal way. It allows you to choose between an external EQ or one of the four internal EQ presets. The EQ presets have a complex frequency response and have been conceived with different program material in mind. Only the control signal is affected, not the actual audio signal. In the Off position, the Sidechain EQ is inactive. After the compression stage, the signal can be boosted or attenuated up to +/- 12dB with the Output Gain, which makes the Iron easy to integrate into any signal chain.<br /><br />\nAll functions can be adjusted via switches or, in the case of the Threshold, with a detented potentiometer, making it easy to replicate exact settings.<br /><br />\n\nIn stereo Link mode, the Threshold, Tube Bias, Attack, Release, and Rectifier parameters, as well as the Sidechain EQs, are controlled with the right side (channel 2) of the unit. In contrast to the Dual-Mono mode, in stereo Link mode the compressor works with a sum signal. Thus, the stereo image is wider when working with the Dual-Mono mode on stereo material.<br /><br />\nThe compressor has an additional passive 120V equalizer to give the output signal the finishing touches. You have two different EQ presets to choose from: AirBass and Tape Roll-Off. The AirBass mode gently boosts high and low frequencies approx. 2dB. For its part, the Tape Roll-Off mode is based on the frequency response of a tape machine and uses a high and a low-cut filter.<br /><br />\nBoth the left and right channels have separate illuminated activating switches. Further, in Auto Bypass mode you can use the Interval control to set a time frame during which the compressor automatically toggles back and forth between the processed and unprocessed signals. This makes AB comparisons between the original and compressed signals a breeze, besides making it easier to assess the settings in context.<br /><br />\nThe ergonomic design and clear arrangement of the control elements make working with the compressor more intuitive, while its shallow housing makes the Iron perfectly adaptable to tabletop rack stands.<br /><br />\n\nMastering is not the only domain where the IRON sets new standards. It can also be used to process individual instruments, like vocals, bass, guitar, strings, etc. The IRON is also an excellent option for subgroups.<br /><br />\n\n<h3>Operating Principles of a Compressor</h3>\n\nThe basic operating principles of a compressor/limiter can be easily explained. The level of an audio signal is reduced according to the specified attack time and ratio whenever it exceeds a given threshold. This reduction ceases when the release time elapses, while the compressed signal is amplified with the make-up gain. <br /><br />\n\nCompressors basically differ from each other in the technology used. This technology - tubes, opto, FET, or VCA - is what gives a compressor its particular character. Some units sound soft and silky, some sound pounding, while some others make sound fatter, and there are those that make sound clearer, harder or more percussive. The trick resides in how the unit is technically designed, in the signature of the maker. Different compressors with the exact same settings might work and sound completely different. They provide different sounds for different applications and music styles.<br /><br />\n\nNowadays, the compressor has become a key element when it comes to provide dynamicsand punch to any production. The number of compressors available is huge and it‘seasy to succumb to the promises made by software emulations and analog recreations ofvintage gear as the perfect solution. Unfortunately, many of these emulations and recreationsdiffer quite a bit form their original counterparts. You must simply accept that the components used today, like the transformers, tubes and all other passive elements, are different to the ones originally used and that they can‘t be digitally emulated. No software (DSP-emulated compressors) or hardware replica will ever be able to sound like the original. An authentic sound can only be achieved with the original unit.<br /><br />\n\n<h3>Innovating Compression</h3>\n\nThe IRON mastering compressor was conceived as a variable-bias limiter/compressor right from the start. However, the implementation of new technologies results in many improvements. Its basic operating principle as a variable-bias tube compressor was loosely inspired by the sonic and technical operation of Fairchild, Collins and Gates compressors, which used remote cut-off of tube biasing to achieve a well-balanced, well-compensated and musical compression. \nHowever, the IRON compressor features a second sharp cut-off tube, a medium-variable bias triode, in its circuit design. This tube is connected in parallel to the remote cut-off tube and it has a considerably steeper characteristic curve. The tube used to process the signal depends on the amplitude of the latter. This results in a more well-balanced sound and more controllable settings of the parameters. The pair of parallel connected tubes has been specially matched for the IRON. In order to guarantee that tube selection and pairing is perfect, we use the Weigl Roe Test for PC. The optimal selection of the tubes guarantees that all IRONs have the same sonic characteristics. <br /><br />\n\nMoreover, we use Lundahl custom-made balanced high-level dual-coil mu-metal iron transformers in the signal flow of the variable-bias tubes, which add to the overall sound. <br /><br />\nThe second new technology implemented is the independent feed-forward resistive opto-isolator in the control path of the variable-bias tube circuit. Its function is to limit signal peaks and, thus, get a smaller THD (Total Harmonic Distortion) within the variable-bias tube section. The result is a silkier, more homogeneous sound in the higher frequencies of the music signal. This circuit has its own rectifier in the signal path. The optical control element does not work in the sense of an audio limiter, like in a conventional opto-compressor. It is built-in in the control path of the parallel connected variable-bias tube, not in the audio path itself. Time control parameters, like attack and release time, are adaptedand fixed to the variable-bias tube circuit. <br /><br />\n\nThe IRON compressor works as a feedback compressor when set to the variable-bias tube circuit and as a feed-forward compressor when set to the opto-control circuit.Thirdly, the complex rectifier circuit is also worth mentioning, since it is the basis for tube control. You can use the six-position switch to choose either of the six different control characteristic curves of the diodes within the rectifier. Given the specific characteristic curve of its elements, the combination of germanium, silicon and LED diodes produces different behaviors and characteristics for the Attack and Release times. <br /><br />\n\nHence, compared to most compressors, the application scope of the IRON is clearly enlarged, resulting in new possibilities regarding the processing of music material. The fourth exceptional feature is the comprehensive logical relay circuit that perfectly links both channels together, making the right channel the Master regarding Release, Attack, Threshold, Rectifier, Tube-Bias and Side-Chain EQ settings.<br /><br />\n\n<h3>120 Volt Technology</h3>\n\nSPL‘s goal was to push analog signal processing to the limits. That‘s why we combined the best possible components with a high-grade optimized circuit design. We have been using the in-house developed 120 volt technology - the highest-ever operating voltage used for audio applications - in all our products of the mastering series for years. <br /><br />\n\nSome of the most highly respected mastering studios today revolve around SPL consoles and signal processors from our mastering series (Bob Ludwigs Gateway Mastering & DVD in the USA, Simon Heyworth‘s Super Audio Mastering in the UK, Galaxy Studios in Belgium, and the legendary Wisseloord in the Netherlands, for instance). <br /><br />\n\nThe 120 volt technology is based on op-amps developed internally by SPL‘s founders together with chief developer Wolfgang Neumann. The IRON features the most advanced generation of these op-amps. They boast better tech specs thanks to the thermal behavior optimization they underwent under the hands of Bastian Neu. Ultimately, the supply voltage is key for the overall dynamic response of a processor. Voltage is to an electrical circuit what cylinder capacity is to an internal combustion engine. You can‘t replace cylinder capacity with anything else, except more cylinder capacity.<br /><br />'),(10808,75,1,1802,'<h2>SPL Iron Mastering Compressor</h2>\n<i>\n<div>\n	<font class=\"Apple-style-span\" size=\"3\">A beautifully sounding mastering compressor based on the vintage Variable-Mu/Tube design</font>\n</div>\n</i><br />\n<div>\n	<div>\n		The SPL Iron Mastering Compressor is<span style=\"background-color: initial;\"> a tube compressor with a Vari-Mu circuit that features six selectable rectifier and four different filters on the side chain. </span><span style=\"background-color: initial;\">Each channel of the Iron compressor has a threshold, attack, release, input and output level controls, </span><span style=\"background-color: initial;\">selected using the beautifully</span><span style=\"background-color: initial;\"> designed rotary switch on the front of the unit</span><span style=\"background-color: initial;\">. </span><span style=\"background-color: initial;\">It also features two Airbass and Tape Roll Off filters for different timbres and a Sidechain function with 4 filters is also available. Last, each channel has its own VU-meter with 3-way calibration switch.<br /><br />The SPL Iron allows you to easily \"Iron\" out the wrinkles of a mix and add the finishing touches to any production.</span>\n	</div>\n	<div>\n		<br /><span class=\"Apple-style-span\" style=\"font-size: 24px; font-weight: bold; color: rgb(0, 0, 0);\">SPL Iron Key Features</span>\n	</div>\n</div>\n<ul>\n	<li><span style=\"background-color: initial;\">Variable bias tube compressor</span></li>\n	<li>Parallel dual tube circuit</li>\n	<li>Tube selection and pairing with Weigl Roe Test</li>\n	<li>Specially conceived Mu-Metal iron transformers</li>\n	<li>Feed-forward resistive vactrol-opto-isolator</li>\n	<li>Six different Rectifier settings available</li>\n	<li>Sidechain that allows you to choose between Off, four sidechain-filter presets or an external sidechain signal.</li>\n	<li>All functions can be adjusted via switches or, in the case of the Threshold, with a detented potentiometer</li>\n	<li>In Link mode, the Threshold, Tube Bias, Attack, Release, and Rectifier parameters, as well as the Sidechain EQs, are controlled with the right side (channel 2) of the unit.</li>\n	<li>Additional passive 120V equalizer with two presets</li>\n	<li>High Dynamic 120V operating voltage</li>\n	<li>Auto Bypass mode</li>\n	<li>Made in Germany</li>\n	\n</ul><br />\n<h3>Iron Mastering Compressor In Depth</h3>\nThe IRON Mastering compressor combines not only the sonic virtues of legendary vintage tube compressors with the advantages of the High Dynamic 120V operating voltage in a single unit. It is also perfect for the needs of modern mastering studios and sets a new benchmark in terms of tube compressor technology, with the innovative implementation of a parallel dual-tube circuit.<br /><br />\n\nThanks to the especially conceived Mu-Metal iron transformers, the signal of each channel is split across two different twin-triode tubes. The combination of the different response curves of both tubes results in a transparent and musically pleasant compression. Additionally, peak signals of the control voltage are limited by a feed-forward resistive vactrol-opto-isolator. Thus, the output signal remains lively even with a high gain reduction. The compression is only noticeable with extreme settings.\n<br /><br />\nThe Tube Bias has three different settings. Together with the Input Gain of up to +/- 12dB and the Threshold control, it allows the compression behavior of the tubes to be perfectly adapted to any material.<br /><br />\nThe Attack and Release parameters have six different settings ranging from Slow to Fast. The times are not constant, they vary according to the Rectifier circuit selected: There are six different Rectifier settings available with different diodes (germanium, silicon, LED, mixed).<br /><br />\nThe Sidechain EQ is yet another option to adjust the Iron to the signal being processed in an optimal way. It allows you to choose between an external EQ or one of the four internal EQ presets. The EQ presets have a complex frequency response and have been conceived with different program material in mind. Only the control signal is affected, not the actual audio signal. In the Off position, the Sidechain EQ is inactive. After the compression stage, the signal can be boosted or attenuated up to +/- 12dB with the Output Gain, which makes the Iron easy to integrate into any signal chain.<br /><br />\nAll functions can be adjusted via switches or, in the case of the Threshold, with a detented potentiometer, making it easy to replicate exact settings.<br /><br />\n\nIn stereo Link mode, the Threshold, Tube Bias, Attack, Release, and Rectifier parameters, as well as the Sidechain EQs, are controlled with the right side (channel 2) of the unit. In contrast to the Dual-Mono mode, in stereo Link mode the compressor works with a sum signal. Thus, the stereo image is wider when working with the Dual-Mono mode on stereo material.<br /><br />\nThe compressor has an additional passive 120V equalizer to give the output signal the finishing touches. You have two different EQ presets to choose from: AirBass and Tape Roll-Off. The AirBass mode gently boosts high and low frequencies approx. 2dB. For its part, the Tape Roll-Off mode is based on the frequency response of a tape machine and uses a high and a low-cut filter.<br /><br />\nBoth the left and right channels have separate illuminated activating switches. Further, in Auto Bypass mode you can use the Interval control to set a time frame during which the compressor automatically toggles back and forth between the processed and unprocessed signals. This makes AB comparisons between the original and compressed signals a breeze, besides making it easier to assess the settings in context.<br /><br />\nThe ergonomic design and clear arrangement of the control elements make working with the compressor more intuitive, while its shallow housing makes the Iron perfectly adaptable to tabletop rack stands.<br /><br />\n\nMastering is not the only domain where the IRON sets new standards. It can also be used to process individual instruments, like vocals, bass, guitar, strings, etc. The IRON is also an excellent option for subgroups.<br /><br />\n\n<h3>Operating Principles of a Compressor</h3>\n\nThe basic operating principles of a compressor/limiter can be easily explained. The level of an audio signal is reduced according to the specified attack time and ratio whenever it exceeds a given threshold. This reduction ceases when the release time elapses, while the compressed signal is amplified with the make-up gain. <br /><br />\n\nCompressors basically differ from each other in the technology used. This technology - tubes, opto, FET, or VCA - is what gives a compressor its particular character. Some units sound soft and silky, some sound pounding, while some others make sound fatter, and there are those that make sound clearer, harder or more percussive. The trick resides in how the unit is technically designed, in the signature of the maker. Different compressors with the exact same settings might work and sound completely different. They provide different sounds for different applications and music styles.<br /><br />\n\nNowadays, the compressor has become a key element when it comes to provide dynamicsand punch to any production. The number of compressors available is huge and it‘seasy to succumb to the promises made by software emulations and analog recreations ofvintage gear as the perfect solution. Unfortunately, many of these emulations and recreationsdiffer quite a bit form their original counterparts. You must simply accept that the components used today, like the transformers, tubes and all other passive elements, are different to the ones originally used and that they can‘t be digitally emulated. No software (DSP-emulated compressors) or hardware replica will ever be able to sound like the original. An authentic sound can only be achieved with the original unit.<br /><br />\n\n<h3>Innovating Compression</h3>\n\nThe IRON mastering compressor was conceived as a variable-bias limiter/compressor right from the start. However, the implementation of new technologies results in many improvements. Its basic operating principle as a variable-bias tube compressor was loosely inspired by the sonic and technical operation of Fairchild, Collins and Gates compressors, which used remote cut-off of tube biasing to achieve a well-balanced, well-compensated and musical compression. \nHowever, the IRON compressor features a second sharp cut-off tube, a medium-variable bias triode, in its circuit design. This tube is connected in parallel to the remote cut-off tube and it has a considerably steeper characteristic curve. The tube used to process the signal depends on the amplitude of the latter. This results in a more well-balanced sound and more controllable settings of the parameters. The pair of parallel connected tubes has been specially matched for the IRON. In order to guarantee that tube selection and pairing is perfect, we use the Weigl Roe Test for PC. The optimal selection of the tubes guarantees that all IRONs have the same sonic characteristics. <br /><br />\n\nMoreover, we use Lundahl custom-made balanced high-level dual-coil mu-metal iron transformers in the signal flow of the variable-bias tubes, which add to the overall sound. <br /><br />\nThe second new technology implemented is the independent feed-forward resistive opto-isolator in the control path of the variable-bias tube circuit. Its function is to limit signal peaks and, thus, get a smaller THD (Total Harmonic Distortion) within the variable-bias tube section. The result is a silkier, more homogeneous sound in the higher frequencies of the music signal. This circuit has its own rectifier in the signal path. The optical control element does not work in the sense of an audio limiter, like in a conventional opto-compressor. It is built-in in the control path of the parallel connected variable-bias tube, not in the audio path itself. Time control parameters, like attack and release time, are adaptedand fixed to the variable-bias tube circuit. <br /><br />\n\nThe IRON compressor works as a feedback compressor when set to the variable-bias tube circuit and as a feed-forward compressor when set to the opto-control circuit.Thirdly, the complex rectifier circuit is also worth mentioning, since it is the basis for tube control. You can use the six-position switch to choose either of the six different control characteristic curves of the diodes within the rectifier. Given the specific characteristic curve of its elements, the combination of germanium, silicon and LED diodes produces different behaviors and characteristics for the Attack and Release times. <br /><br />\n\nHence, compared to most compressors, the application scope of the IRON is clearly enlarged, resulting in new possibilities regarding the processing of music material. The fourth exceptional feature is the comprehensive logical relay circuit that perfectly links both channels together, making the right channel the Master regarding Release, Attack, Threshold, Rectifier, Tube-Bias and Side-Chain EQ settings.<br /><br />\n\n<h3>120 Volt Technology</h3>\n\nSPL‘s goal was to push analog signal processing to the limits. That‘s why we combined the best possible components with a high-grade optimized circuit design. We have been using the in-house developed 120 volt technology - the highest-ever operating voltage used for audio applications - in all our products of the mastering series for years. <br /><br />\n\nSome of the most highly respected mastering studios today revolve around SPL consoles and signal processors from our mastering series (Bob Ludwigs Gateway Mastering & DVD in the USA, Simon Heyworth‘s Super Audio Mastering in the UK, Galaxy Studios in Belgium, and the legendary Wisseloord in the Netherlands, for instance). <br /><br />\n\nThe 120 volt technology is based on op-amps developed internally by SPL‘s founders together with chief developer Wolfgang Neumann. The IRON features the most advanced generation of these op-amps. They boast better tech specs thanks to the thermal behavior optimization they underwent under the hands of Bastian Neu. Ultimately, the supply voltage is key for the overall dynamic response of a processor. Voltage is to an electrical circuit what cylinder capacity is to an internal combustion engine. You can‘t replace cylinder capacity with anything else, except more cylinder capacity.<br /><br />'),(10809,85,0,1802,'SPL Iron Mastering Compressor'),(10810,85,1,1802,'SPL Iron Mastering Compressor'),(10811,76,0,1802,''),(10812,76,1,1802,''),(10813,75,0,1803,'<h2>SPL Kultube</h2>\n<span class=\"Apple-style-span\" style=\"font-style: italic; font-size: 16px; \">\"Smarter than the average compressor.\" Zenon Schoepe, Resolution (UK)</span><br/>\n<p class=\"bodytext\" style=\"text-align: justify; \">\n</p>\n<p class=\"bodytext\" style=\"text-align: justify; \">\n	<font class=\"Apple-style-span\" size=\"2\"><span class=\"Apple-style-span\" style=\"border-collapse: separate;\"></span></font>\n</p>\nThe Kultube is an extremely versatile compressor with a broad range of control facilities that cover all typical compressor applications. From improved stereo mixes in the “MIDI Studio“ to surround mastering with several devices connected, all jobs can be undertaken to the highest degree of sound quality.\n<br/><br/>\n<h3><font class=\"Apple-style-span\" color=\"#333333\"><span class=\"Apple-style-span\" style=\"border-collapse: separate; font-size: 14px; font-weight: normal; \"></span></font>SPL Kultube  Key Features</h3>\n<ul>\n	<li>Stereo compressor with discrete, Class A gain components (instead of industrial VCAs) </li>\n	<li>Progressive Time Control: interactive automation of attack and release times, the permanent reaction to the input signal ensures musical perfection (no fixed automation presets)</li>\n	<li>Adjustable tube saturation with automatic output level adjustment</li>\n	<li>Selectable soft or hard knee characteristics</li>\n	<li>Unique decompression mode</li>\n	<li>Large VU meter displays gain reduction or (mono summed) output level</li>\n	<li>Switchable side-chain inputs on the front panel</li>\n	<li>Slave mode for multi-channel operation</li>\n	<li>Options: 24/192 AD converter, I/O transformers from Lundah</li>\n</ul>\n<br><br>\n<h3>Ideally suited ...</h3>\n<ul style=\"margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; \">\n	<li>for single track or subgroup/summed signal processing in studio and live recording</li>\n	<li>for stereo and multi-channel applications </li>\n	<li>to achieve massive attacks and increased loudness without side-effects – processing is at least ten times faster as any plug-in</li>\n</ul>'),(10814,75,1,1803,'<h2>SPL Kultube</h2>\n<span class=\"Apple-style-span\" style=\"font-style: italic; font-size: 16px; \">\"Smarter than the average compressor.\" Zenon Schoepe, Resolution (UK)</span><br/>\n<p class=\"bodytext\" style=\"text-align: justify; \">\n</p>\n<p class=\"bodytext\" style=\"text-align: justify; \">\n	<font class=\"Apple-style-span\" size=\"2\"><span class=\"Apple-style-span\" style=\"border-collapse: separate;\"></span></font>\n</p>\nThe Kultube is an extremely versatile compressor with a broad range of control facilities that cover all typical compressor applications. From improved stereo mixes in the “MIDI Studio“ to surround mastering with several devices connected, all jobs can be undertaken to the highest degree of sound quality.\n<br/><br/>\n<h3><font class=\"Apple-style-span\" color=\"#333333\"><span class=\"Apple-style-span\" style=\"border-collapse: separate; font-size: 14px; font-weight: normal; \"></span></font>SPL Kultube  Key Features</h3>\n<ul>\n	<li>Stereo compressor with discrete, Class A gain components (instead of industrial VCAs) </li>\n	<li>Progressive Time Control: interactive automation of attack and release times, the permanent reaction to the input signal ensures musical perfection (no fixed automation presets)</li>\n	<li>Adjustable tube saturation with automatic output level adjustment</li>\n	<li>Selectable soft or hard knee characteristics</li>\n	<li>Unique decompression mode</li>\n	<li>Large VU meter displays gain reduction or (mono summed) output level</li>\n	<li>Switchable side-chain inputs on the front panel</li>\n	<li>Slave mode for multi-channel operation</li>\n	<li>Options: 24/192 AD converter, I/O transformers from Lundah</li>\n</ul>\n<br><br>\n<h3>Ideally suited ...</h3>\n<ul style=\"margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; \">\n	<li>for single track or subgroup/summed signal processing in studio and live recording</li>\n	<li>for stereo and multi-channel applications </li>\n	<li>to achieve massive attacks and increased loudness without side-effects – processing is at least ten times faster as any plug-in</li>\n</ul>'),(10815,85,0,1803,'SPL Kultube'),(10816,85,1,1803,'SPL Kultube'),(10817,76,0,1803,''),(10818,76,1,1803,''),(10819,75,0,1804,'<h2>SPL Kultube AD with A/D Converter</h2>\n<span class=\"Apple-style-span\" style=\"font-style: italic; font-size: 16px;\">\"Smarter than the average compressor.\" Zenon Schoepe, Resolution (UK)</span><br />\n<p class=\"bodytext\" style=\"text-align: justify; \">\n</p>\n<p class=\"bodytext\" style=\"text-align: justify; \">\n	<font class=\"Apple-style-span\" size=\"2\"><span class=\"Apple-style-span\" style=\"border-collapse: separate;\"></span></font>\n</p>\nThe Kultube is an extremely versatile compressor with a broad range of control facilities that cover all typical compressor applications. From improved stereo mixes in the “MIDI Studio“ to surround mastering with several devices connected, all jobs can be undertaken to the highest degree of sound quality.\n<br /><br />\n<h3><font class=\"Apple-style-span\" color=\"#333333\"><span class=\"Apple-style-span\" style=\"border-collapse: separate; font-size: 14px; font-weight: normal;\"></span></font>SPL Kultube  Key Features</h3>\n<ul>\n	<li>Stereo compressor with discrete, Class A gain components (instead of industrial VCAs) </li>\n	<li>Progressive Time Control: interactive automation of attack and release times, the permanent reaction to the input signal ensures musical perfection (no fixed automation presets)</li>\n	<li>Adjustable tube saturation with automatic output level adjustment</li>\n	<li>Selectable soft or hard knee characteristics</li>\n	<li>Unique decompression mode</li>\n	<li>Large VU meter displays gain reduction or (mono summed) output level</li>\n	<li>Switchable side-chain inputs on the front panel</li>\n	<li>Slave mode for multi-channel operation</li>\n	<li>Options: 24/192 AD converter, I/O transformers from Lundah</li>\n</ul>\n<br /><br />\n<h3>Ideally suited ...</h3>\n<ul style=\"margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; \">\n	<li>for single track or subgroup/summed signal processing in studio and live recording</li>\n	<li>for stereo and multi-channel applications </li>\n	<li>to achieve massive attacks and increased loudness without side-effects – processing is at least ten times faster as any plug-in</li>\n</ul>'),(10820,75,1,1804,'<h2>SPL Kultube AD with A/D Converter</h2>\n<span class=\"Apple-style-span\" style=\"font-style: italic; font-size: 16px;\">\"Smarter than the average compressor.\" Zenon Schoepe, Resolution (UK)</span><br />\n<p class=\"bodytext\" style=\"text-align: justify; \">\n</p>\n<p class=\"bodytext\" style=\"text-align: justify; \">\n	<font class=\"Apple-style-span\" size=\"2\"><span class=\"Apple-style-span\" style=\"border-collapse: separate;\"></span></font>\n</p>\nThe Kultube is an extremely versatile compressor with a broad range of control facilities that cover all typical compressor applications. From improved stereo mixes in the “MIDI Studio“ to surround mastering with several devices connected, all jobs can be undertaken to the highest degree of sound quality.\n<br /><br />\n<h3><font class=\"Apple-style-span\" color=\"#333333\"><span class=\"Apple-style-span\" style=\"border-collapse: separate; font-size: 14px; font-weight: normal;\"></span></font>SPL Kultube  Key Features</h3>\n<ul>\n	<li>Stereo compressor with discrete, Class A gain components (instead of industrial VCAs) </li>\n	<li>Progressive Time Control: interactive automation of attack and release times, the permanent reaction to the input signal ensures musical perfection (no fixed automation presets)</li>\n	<li>Adjustable tube saturation with automatic output level adjustment</li>\n	<li>Selectable soft or hard knee characteristics</li>\n	<li>Unique decompression mode</li>\n	<li>Large VU meter displays gain reduction or (mono summed) output level</li>\n	<li>Switchable side-chain inputs on the front panel</li>\n	<li>Slave mode for multi-channel operation</li>\n	<li>Options: 24/192 AD converter, I/O transformers from Lundah</li>\n</ul>\n<br /><br />\n<h3>Ideally suited ...</h3>\n<ul style=\"margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; padding-left: 2em !important; \">\n	<li>for single track or subgroup/summed signal processing in studio and live recording</li>\n	<li>for stereo and multi-channel applications </li>\n	<li>to achieve massive attacks and increased loudness without side-effects – processing is at least ten times faster as any plug-in</li>\n</ul>'),(10821,85,0,1804,'SPL Kultube AD with A/D Converter'),(10822,85,1,1804,'SPL Kultube AD with A/D Converter'),(10823,76,0,1804,''),(10824,76,1,1804,''),(10825,75,0,1805,'<h2>SPL Madison 16+16 Channel MADI Interface</h2><font class=\"Apple-style-span\" size=\"3\"><i>The most analog digital converter</i></font><br /><br /><div><div>The SPL Madison offers the pure SPL analog sound for every MADI equipped digital console, audio router and PC MADI card.</div><div>With 16 input and 16 output channels in a single rack space, the Madison combines state of the art signal conversion with highly reliable clock and MADI processing. And as a true SPL unit it is simple to operate, easy to expand and, of course, an awesome sounding conversion system.</div></div><div><br /> </div>\n\n \n\n<h3>SPL Madison Key Features</h3><ul><li>16 AD and 16 DA converters in 1U</li><li>Superb sounding converters with a sophisticated analog section on 36 V audio rails</li><li>+24 dBu professional output level</li><li>Best price/performance value</li><li>Up to 64 I/Os on 1 MADI port (4 units)</li><li>Latency-neutral MADI chaining</li><li>44.1 to 192 kHz, ±10% vari-speed</li><li>SPL clock-shop for jitter-free operation</li><li>Ultra-compatible, always operational MADI IO with ultra low conversion latencies</li><li>Four directly selectable reference levels: 15/18/22/24</li><li>Simple operation and setup right from the front panel controls</li><li>Ergonomic, distance-readable meters for clear level status indication of any I/O channel</li><li>Fanless, absolutely silent low-power design (max. 30 W)</li><li>Redundant power supply optionally</li><li>Four analog, 8-channel multicore DB 25 sockets (TASCAM industry standard)</li><li>Made in Germany</li>\n</ul>'),(10826,75,1,1805,'<h2>SPL Madison 16+16 Channel MADI Interface</h2><font class=\"Apple-style-span\" size=\"3\"><i>The most analog digital converter</i></font><br /><br /><div><div>The SPL Madison offers the pure SPL analog sound for every MADI equipped digital console, audio router and PC MADI card.</div><div>With 16 input and 16 output channels in a single rack space, the Madison combines state of the art signal conversion with highly reliable clock and MADI processing. And as a true SPL unit it is simple to operate, easy to expand and, of course, an awesome sounding conversion system.</div></div><div><br /> </div>\n\n \n\n<h3>SPL Madison Key Features</h3><ul><li>16 AD and 16 DA converters in 1U</li><li>Superb sounding converters with a sophisticated analog section on 36 V audio rails</li><li>+24 dBu professional output level</li><li>Best price/performance value</li><li>Up to 64 I/Os on 1 MADI port (4 units)</li><li>Latency-neutral MADI chaining</li><li>44.1 to 192 kHz, ±10% vari-speed</li><li>SPL clock-shop for jitter-free operation</li><li>Ultra-compatible, always operational MADI IO with ultra low conversion latencies</li><li>Four directly selectable reference levels: 15/18/22/24</li><li>Simple operation and setup right from the front panel controls</li><li>Ergonomic, distance-readable meters for clear level status indication of any I/O channel</li><li>Fanless, absolutely silent low-power design (max. 30 W)</li><li>Redundant power supply optionally</li><li>Four analog, 8-channel multicore DB 25 sockets (TASCAM industry standard)</li><li>Made in Germany</li>\n</ul>'),(10827,85,0,1805,'SPL Madison 16+16 Channel MADI Interface'),(10828,85,1,1805,'SPL Madison 16+16 Channel MADI Interface'),(10829,76,0,1805,''),(10830,76,1,1805,''),(10831,75,0,1806,'<h1>SPL MC16 16-Channel Mastering Monitor Controller</h1>\n<span style=\"font-size: 16px; font-style: italic;\">16-Channel mastering monitor controller designed for immersive audio applications such as Dolby Atmos, DTS:X and Auro 3D </span><br /><br />The SPL MC16 is a 16-Channel Mastering Monitor Controller designed for immersive audio applications such Dolby Atmos® and Auro 3D® projects. MC16 features the world’s first 16-gang precision potentiometer which was specially designed for SPL and provides monitoring of up to 16 channels in a quality that is on par with state-of-the-art stereo.<br /><br />\nTo seamlessly integrate multi-channel monitoring into a stereo mastering environment SPL developed a way of pairing the MC16 with their new DMC stereo mastering console. The combination of DMC and MC16 allows mastering studios to work in all current audio playback formats at the same quality level, all without reconnecting any speakers.<br /><br />\n\n<h3>SPL MC16 Key Features</h3>\n	<ul>\n		<li>16ch analog mastering monitor controller</li>\n		<li>Compatible with Dolby Atmos®, Auro 3D®, etc.</li>\n		<li>120V DC Audio Rail – 5G SUPRA op-amps</li>\n		<li>2x 16ch inputs (XLR & DB25)</li>\n		<li>16 speaker outputs (XLR)</li>\n		<li>Solo, Dim and Mute</li>\n		<li>3 speaker array & 3 solo presets</li>\n		<li>Custom 16-gang potentiometer</li>\n		<li>Label foil</li>\n		<li>Pairing with DMC</li>\n		\n	</ul><br />'),(10832,75,1,1806,'<h1>SPL MC16 16-Channel Mastering Monitor Controller</h1>\n<span style=\"font-size: 16px; font-style: italic;\">16-Channel mastering monitor controller designed for immersive audio applications such as Dolby Atmos, DTS:X and Auro 3D </span><br /><br />The SPL MC16 is a 16-Channel Mastering Monitor Controller designed for immersive audio applications such Dolby Atmos® and Auro 3D® projects. MC16 features the world’s first 16-gang precision potentiometer which was specially designed for SPL and provides monitoring of up to 16 channels in a quality that is on par with state-of-the-art stereo.<br /><br />\nTo seamlessly integrate multi-channel monitoring into a stereo mastering environment SPL developed a way of pairing the MC16 with their new DMC stereo mastering console. The combination of DMC and MC16 allows mastering studios to work in all current audio playback formats at the same quality level, all without reconnecting any speakers.<br /><br />\n\n<h3>SPL MC16 Key Features</h3>\n	<ul>\n		<li>16ch analog mastering monitor controller</li>\n		<li>Compatible with Dolby Atmos®, Auro 3D®, etc.</li>\n		<li>120V DC Audio Rail – 5G SUPRA op-amps</li>\n		<li>2x 16ch inputs (XLR & DB25)</li>\n		<li>16 speaker outputs (XLR)</li>\n		<li>Solo, Dim and Mute</li>\n		<li>3 speaker array & 3 solo presets</li>\n		<li>Custom 16-gang potentiometer</li>\n		<li>Label foil</li>\n		<li>Pairing with DMC</li>\n		\n	</ul><br />'),(10833,85,0,1806,'SPL MC16 16-Channel Mastering Monitor Controller'),(10834,85,1,1806,'SPL MC16 16-Channel Mastering Monitor Controller'),(10835,76,0,1806,''),(10836,76,1,1806,''),(10837,75,0,1807,'<h2>SPL MixDream </h2>\n<span style=\"font-size:16px; font-style:italic;\">Analog Summing Unit with 16 Inserts</span><br /><br />\n<div>\n	<div>\n		<div>\n			<div>\n				The MixDream design plan provides for the integration of analog equipment in digital production environments and stereo mixdown at the analog level.\n			</div><br />\n			<div>\n				This concept offers high-grade analog summing without panorama and fader controls, in turn allowing an engineer to retain the entire scope of his computer automation. One MixDream can sum up to 16 audio tracks to a stereo signal, and should the need arise for more than 16 tracks, several MixDreams may be linked together.\n			</div><br />\n			<div>\n				The MixDream discrete class A technology is based on a 60-volt rail (+/- 30V). Newly developed circuitry, based on the most modern analog components, guarantees an extremely high slew rate, a low noise level of -97dBu (A-weighted, all channels active) and a dynamic level of over 125dB. Thus the MixDream easily realizes the technical level of the best analog consoles.<br />\n			</div><br />\n		</div>\n	</div>\n</div>\n<h3>MixDream Key Features</h3>\n<ul>\n	<li>High-grade analog summing on just 2U rack space</li>\n	<li>Sophisticated, active Class A/60V stages for analog summing in the quality of the best consoles</li>\n	<li>16 balanced inserts allow for integrated analog effects with individual and overall hard bypass relays</li>\n	<li>Reduction of A/D conversions (14 A/D conversions can be spared with all inserts connected). All analog tracks can be summed before A/D conversion.</li>\n	<li>Channel adjustments and automation (level, panorama etc.) remain controlled from the DAW so the user loses no digital efficiency</li>\n	<li>Lower DAW processor utilization rates</li>\n	<li>The most efficient possible re-sampling of individual tracks with latency free monitoring</li>\n	<li>Surround capable (from up to 3 MixDream units)</li>\n	<li>Channel capacity expandable through linked units</li>\n	<li>Sensitive and transparent stereo expansion control</li>\n	<li>Analog peak limiter for impressive loudness</li>\n	<li>Master inserts and switchable output transformers from Lundahl</li>\n	<li>Optimized signal pathes, all switching functions via relays</li>\n	<li>Proprietary differential amplifiers for each input</li>\n	<li>Discrete, exceptionally low-noise power supply</li>\n</ul>'),(10838,75,1,1807,'<h2>SPL MixDream </h2>\n<span style=\"font-size:16px; font-style:italic;\">Analog Summing Unit with 16 Inserts</span><br /><br />\n<div>\n	<div>\n		<div>\n			<div>\n				The MixDream design plan provides for the integration of analog equipment in digital production environments and stereo mixdown at the analog level.\n			</div><br />\n			<div>\n				This concept offers high-grade analog summing without panorama and fader controls, in turn allowing an engineer to retain the entire scope of his computer automation. One MixDream can sum up to 16 audio tracks to a stereo signal, and should the need arise for more than 16 tracks, several MixDreams may be linked together.\n			</div><br />\n			<div>\n				The MixDream discrete class A technology is based on a 60-volt rail (+/- 30V). Newly developed circuitry, based on the most modern analog components, guarantees an extremely high slew rate, a low noise level of -97dBu (A-weighted, all channels active) and a dynamic level of over 125dB. Thus the MixDream easily realizes the technical level of the best analog consoles.<br />\n			</div><br />\n		</div>\n	</div>\n</div>\n<h3>MixDream Key Features</h3>\n<ul>\n	<li>High-grade analog summing on just 2U rack space</li>\n	<li>Sophisticated, active Class A/60V stages for analog summing in the quality of the best consoles</li>\n	<li>16 balanced inserts allow for integrated analog effects with individual and overall hard bypass relays</li>\n	<li>Reduction of A/D conversions (14 A/D conversions can be spared with all inserts connected). All analog tracks can be summed before A/D conversion.</li>\n	<li>Channel adjustments and automation (level, panorama etc.) remain controlled from the DAW so the user loses no digital efficiency</li>\n	<li>Lower DAW processor utilization rates</li>\n	<li>The most efficient possible re-sampling of individual tracks with latency free monitoring</li>\n	<li>Surround capable (from up to 3 MixDream units)</li>\n	<li>Channel capacity expandable through linked units</li>\n	<li>Sensitive and transparent stereo expansion control</li>\n	<li>Analog peak limiter for impressive loudness</li>\n	<li>Master inserts and switchable output transformers from Lundahl</li>\n	<li>Optimized signal pathes, all switching functions via relays</li>\n	<li>Proprietary differential amplifiers for each input</li>\n	<li>Discrete, exceptionally low-noise power supply</li>\n</ul>'),(10839,85,0,1807,'SPL MixDream'),(10840,85,1,1807,'SPL MixDream'),(10841,76,0,1807,''),(10842,76,1,1807,''),(10843,75,0,1808,'<h2>SPL MixDream XP Analog Summing Device</h2>\n<span style=\"font-size:16px; font-style:italic;\">Analog Summing Unit with 16 Inserts</span><br /><br /><div><div><div><div><div>The MixDreamXP design plan provides for stereo mixdown at the analog level. This concept offers high-grade analog summing without panorama and fader controls, in turn allowing an engineer to retain the entire scope of his computer automation. In use, the MixDreamXP requires almost no departures from an engineer‘s usual working mode, so that all his trusted DAW features and familiar working routines remain available while the MixDreamXP seamlessly expands his aural mixing palette.</div><div>One MixDreamXP can sum up to 16 audio tracks to a stereo signal, and should the need arise for more than 16 tracks, several MixDreamXP may be linked together. Owners of a MixDream, model 2384, can expand this unit with the cost effective MixDreamXP at an identical quality level and by the way, that‘s where the suffix „XP“ comes from (=Expansion).</div><div>The MixDreamXP discrete class A technology is based on the same 60-volt rails (+/- 30V) of the MixDream model 2384. Newly developed circuitry, based on the most modern analog components, guarantees an extremely high slew rate, a very low noise level of -97dBu and a dynamic range of 125dB. Thus the MixDreamXP easily reaches the technical level of the best analog consoles.<br /></div></div></div></div></div>\n\n \n\n<h3>MixDream XP Key Features<span class=\"Apple-style-span\" style=\"color: rgb(51, 51, 51); font-size: 14px; font-weight: normal; \">      </span></h3><ul><li>Active analog summing on just 1U rack space—no analog mixing console necessary</li><li>Sophisticated, active Class A/6oV stages for analog summing in the quality of the best consoles</li><li>All analog tracks can be summed before A/D conversion.</li><li>Channel adjustments and automation (level, panorama etc.) remain controlled from the DAW—no digital efficiency is lost</li><li>Lower DAW processor utilization rates</li><li>Latency free monitoring</li><li>Surround capable (from up to 3 MixDreamXP units)</li><li>Channel capacity expandable through linked units</li><li>Proprietary differential amplifiers for each input</li>\n</ul>'),(10844,75,1,1808,'<h2>SPL MixDream XP Analog Summing Device</h2>\n<span style=\"font-size:16px; font-style:italic;\">Analog Summing Unit with 16 Inserts</span><br /><br /><div><div><div><div><div>The MixDreamXP design plan provides for stereo mixdown at the analog level. This concept offers high-grade analog summing without panorama and fader controls, in turn allowing an engineer to retain the entire scope of his computer automation. In use, the MixDreamXP requires almost no departures from an engineer‘s usual working mode, so that all his trusted DAW features and familiar working routines remain available while the MixDreamXP seamlessly expands his aural mixing palette.</div><div>One MixDreamXP can sum up to 16 audio tracks to a stereo signal, and should the need arise for more than 16 tracks, several MixDreamXP may be linked together. Owners of a MixDream, model 2384, can expand this unit with the cost effective MixDreamXP at an identical quality level and by the way, that‘s where the suffix „XP“ comes from (=Expansion).</div><div>The MixDreamXP discrete class A technology is based on the same 60-volt rails (+/- 30V) of the MixDream model 2384. Newly developed circuitry, based on the most modern analog components, guarantees an extremely high slew rate, a very low noise level of -97dBu and a dynamic range of 125dB. Thus the MixDreamXP easily reaches the technical level of the best analog consoles.<br /></div></div></div></div></div>\n\n \n\n<h3>MixDream XP Key Features<span class=\"Apple-style-span\" style=\"color: rgb(51, 51, 51); font-size: 14px; font-weight: normal; \">      </span></h3><ul><li>Active analog summing on just 1U rack space—no analog mixing console necessary</li><li>Sophisticated, active Class A/6oV stages for analog summing in the quality of the best consoles</li><li>All analog tracks can be summed before A/D conversion.</li><li>Channel adjustments and automation (level, panorama etc.) remain controlled from the DAW—no digital efficiency is lost</li><li>Lower DAW processor utilization rates</li><li>Latency free monitoring</li><li>Surround capable (from up to 3 MixDreamXP units)</li><li>Channel capacity expandable through linked units</li><li>Proprietary differential amplifiers for each input</li>\n</ul>'),(10845,85,0,1808,'SPL MixDream XP Analog Summing Device'),(10846,85,1,1808,'SPL MixDream XP Analog Summing Device'),(10847,76,0,1808,''),(10848,76,1,1808,''),(10849,75,0,1809,'<h2>SPL MTC Stereo Monitor & Talkback Controller<span style=\"font-size: 16px;\"><inline style=\"font-size: 12px;\"><inline style=\"font-size: 10px;\"><inline style=\"font-size: 24px;\"><inline style=\"font-size: 12px;\"></inline></inline></inline></inline></span><br /> </h2>\n<span style=\"font-size: 16px; font-style: italic;\">Super sound quality. Great ergonomics. </span><br /><br />\n<div>\n	<div>\n		<div><div id=\"c1014\"><p align=\"left\">The MTC combines volume level control, \nsource switching and loudspeaker management for stereo monitoring with \ncomfortable talkback and cue mixing functions. A fully analog design \ndispenses with VCAs, DACs, etc., providing loss-free signal processing. \nThe I/O section includes six rear-panel stereo inputs (four balanced, \ntwo unbalanced sources), balanced XLR outputs for three loudspeaker \npairs and a slave output.</p>\n<p align=\"left\"> The organizational focus that such essential services \nbring, coupled with an extraordinary tonal quality, makes possible an \nunrivaled convenience in DAW-based monitor management – in all areas of \nstereo audio production from recording studios over movie            and\n video post production to game/multimedia production.</p></div></div>\n	</div>\n</div>\n<h3>MTC Key Features</h3>\n\n<div id=\"c5263\"><ul><li>A fully discrete, analog design dispenses with VCAs, DACs, etc., providing loss-free signal processing</li><li>Six\n rear-panel stereo inputs (four balanced and two unbalanced sources), \nbalanced XLR outputs for three loudspeaker pairs, slave output</li><li>Monitoring: source and loudspeaker selection, mono, dim, mute, switchable headphone output</li><li>Talkback: built in microphone, separate output, footswitch input</li><li>Cue-Mix: separate output, musician level, mix level and volume controls</li><li>SPL‘s\n custom-made balancing stages for the MTC‘s I/O architecture ensure \nextended frequency range up to 100 kHz, exceptional dynamic spectrum and\n excellent common mode rejection</li><li>The rugged and ergonomic desktop enclosure with slanted front panel harmonizes perfectly with the desktop production environment</li></ul></div>'),(10850,75,1,1809,'<h2>SPL MTC Stereo Monitor & Talkback Controller<span style=\"font-size: 16px;\"><inline style=\"font-size: 12px;\"><inline style=\"font-size: 10px;\"><inline style=\"font-size: 24px;\"><inline style=\"font-size: 12px;\"></inline></inline></inline></inline></span><br /> </h2>\n<span style=\"font-size: 16px; font-style: italic;\">Super sound quality. Great ergonomics. </span><br /><br />\n<div>\n	<div>\n		<div><div id=\"c1014\"><p align=\"left\">The MTC combines volume level control, \nsource switching and loudspeaker management for stereo monitoring with \ncomfortable talkback and cue mixing functions. A fully analog design \ndispenses with VCAs, DACs, etc., providing loss-free signal processing. \nThe I/O section includes six rear-panel stereo inputs (four balanced, \ntwo unbalanced sources), balanced XLR outputs for three loudspeaker \npairs and a slave output.</p>\n<p align=\"left\"> The organizational focus that such essential services \nbring, coupled with an extraordinary tonal quality, makes possible an \nunrivaled convenience in DAW-based monitor management – in all areas of \nstereo audio production from recording studios over movie            and\n video post production to game/multimedia production.</p></div></div>\n	</div>\n</div>\n<h3>MTC Key Features</h3>\n\n<div id=\"c5263\"><ul><li>A fully discrete, analog design dispenses with VCAs, DACs, etc., providing loss-free signal processing</li><li>Six\n rear-panel stereo inputs (four balanced and two unbalanced sources), \nbalanced XLR outputs for three loudspeaker pairs, slave output</li><li>Monitoring: source and loudspeaker selection, mono, dim, mute, switchable headphone output</li><li>Talkback: built in microphone, separate output, footswitch input</li><li>Cue-Mix: separate output, musician level, mix level and volume controls</li><li>SPL‘s\n custom-made balancing stages for the MTC‘s I/O architecture ensure \nextended frequency range up to 100 kHz, exceptional dynamic spectrum and\n excellent common mode rejection</li><li>The rugged and ergonomic desktop enclosure with slanted front panel harmonizes perfectly with the desktop production environment</li></ul></div>'),(10851,85,0,1809,'SPL MTC Stereo Monitor & Talkback Controller'),(10852,85,1,1809,'SPL MTC Stereo Monitor & Talkback Controller'),(10853,76,0,1809,''),(10854,76,1,1809,''),(10855,75,0,1810,'<h2>SPL Passeq Passive Mastering Equalizer </h2>\n<i>Passeq is the most powerful passive EQ ever made with a total of 36 boost and 36 cut frequencies and a Q-factor that is musically adjusted for each selectable frequency. </i><br /><br />\nThe SPL PASSEQ is a dual-channel passive mastering equalizer that features Air band, a stepped output control ranging from -10dB to +10dB and a mid cut band now starting at 200Hz. An update to first generation Passeq, which was the first passive equalizer that offered high, mid and low band with individual boost and cut and with 12 selectable frequencies per band. SPL have upgraded the capacitor arrays in the filters with custom-made single capacitors and optimized the bandwidth per frequency range.<br /><br />\nThe superior sound qualities and musical characteristics of passive filters ideally meet increasing demands in creating manifold sound colors full of character. In the HiFi domain, the Passeq is the high-end EQ beyond doubt – a perfect tool to solve room acoustical problems by the turn of a knob or improve the sound of old, or inferior, sources.<br /><br />\n<h3>Passeq Key Features</h3>\n<ul>\n	<li>The most powerful passive EQ ever made! 144 (!) passive filters (72 per channel) in one EQ.</li>\n	<li>Individual coils per filter</li>\n	<li>Single core coils, which means that every one is wound individually on its own dedicated core. This excludes sonic degradation from mutual influences while at the same time improving THD values.</li>\n	<li>120V makeup amplifiers based upon SPL unique SUPRA-OPs with 150dB dynamic rage and 200 v/ms slew rate.</li>\n	<li>Individual design and component specificity for each filter.</li>\n	<li>Custom made coils for critical mid-frequency ranges.</li>\n	<li>Boost and cut crossovers mesh perfectly so that with the high number of frequencies one can dependably command the most elaborate set of response curves that to date any passive EQ has offered.</li>\n	<li>Transformers from Lundahl with perfectly matched sonic characteristics provide for balanced I/O stages.</li>\n	<li>XLR contacts from Switchcraft.</li>\n	<li>Switches and potentiometers from Elma and ALPS (including ALPS â??Big Blueâ? with 41 steps).</li>\n	<li>Internal, linear power supply featuring a generously proportioned toroidal transformer and voltage selection (110-120V, 60Hz or 220-240V, 50Hz).</li>\n</ul>'),(10856,75,1,1810,'<h2>SPL Passeq Passive Mastering Equalizer </h2>\n<i>Passeq is the most powerful passive EQ ever made with a total of 36 boost and 36 cut frequencies and a Q-factor that is musically adjusted for each selectable frequency. </i><br /><br />\nThe SPL PASSEQ is a dual-channel passive mastering equalizer that features Air band, a stepped output control ranging from -10dB to +10dB and a mid cut band now starting at 200Hz. An update to first generation Passeq, which was the first passive equalizer that offered high, mid and low band with individual boost and cut and with 12 selectable frequencies per band. SPL have upgraded the capacitor arrays in the filters with custom-made single capacitors and optimized the bandwidth per frequency range.<br /><br />\nThe superior sound qualities and musical characteristics of passive filters ideally meet increasing demands in creating manifold sound colors full of character. In the HiFi domain, the Passeq is the high-end EQ beyond doubt – a perfect tool to solve room acoustical problems by the turn of a knob or improve the sound of old, or inferior, sources.<br /><br />\n<h3>Passeq Key Features</h3>\n<ul>\n	<li>The most powerful passive EQ ever made! 144 (!) passive filters (72 per channel) in one EQ.</li>\n	<li>Individual coils per filter</li>\n	<li>Single core coils, which means that every one is wound individually on its own dedicated core. This excludes sonic degradation from mutual influences while at the same time improving THD values.</li>\n	<li>120V makeup amplifiers based upon SPL unique SUPRA-OPs with 150dB dynamic rage and 200 v/ms slew rate.</li>\n	<li>Individual design and component specificity for each filter.</li>\n	<li>Custom made coils for critical mid-frequency ranges.</li>\n	<li>Boost and cut crossovers mesh perfectly so that with the high number of frequencies one can dependably command the most elaborate set of response curves that to date any passive EQ has offered.</li>\n	<li>Transformers from Lundahl with perfectly matched sonic characteristics provide for balanced I/O stages.</li>\n	<li>XLR contacts from Switchcraft.</li>\n	<li>Switches and potentiometers from Elma and ALPS (including ALPS â??Big Blueâ? with 41 steps).</li>\n	<li>Internal, linear power supply featuring a generously proportioned toroidal transformer and voltage selection (110-120V, 60Hz or 220-240V, 50Hz).</li>\n</ul>'),(10857,85,0,1810,'SPL Passeq Passive Equalizer'),(10858,85,1,1810,'SPL Passeq Passive Equalizer'),(10859,76,0,1810,''),(10860,76,1,1810,''),(10861,75,0,1811,'<h2>SPL Professional Fidelity Director DA Converter and Preamplifier</h2>\n<span style=\"font-size: 16px; font-style: italic;\">The Director is a reference stereo preamplifier with an extraordinary DA converter designed in VOLTAiR technology. <br /></span><br />The name \'Director\' describes its function pretty well. It is the heard of the stereo system to which all components are being connected: sources, amplifier, active speakers, headphone amps, phono preamplifier etc. It determines what, with what and how loud we hear. The Director is the heart of the stereo to which all components are being connected: the phono preamplifier, the CD player –digitally or analog–, the computer or media player via USB, the headphone and power amplifiers. <br /><br />Volume is controlled in the analog domain to avoid shrinking bit resolution at lower listening levels. Both volume and source selection can be controlled with any IR remote.<br /><br /><h3>Preamplifier</h3><inline style=\"color: rgb(29, 27, 16);\"><inline style=\"color: rgb(63, 63, 63);\"><inline style=\"color: rgb(38, 38, 38);\">Director is a full-fledged stereo preamplifier with an extraordinary \nDA converter. There is provision for connecting up to six stereo sources\n – two in the analog domain offering RCA connectors for e.g. phono \npreamplifier like the <a href=\"https://spl.info/en/products/professional-fidelity-pro-fi/phonos/overview.html\" target=\"_blank\"><inline style=\"color: rgb(0, 0, 0);\">Phonos</inline></a> and four in the digital domain with USB, AES, Coaxial and Optical connectors.<br /><br /></inline></inline></inline><p><inline style=\"color: rgb(29, 27, 16);\"><inline style=\"color: rgb(63, 63, 63);\"><inline style=\"color: rgb(38, 38, 38);\">At\n the output side a power amplifier or active loudspeakers can be \nconnected balanced (XLR) and unbalanced (RCA). We recommend the <a href=\"https://spl.info/en/products/professional-fidelity-pro-fi/performer-s800/overview.html\" target=\"_blank\"><inline style=\"color: rgb(38, 38, 38);\">Performer s800</inline></a> as power amplifier in order to maintain a 120V Rail audio chain from the DAC to the speakers for best audio performance.</inline></inline></inline></p><h3>Volume</h3>Volume is controlled strictly in the analog domain – for good reason.\n Commonly volume is regulated in the digital domain as part of a chip\'s \nfunctionality. Apart from being inexpensive the down side is that the \nplayback at lower volume than unity gain (0dB) is compromized due to a \nshrinking bit resolution. And as you never listen with the preamp turned\n up fully clockwise you always hear at a lower bit resolutions with \ndiminished audio fidelity. It makes not a lot of sense to listen to high\n res audio then, does it? As this is not acceptable we opted for an \nanalog solution that gives you infinite resolution at all listening \nlevels. We use a motorized ALPS RK27 \"Big Blue\" potentiometer with \nexcellent feeling and channel matching. Being motorized Volume can be \nremotely controlled.<br /><br /><p>A great feature is a small DIP switch at the \nbottom of the Director. DIP switches number 3 and 4 allow to decouple \nthe volume control and to deliver a unity gain output at the XLR or the \nRCA output or both. You can connect a headphone amplifier like the <a href=\"https://spl.info/en/products/professional-fidelity-pro-fi/phonitor-e/overview.html\" target=\"_blank\">Phonitor e</a> and have individual volume control for the headphones. Another application is that connection of a digital recorder.</p><br /><h3>Source</h3>On the front of the Director is a toggle switch for the selection of the\n input source. Toggle to the left to select the previous source and \ntoggle to the right to select the next source. The selection is shown in\n the dot matrix display: IN 1 and IN 2 for the analog inputs and USB, \nAES, COAX and OPTI for the digital inputs. The detected sample rate of \nthe selected digital input is displayed after about 2sec. (e.g. U384 = \nUSB input, 384kHz sampling rate). The input source can also be remotely \ncontrolled.<br /><br /><h3>Remote Control</h3>Volume as well as input selection can be remotely controlled using any \nexisting infra-red (IR) remote control. The cool part is that the \nDirector learns your remote! Take, for example, the remote control of \nthe CD player. Out of the many buttons there are maybe four you hardly \nuse if at all and that do not directly trigger a function on the CD \nplayer. Alternatively you can use the Apple remote control which is \nsmall, slick and offers just the buttons you need. Assign Volume Up / \nVolume Down to two buttons and Next Input / Previous Input to two other \nbuttons and let the Director learn them. The procedures are described in\n the manual.<br /><br /><h2> </h2><h3> Professional Fidelity Director Key Features</h3><ul><li>120 V rail preamplifier with integrated DA converter</li><li>Four digital inputs: USB, AES/EBU, coaxial, optical</li><li>PCM up to 384 kHz</li><li>DSD up to DSD2 (Double Rate DSD, DSD 128)</li><li>Two analog inputs (2 x RCA) and outputs (XLR, RCA)</li><li>Analog volume control with motorized ALPS “Big Blue” potentiometer</li><li>Remote controllable volume and source selection (Director learns any IR remote control commands)</li><li>AMP CTL connection to Performer power amplifier for coupled on/off switching</li><li>Frequency range (analog): 4 Hz to 300 kHz</li><li>THD: 0,0008 % (analog), 0,0004 % (digital)</li><li>Dynamic range: 137,6 dB (analog), 120,8 dB (digital)</li><li>Windows® driver, Apple class compliant</li><li>Stand-by/power on switch</li><li>Linear power supply with toroidal transformer</li><li>Made in Germany</li></ul><ul></ul>'),(10862,75,1,1811,'<h2>SPL Professional Fidelity Director DA Converter and Preamplifier</h2>\n<span style=\"font-size: 16px; font-style: italic;\">The Director is a reference stereo preamplifier with an extraordinary DA converter designed in VOLTAiR technology. <br /></span><br />The name \'Director\' describes its function pretty well. It is the heard of the stereo system to which all components are being connected: sources, amplifier, active speakers, headphone amps, phono preamplifier etc. It determines what, with what and how loud we hear. The Director is the heart of the stereo to which all components are being connected: the phono preamplifier, the CD player –digitally or analog–, the computer or media player via USB, the headphone and power amplifiers. <br /><br />Volume is controlled in the analog domain to avoid shrinking bit resolution at lower listening levels. Both volume and source selection can be controlled with any IR remote.<br /><br /><h3>Preamplifier</h3><inline style=\"color: rgb(29, 27, 16);\"><inline style=\"color: rgb(63, 63, 63);\"><inline style=\"color: rgb(38, 38, 38);\">Director is a full-fledged stereo preamplifier with an extraordinary \nDA converter. There is provision for connecting up to six stereo sources\n – two in the analog domain offering RCA connectors for e.g. phono \npreamplifier like the <a href=\"https://spl.info/en/products/professional-fidelity-pro-fi/phonos/overview.html\" target=\"_blank\"><inline style=\"color: rgb(0, 0, 0);\">Phonos</inline></a> and four in the digital domain with USB, AES, Coaxial and Optical connectors.<br /><br /></inline></inline></inline><p><inline style=\"color: rgb(29, 27, 16);\"><inline style=\"color: rgb(63, 63, 63);\"><inline style=\"color: rgb(38, 38, 38);\">At\n the output side a power amplifier or active loudspeakers can be \nconnected balanced (XLR) and unbalanced (RCA). We recommend the <a href=\"https://spl.info/en/products/professional-fidelity-pro-fi/performer-s800/overview.html\" target=\"_blank\"><inline style=\"color: rgb(38, 38, 38);\">Performer s800</inline></a> as power amplifier in order to maintain a 120V Rail audio chain from the DAC to the speakers for best audio performance.</inline></inline></inline></p><h3>Volume</h3>Volume is controlled strictly in the analog domain – for good reason.\n Commonly volume is regulated in the digital domain as part of a chip\'s \nfunctionality. Apart from being inexpensive the down side is that the \nplayback at lower volume than unity gain (0dB) is compromized due to a \nshrinking bit resolution. And as you never listen with the preamp turned\n up fully clockwise you always hear at a lower bit resolutions with \ndiminished audio fidelity. It makes not a lot of sense to listen to high\n res audio then, does it? As this is not acceptable we opted for an \nanalog solution that gives you infinite resolution at all listening \nlevels. We use a motorized ALPS RK27 \"Big Blue\" potentiometer with \nexcellent feeling and channel matching. Being motorized Volume can be \nremotely controlled.<br /><br /><p>A great feature is a small DIP switch at the \nbottom of the Director. DIP switches number 3 and 4 allow to decouple \nthe volume control and to deliver a unity gain output at the XLR or the \nRCA output or both. You can connect a headphone amplifier like the <a href=\"https://spl.info/en/products/professional-fidelity-pro-fi/phonitor-e/overview.html\" target=\"_blank\">Phonitor e</a> and have individual volume control for the headphones. Another application is that connection of a digital recorder.</p><br /><h3>Source</h3>On the front of the Director is a toggle switch for the selection of the\n input source. Toggle to the left to select the previous source and \ntoggle to the right to select the next source. The selection is shown in\n the dot matrix display: IN 1 and IN 2 for the analog inputs and USB, \nAES, COAX and OPTI for the digital inputs. The detected sample rate of \nthe selected digital input is displayed after about 2sec. (e.g. U384 = \nUSB input, 384kHz sampling rate). The input source can also be remotely \ncontrolled.<br /><br /><h3>Remote Control</h3>Volume as well as input selection can be remotely controlled using any \nexisting infra-red (IR) remote control. The cool part is that the \nDirector learns your remote! Take, for example, the remote control of \nthe CD player. Out of the many buttons there are maybe four you hardly \nuse if at all and that do not directly trigger a function on the CD \nplayer. Alternatively you can use the Apple remote control which is \nsmall, slick and offers just the buttons you need. Assign Volume Up / \nVolume Down to two buttons and Next Input / Previous Input to two other \nbuttons and let the Director learn them. The procedures are described in\n the manual.<br /><br /><h2> </h2><h3> Professional Fidelity Director Key Features</h3><ul><li>120 V rail preamplifier with integrated DA converter</li><li>Four digital inputs: USB, AES/EBU, coaxial, optical</li><li>PCM up to 384 kHz</li><li>DSD up to DSD2 (Double Rate DSD, DSD 128)</li><li>Two analog inputs (2 x RCA) and outputs (XLR, RCA)</li><li>Analog volume control with motorized ALPS “Big Blue” potentiometer</li><li>Remote controllable volume and source selection (Director learns any IR remote control commands)</li><li>AMP CTL connection to Performer power amplifier for coupled on/off switching</li><li>Frequency range (analog): 4 Hz to 300 kHz</li><li>THD: 0,0008 % (analog), 0,0004 % (digital)</li><li>Dynamic range: 137,6 dB (analog), 120,8 dB (digital)</li><li>Windows® driver, Apple class compliant</li><li>Stand-by/power on switch</li><li>Linear power supply with toroidal transformer</li><li>Made in Germany</li></ul><ul></ul>'),(10863,85,0,1811,'SPL Professional Fidelity Director DA Converter and Preamplifier'),(10864,85,1,1811,'SPL Professional Fidelity Director DA Converter and Preamplifier'),(10865,76,0,1811,''),(10866,76,1,1811,''),(10867,75,0,1812,'<h2>SPL Professional Fidelity Performer S800 Stereo Power Amplifier</h2>\n<span style=\"font-size: 16px; font-style: italic;\">Stereo Power Amplifier with VOLTAiR technology<br /></span><br />The Performer s800 is a stereo power amplifier that delivers 2 x 285 W to 4 ohms loudspeakers. In Bridge Mode it delivers 450 W into 4 oder 8 ohms.<br /><br />The Performer s800 amplifier is an ultra-compact power amplifier. Thanks to the VOLTAiR technology this power amplifier has absolute control over the speakers up to their load limits. In stereo operation this bi-polar transistor power amplifier delivers up to 2 x 285 W into 4 Ω speakers. In bridge mode it delivers 450 W into a 4 or 8 Ω speaker. The Performer s800 is an entirely analog design which delivers a more natural sound compared to digital amplifiers or amplifiers with switching power supplies.<br /><br />The technical basis of all Professional Fidelity units is our proprietory 120 V Rail Technology, which we also call VOLTAiR technology. The name makes reference to the unequalled high voltage of 120 V (+/-60 V DC) and the huge dynamic range of over 140 dB that goes with it. <br /><h2> </h2><h3> Professional Fidelity Phonos Key Features</h3><ul><li>    Bi polar transistor power amplifier with VOLTAiR 120V technology</li><li>    2 x 285 W into 4 ohms; 2 x 185 W into 8 ohms (stereo operation) </li><li>    450 W into 4 or 8 ohms (mono operation – Bridge Mode)</li><li>    Toroidal transformer with 855 VA</li><li>    40800 µF capacitance for faithful reproduction of impulse peaks</li><li>    Gold-plated loudspeaker binding posts with protection covers</li><li>    Neutrik XLR connectors for balanced in- and outputs</li><li>    Direct slave through of the input (e.g. for bi-wiring)</li><li>    Input trim switch for attenuation up to -5.5 dB in 0.5 dB steps</li><li>    AMP CTL connector for remote power on/off switching (e.g. with Director or Phonitor x)</li><li>    Overheat protection with Temp LED</li><li>    DC (direct current) voltage protection with Protect LED</li><li>    Made in Germany</li></ul><ul></ul>'),(10868,75,1,1812,'<h2>SPL Professional Fidelity Performer S800 Stereo Power Amplifier</h2>\n<span style=\"font-size: 16px; font-style: italic;\">Stereo Power Amplifier with VOLTAiR technology<br /></span><br />The Performer s800 is a stereo power amplifier that delivers 2 x 285 W to 4 ohms loudspeakers. In Bridge Mode it delivers 450 W into 4 oder 8 ohms.<br /><br />The Performer s800 amplifier is an ultra-compact power amplifier. Thanks to the VOLTAiR technology this power amplifier has absolute control over the speakers up to their load limits. In stereo operation this bi-polar transistor power amplifier delivers up to 2 x 285 W into 4 Ω speakers. In bridge mode it delivers 450 W into a 4 or 8 Ω speaker. The Performer s800 is an entirely analog design which delivers a more natural sound compared to digital amplifiers or amplifiers with switching power supplies.<br /><br />The technical basis of all Professional Fidelity units is our proprietory 120 V Rail Technology, which we also call VOLTAiR technology. The name makes reference to the unequalled high voltage of 120 V (+/-60 V DC) and the huge dynamic range of over 140 dB that goes with it. <br /><h2> </h2><h3> Professional Fidelity Phonos Key Features</h3><ul><li>    Bi polar transistor power amplifier with VOLTAiR 120V technology</li><li>    2 x 285 W into 4 ohms; 2 x 185 W into 8 ohms (stereo operation) </li><li>    450 W into 4 or 8 ohms (mono operation – Bridge Mode)</li><li>    Toroidal transformer with 855 VA</li><li>    40800 µF capacitance for faithful reproduction of impulse peaks</li><li>    Gold-plated loudspeaker binding posts with protection covers</li><li>    Neutrik XLR connectors for balanced in- and outputs</li><li>    Direct slave through of the input (e.g. for bi-wiring)</li><li>    Input trim switch for attenuation up to -5.5 dB in 0.5 dB steps</li><li>    AMP CTL connector for remote power on/off switching (e.g. with Director or Phonitor x)</li><li>    Overheat protection with Temp LED</li><li>    DC (direct current) voltage protection with Protect LED</li><li>    Made in Germany</li></ul><ul></ul>'),(10869,85,0,1812,'SPL Professional Fidelity Performer S800 Stereo Power Amplifier'),(10870,85,1,1812,'SPL Professional Fidelity Performer S800 Stereo Power Amplifier'),(10871,76,0,1812,''),(10872,76,1,1812,''),(10873,75,0,1813,'<h2>SPL Professional Fidelity Phonitor E Headphone Amplifier</h2>\n<span style=\"font-size: 16px; font-style: italic;\">Headphone Amplifier with optional Digital to Analog Converter<br /></span><br />SPL\'s Professional Fidelity Phonitor headphone amplifiers found a huge fan base among Hi-Fi enthusiasts. The Phonitor e comprises the most essential functions and features in a slim and beautiful housing. The Phonitor e is a straight-forward and powerful headphone amplifier designed in VOLTAiR technology. Its feature set is reduced to the essential: amplifiers for balanced and unbalanced headphones, analog volume control, source selection und Phonitor Matrix. The Phonitor Matrix is condensed into two presets representing their most common settings. As almost all music was mixed for speaker playback the Phonitor Matrix lets you experience music on headphones as being played back through speakers.<br /><br />The Phonitor e is the ultimate headphone amplifier. It offers connections for headphone operated both balanced and unbalanced. With up to 3.7 W output power the Phonitor e delivers an impressive performance.<br /><br />The technical basis of all Professional Fidelity units is our proprietory 120 V Rail Technology, which we also call VOLTAiR technology. The name makes reference to the unequalled high voltage of 120 V (+/-60 V DC) and the huge dynamic range of over 140 dB that goes with it<br /><br /><h2> </h2><h3> Professional Fidelity Phonitor E Key Features</h3><ul><li>    120 V Rail headphone amplifier</li><li>    Separate connections for headphones driven balanced and unbalanced </li><li>    Suited for all headphones with impedances &gt;10 ohms</li><li>    Balanced and unbalanced analog inputs (XLR and RCA)</li><li>    Optional digital inputs: USB, coaxial and optical</li><li>    Optional DAC: 192 kHz and 24 Bit, Win driver supplied, Apple Class compliant</li><li>    Phonitor Matrix with two presets for speaker-equivalent listening</li><li>    Volume remotely adjustable (learns any IR remote control)</li><li>    Maximum output power: 2 x 3.7 W (into 120 ohms)</li><li>    Frequency response: 10 Hz - 300 kHz</li><li>    THD+N: 0.00091 % </li><li>    Dynamic range: 135.5 dB</li><li>    Made in Germany </li></ul><ul></ul>'),(10874,75,1,1813,'<h2>SPL Professional Fidelity Phonitor E Headphone Amplifier</h2>\n<span style=\"font-size: 16px; font-style: italic;\">Headphone Amplifier with optional Digital to Analog Converter<br /></span><br />SPL\'s Professional Fidelity Phonitor headphone amplifiers found a huge fan base among Hi-Fi enthusiasts. The Phonitor e comprises the most essential functions and features in a slim and beautiful housing. The Phonitor e is a straight-forward and powerful headphone amplifier designed in VOLTAiR technology. Its feature set is reduced to the essential: amplifiers for balanced and unbalanced headphones, analog volume control, source selection und Phonitor Matrix. The Phonitor Matrix is condensed into two presets representing their most common settings. As almost all music was mixed for speaker playback the Phonitor Matrix lets you experience music on headphones as being played back through speakers.<br /><br />The Phonitor e is the ultimate headphone amplifier. It offers connections for headphone operated both balanced and unbalanced. With up to 3.7 W output power the Phonitor e delivers an impressive performance.<br /><br />The technical basis of all Professional Fidelity units is our proprietory 120 V Rail Technology, which we also call VOLTAiR technology. The name makes reference to the unequalled high voltage of 120 V (+/-60 V DC) and the huge dynamic range of over 140 dB that goes with it<br /><br /><h2> </h2><h3> Professional Fidelity Phonitor E Key Features</h3><ul><li>    120 V Rail headphone amplifier</li><li>    Separate connections for headphones driven balanced and unbalanced </li><li>    Suited for all headphones with impedances &gt;10 ohms</li><li>    Balanced and unbalanced analog inputs (XLR and RCA)</li><li>    Optional digital inputs: USB, coaxial and optical</li><li>    Optional DAC: 192 kHz and 24 Bit, Win driver supplied, Apple Class compliant</li><li>    Phonitor Matrix with two presets for speaker-equivalent listening</li><li>    Volume remotely adjustable (learns any IR remote control)</li><li>    Maximum output power: 2 x 3.7 W (into 120 ohms)</li><li>    Frequency response: 10 Hz - 300 kHz</li><li>    THD+N: 0.00091 % </li><li>    Dynamic range: 135.5 dB</li><li>    Made in Germany </li></ul><ul></ul>'),(10875,85,0,1813,'SPL Professional Fidelity Phonitor E Headphone Amplifier'),(10876,85,1,1813,'SPL Professional Fidelity Phonitor E Headphone Amplifier'),(10877,76,0,1813,''),(10878,76,1,1813,''),(10879,75,0,1814,'<h2>SPL Professional Fidelity Phonitor X Headphone and Preamplifier</h2>\n<span style=\"font-size: 16px; font-style: italic;\">Headphone Amplifier and Preamplifier with optional Digital to Analog Converter<br /></span><br />SPL\'s Professional Fidelity Phonitor headphone amplifiers found a huge fan base among Hi-Fi enthusiasts. With the Phonitor x we have accommodated the wishes of our Hi-Fi customers.<br /><br />The Phonitor x is the ultimate headphone amplifier. It offers connections for headphones operated both balanced and unbalanced. With up to 3.7 W output power the Phonitor x delivers an impressive performance.<br /><br />The revolutionary Phonitor Matrix delivers the most realistic playback on headphones. As almost all music was mixed for speaker playback the Phonitor Matrix lets you experience music on headphones as being played back through speakers.<br /><br />The Phonitor x is not just a headphone amplifier, but also an excellent preamplifier that can also drive power amplifiers or active monitors. All in all five input sources can be connected. Two of which are analog stereo inputs (XLR und RCA) and three more are digital stereo inputs (USB, coaxial and optical). <br /><br />The technical basis of all Professional Fidelity units is our proprietory 120 V Rail Technology, which we also call VOLTAiR technology. The name makes reference to the unequalled high voltage of 120 V (+/-60 V DC) and the huge dynamic range of over 140 dB that goes with it.<br /><br /><h2> </h2><h3> Professional Fidelity Phonitor X Key Features</h3><ul><li>    120V rail headphone amplifier and preamplifier</li><li>    Separate connections and power amplifiers for headphone driven balanced and unbalanced</li><li>    Suited for all headphones with impedances &gt;10 ohm</li><li>    Balanced and unbalanced analog inputs (XLR and RCA)</li><li>    Optional digital inputs: USB, coaxial and optical</li><li>    Optional DAC: 192 kHz and 24 Bit, Win driver supplied, Apple Class compliant</li><li>    Balanced and unbalanced analog outputs (XLR and RCA)</li><li>    Innovative Phonitor Matrix: speaker-equivalent listening on headphones</li><li>    Laterality control: super-fine balance control</li><li>    Mono switch function</li><li>    Volume remotely adjustable (learns any IR remote control)</li><li>    Maximum output power: 2 x 3.7 W (into 120 ohms)</li><li>    Frequency response: 10 Hz - 300 kHz (-3 dB)</li><li>    THD+N: 0.00091 % (HP), 0.00085 % (Line)</li><li>    Dynamic range: 135.5 dB (HP), 136.3 dB (Line)</li><li>    AMP CTR connection with Performer power amplifier for coupled On/Off switching</li><li>    Made in Germany</li></ul><ul></ul>'),(10880,75,1,1814,'<h2>SPL Professional Fidelity Phonitor X Headphone and Preamplifier</h2>\n<span style=\"font-size: 16px; font-style: italic;\">Headphone Amplifier and Preamplifier with optional Digital to Analog Converter<br /></span><br />SPL\'s Professional Fidelity Phonitor headphone amplifiers found a huge fan base among Hi-Fi enthusiasts. With the Phonitor x we have accommodated the wishes of our Hi-Fi customers.<br /><br />The Phonitor x is the ultimate headphone amplifier. It offers connections for headphones operated both balanced and unbalanced. With up to 3.7 W output power the Phonitor x delivers an impressive performance.<br /><br />The revolutionary Phonitor Matrix delivers the most realistic playback on headphones. As almost all music was mixed for speaker playback the Phonitor Matrix lets you experience music on headphones as being played back through speakers.<br /><br />The Phonitor x is not just a headphone amplifier, but also an excellent preamplifier that can also drive power amplifiers or active monitors. All in all five input sources can be connected. Two of which are analog stereo inputs (XLR und RCA) and three more are digital stereo inputs (USB, coaxial and optical). <br /><br />The technical basis of all Professional Fidelity units is our proprietory 120 V Rail Technology, which we also call VOLTAiR technology. The name makes reference to the unequalled high voltage of 120 V (+/-60 V DC) and the huge dynamic range of over 140 dB that goes with it.<br /><br /><h2> </h2><h3> Professional Fidelity Phonitor X Key Features</h3><ul><li>    120V rail headphone amplifier and preamplifier</li><li>    Separate connections and power amplifiers for headphone driven balanced and unbalanced</li><li>    Suited for all headphones with impedances &gt;10 ohm</li><li>    Balanced and unbalanced analog inputs (XLR and RCA)</li><li>    Optional digital inputs: USB, coaxial and optical</li><li>    Optional DAC: 192 kHz and 24 Bit, Win driver supplied, Apple Class compliant</li><li>    Balanced and unbalanced analog outputs (XLR and RCA)</li><li>    Innovative Phonitor Matrix: speaker-equivalent listening on headphones</li><li>    Laterality control: super-fine balance control</li><li>    Mono switch function</li><li>    Volume remotely adjustable (learns any IR remote control)</li><li>    Maximum output power: 2 x 3.7 W (into 120 ohms)</li><li>    Frequency response: 10 Hz - 300 kHz (-3 dB)</li><li>    THD+N: 0.00091 % (HP), 0.00085 % (Line)</li><li>    Dynamic range: 135.5 dB (HP), 136.3 dB (Line)</li><li>    AMP CTR connection with Performer power amplifier for coupled On/Off switching</li><li>    Made in Germany</li></ul><ul></ul>'),(10881,85,0,1814,'SPL Professional Fidelity Phonitor X Headphone and Preamplifier'),(10882,85,1,1814,'SPL Professional Fidelity Phonitor X Headphone and Preamplifier'),(10883,76,0,1814,''),(10884,76,1,1814,''),(10885,75,0,1815,'<h2>SPL Professional Fidelity Phonos RIAA Phono Preamplifier</h2>\n<span style=\"font-size: 16px; font-style: italic;\">RIAA Phono Preamplifier with VOLTAiR technology <br /></span><br />Phonos is a phono preamplifier designed in VOLTAiR technology for record players using either moving magnet (MM) or moving coil (MC) cartridges. The equalization curve is according to RIAA and suitable for all vinyl records since 1954. The RIAA equalizer is as designed by Douglas Self. With up to 70 dB of gain for MC cartridges and 51 dB of gain for MM cartridges Phonos belongs to the most powerful phono preamplifiers.<br /><br />Phonos is a preamplifier for record players using either moving magnet (MM) or moving coil (MC) cartridges. The equalization curve is according to RIAA and suitable for all vinyl records since 1954. The RIAA filter is designed after Douglas Self. <br /><br />With up to 70 dB gain for MC cartridges and 51 dB gain for MM cartridges Phonos belongs to the most powerful phono preamplifiers.<br /><br /><h2> </h2><h3> Professional Fidelity Phonos Key Features</h3><ul><li>120 V rail phono preamplifier for record players</li><li> RIAA equalization (after Douglas Self)</li><li> Suitable for MM (Moving Magnet) and MC (Moving Coil) cartridges</li><li> Max. preamplification: 51dB (MM); 70dB (MC)</li><li> Capacitances for MM: Off, 150 pF, 220 pF and 330 pF</li><li> Impedances for MC: 100, 220, 470; 2k2, 4k7 and 10 kohms</li><li> Styroflex condensers used throughout the RIAA equalizer</li><li> Switchable Gain: Normal, -10 dB, +4 dB</li><li> Gold-plated RCA in- and outputs</li><li> Audio ground connection for record player</li><li> Switchable rumble filter (Subsonic)</li><li> Linear power supply with toroidal transformer</li><li> Made in Germany </li></ul><ul></ul>'),(10886,75,1,1815,'<h2>SPL Professional Fidelity Phonos RIAA Phono Preamplifier</h2>\n<span style=\"font-size: 16px; font-style: italic;\">RIAA Phono Preamplifier with VOLTAiR technology <br /></span><br />Phonos is a phono preamplifier designed in VOLTAiR technology for record players using either moving magnet (MM) or moving coil (MC) cartridges. The equalization curve is according to RIAA and suitable for all vinyl records since 1954. The RIAA equalizer is as designed by Douglas Self. With up to 70 dB of gain for MC cartridges and 51 dB of gain for MM cartridges Phonos belongs to the most powerful phono preamplifiers.<br /><br />Phonos is a preamplifier for record players using either moving magnet (MM) or moving coil (MC) cartridges. The equalization curve is according to RIAA and suitable for all vinyl records since 1954. The RIAA filter is designed after Douglas Self. <br /><br />With up to 70 dB gain for MC cartridges and 51 dB gain for MM cartridges Phonos belongs to the most powerful phono preamplifiers.<br /><br /><h2> </h2><h3> Professional Fidelity Phonos Key Features</h3><ul><li>120 V rail phono preamplifier for record players</li><li> RIAA equalization (after Douglas Self)</li><li> Suitable for MM (Moving Magnet) and MC (Moving Coil) cartridges</li><li> Max. preamplification: 51dB (MM); 70dB (MC)</li><li> Capacitances for MM: Off, 150 pF, 220 pF and 330 pF</li><li> Impedances for MC: 100, 220, 470; 2k2, 4k7 and 10 kohms</li><li> Styroflex condensers used throughout the RIAA equalizer</li><li> Switchable Gain: Normal, -10 dB, +4 dB</li><li> Gold-plated RCA in- and outputs</li><li> Audio ground connection for record player</li><li> Switchable rumble filter (Subsonic)</li><li> Linear power supply with toroidal transformer</li><li> Made in Germany </li></ul><ul></ul>'),(10887,85,0,1815,'SPL Professional Fidelity Phonos RIAA Phono Preamplifier'),(10888,85,1,1815,'SPL Professional Fidelity Phonos RIAA Phono Preamplifier'),(10889,76,0,1815,''),(10890,76,1,1815,''),(10891,75,0,1816,'<h2>SPL Phonitor 2 120 Volt Amplifier for Headphones, Active Speakers and Power Amps </h2>\n<font size=\"3\"><i>Legendary Phonitor Sound quality, new features, and a creative new name - the SPL Phonitor 2!</i></font><br /><br />\nIntroducing the SPL Phonitor 2, the successor to the legendary Phonitor headphone preamp. The Phonitor 2 maintains all the proven features while incorporating some major improvements. The new Phonitor 2 can be used as the ultimate monitor controller and preamp for three different sources. Likewise, SPL revised the 120-Volt technology in order for it to perform better, which resulted in their measurement gear being outclassed.<br /><br />\n\n<h3>The New Heart Of Music Playback: Phonitor 2</h3>\nMany Phonitor users wished they could also use the unmatched signal quality of the Phonitor to feed their speakers. SPL listened and it\'s successor, the Phonitor 2, provides a full-fledged stereo preamp that could become the heart of modern professional and home systems alike where headphones have a preeminent importance. Moreover, SPL have achieved enormous advances with their 120-volt circuits, making the technical specifications of the Phonitor 2 a new standard in all respects: 141dB dynamic range, 107dB signal-to-noise ratio (A-weighted in both cases), -112/-114 dB THD (headphone/speaker output with +30dBu output level). Mind you, the THD measurements define the limits of the measuring equipment but not those of the Phonitor 2.<br /><br />\n\nOther improvements concern specially the operation of virtually all headphone types and impedances: the Phonitor 2 works seamlessly with low-impedance headphones with load impedances as low as 10 Ohm (40 Ohm with balanced headphones).<br /><br />\n\n\n<h3>NEW in Phonitor 2</h3>\n<ul>\n<li>Preamplifier/Monitor Controller functionality</li>\n<li>Suited for all headphones and impedances</li>\n<li>Volume remotely controllable</li>\n<li>Important Features</li>\n</ul>\n<br />\n<h3>Phonitor 2 Key Features</h3>\n<ul>\n	<li>120 Volt headphone amp and preamp/monitor controller</li>\n<li>For all headphones with impedances &gt;10 Ohms (&gt;40 Ohms for balanced headphones)</li>\n<li>Volume adjustment with any remote control</li>\n<li>Maximum Output Power: 2 x 2W (1kHz/300 Ohm)</li>\n<li>Frequency response: 4Hz - 480kHz (-3dB)</li>\n<li>THD+N: HP 0.00091 %, Line output 0.00085%</li>\n<li>Dynamic range: HP 133.62dB/Line 134.37dB</li>\n</ul>'),(10892,75,1,1816,'<h2>SPL Phonitor 2 120 Volt Amplifier for Headphones, Active Speakers and Power Amps </h2>\n<font size=\"3\"><i>Legendary Phonitor Sound quality, new features, and a creative new name - the SPL Phonitor 2!</i></font><br /><br />\nIntroducing the SPL Phonitor 2, the successor to the legendary Phonitor headphone preamp. The Phonitor 2 maintains all the proven features while incorporating some major improvements. The new Phonitor 2 can be used as the ultimate monitor controller and preamp for three different sources. Likewise, SPL revised the 120-Volt technology in order for it to perform better, which resulted in their measurement gear being outclassed.<br /><br />\n\n<h3>The New Heart Of Music Playback: Phonitor 2</h3>\nMany Phonitor users wished they could also use the unmatched signal quality of the Phonitor to feed their speakers. SPL listened and it\'s successor, the Phonitor 2, provides a full-fledged stereo preamp that could become the heart of modern professional and home systems alike where headphones have a preeminent importance. Moreover, SPL have achieved enormous advances with their 120-volt circuits, making the technical specifications of the Phonitor 2 a new standard in all respects: 141dB dynamic range, 107dB signal-to-noise ratio (A-weighted in both cases), -112/-114 dB THD (headphone/speaker output with +30dBu output level). Mind you, the THD measurements define the limits of the measuring equipment but not those of the Phonitor 2.<br /><br />\n\nOther improvements concern specially the operation of virtually all headphone types and impedances: the Phonitor 2 works seamlessly with low-impedance headphones with load impedances as low as 10 Ohm (40 Ohm with balanced headphones).<br /><br />\n\n\n<h3>NEW in Phonitor 2</h3>\n<ul>\n<li>Preamplifier/Monitor Controller functionality</li>\n<li>Suited for all headphones and impedances</li>\n<li>Volume remotely controllable</li>\n<li>Important Features</li>\n</ul>\n<br />\n<h3>Phonitor 2 Key Features</h3>\n<ul>\n	<li>120 Volt headphone amp and preamp/monitor controller</li>\n<li>For all headphones with impedances &gt;10 Ohms (&gt;40 Ohms for balanced headphones)</li>\n<li>Volume adjustment with any remote control</li>\n<li>Maximum Output Power: 2 x 2W (1kHz/300 Ohm)</li>\n<li>Frequency response: 4Hz - 480kHz (-3dB)</li>\n<li>THD+N: HP 0.00091 %, Line output 0.00085%</li>\n<li>Dynamic range: HP 133.62dB/Line 134.37dB</li>\n</ul>'),(10893,85,0,1816,'SPL Phonitor 2 120 Volt Amplifier'),(10894,85,1,1816,'SPL Phonitor 2 120 Volt Amplifier'),(10895,76,0,1816,''),(10896,76,1,1816,''),(10897,75,0,1817,'<h2>SPL Phonitor Mini Model 1320 120 Volt Headphone Amplifier </h2>\n<span style=\"font-size:16px; font-style:italic;\">Headphone Monitoring Just Got Mini.</span><br /><br />\nThe outstanding technical and sonic characteristics of the Phonitor 2 were translated into a more compact and less-expensive format to create the Phonitor mini. Its ease-of-use, small and sturdy housing and affordable price, make the Phonitor mini the perfect headphone amp for home studios, hi-fi enthusiasts and mobile recording and mixing. The Phonitor mini is our high-end/low-size version of a premium headphone amplifier. And it obviously features the Phonitor Matrix too, to recreate speaker-like working conditions, plus the developments of the second generation of our 120-Volt amplifier technology.<br /><br />\n\n \n\n<h3>Phonitor Mini Key Features</h3>\n<ul>\n<li>120 Volt Amplifier for Headphons</li>\n<li>Phonitor Matrix</li>\n<li>Optimally suited for all dynamic headphones from 10 Ohm</li>\n<li>Mount-stand compatible with VESA adapter</li>\n<li>Maximum Output Power: 2x 2 W (1kHz/300 Ohm), 2x 1 W (1kHz/600 Ohm)</li>\n<li>Frequency response: 10Hz bis 300kHz (-3dB)</li>\n<li>THD+N: 0,00052 %,</li>\n<li>Dynamic range: 133,62dB</li>\n</ul>'),(10898,75,1,1817,'<h2>SPL Phonitor Mini Model 1320 120 Volt Headphone Amplifier </h2>\n<span style=\"font-size:16px; font-style:italic;\">Headphone Monitoring Just Got Mini.</span><br /><br />\nThe outstanding technical and sonic characteristics of the Phonitor 2 were translated into a more compact and less-expensive format to create the Phonitor mini. Its ease-of-use, small and sturdy housing and affordable price, make the Phonitor mini the perfect headphone amp for home studios, hi-fi enthusiasts and mobile recording and mixing. The Phonitor mini is our high-end/low-size version of a premium headphone amplifier. And it obviously features the Phonitor Matrix too, to recreate speaker-like working conditions, plus the developments of the second generation of our 120-Volt amplifier technology.<br /><br />\n\n \n\n<h3>Phonitor Mini Key Features</h3>\n<ul>\n<li>120 Volt Amplifier for Headphons</li>\n<li>Phonitor Matrix</li>\n<li>Optimally suited for all dynamic headphones from 10 Ohm</li>\n<li>Mount-stand compatible with VESA adapter</li>\n<li>Maximum Output Power: 2x 2 W (1kHz/300 Ohm), 2x 1 W (1kHz/600 Ohm)</li>\n<li>Frequency response: 10Hz bis 300kHz (-3dB)</li>\n<li>THD+N: 0,00052 %,</li>\n<li>Dynamic range: 133,62dB</li>\n</ul>'),(10899,85,0,1817,'SPL Phonitor Mini 120 Volt Headphone Amplifier'),(10900,85,1,1817,'SPL Phonitor Mini 120 Volt Headphone Amplifier'),(10901,76,0,1817,''),(10902,76,1,1817,''),(10903,75,0,1818,'<h2>SPL PQ Mastering Equalizer </h2>\n<span style=\"font-size: 16px; font-style: italic;\">The Ultimate Mastering EQ. The SPL PQ is a fully parametric, dual-channel five-band equalizer in a 19\" rackmount box, available in red or black.<br /><br /></span>The SPL PQ Mastering Equalizer is a fully parametric, dual-channel five-band equalizer that features 120V Rail Technology and the precise sound that SPL is famous for.<br /><br />\n\nAll five bands can each be activated or deactivated and you got the possibility (for every single band) to separately switch between Constant Q and Proportional Q. This kind of circuit has not yet been achieved in any other equalizer.<br /><br />\n\nEach channel can completely be activated or deactivated, thanks to Auto-Bypass, even automated in a freely selectable time frame.<br /><br />\n\nBypass of each band and constant Q of the left side can be controlled by the right side in Link mode.<br /><br />\n\nThanks to the 1/4 Gain-Switch, you can reduce a maximum increase or attenuation of the amplitude by the factor 3/4, which regulates the potentiometer from max +/-20 dB to +/-5 dB cut. This gives you the possibility to perform small corrections, as common in Mastering or higher amplitudes in Proportional-Q mode.<br /><br />\n\nThanks to the detented potentiometers, a precise recall is very easy to realize. You can also adjust parameters Gain, Frequency and Q in 41 steps with the detented potentiometers.<br /><br />\n\nThe PQ Mastering Equalizer was designed, developed and manufactured in Germany.<br /><br />'),(10904,75,1,1818,'<h2>SPL PQ Mastering Equalizer </h2>\n<span style=\"font-size: 16px; font-style: italic;\">The Ultimate Mastering EQ. The SPL PQ is a fully parametric, dual-channel five-band equalizer in a 19\" rackmount box, available in red or black.<br /><br /></span>The SPL PQ Mastering Equalizer is a fully parametric, dual-channel five-band equalizer that features 120V Rail Technology and the precise sound that SPL is famous for.<br /><br />\n\nAll five bands can each be activated or deactivated and you got the possibility (for every single band) to separately switch between Constant Q and Proportional Q. This kind of circuit has not yet been achieved in any other equalizer.<br /><br />\n\nEach channel can completely be activated or deactivated, thanks to Auto-Bypass, even automated in a freely selectable time frame.<br /><br />\n\nBypass of each band and constant Q of the left side can be controlled by the right side in Link mode.<br /><br />\n\nThanks to the 1/4 Gain-Switch, you can reduce a maximum increase or attenuation of the amplitude by the factor 3/4, which regulates the potentiometer from max +/-20 dB to +/-5 dB cut. This gives you the possibility to perform small corrections, as common in Mastering or higher amplitudes in Proportional-Q mode.<br /><br />\n\nThanks to the detented potentiometers, a precise recall is very easy to realize. You can also adjust parameters Gain, Frequency and Q in 41 steps with the detented potentiometers.<br /><br />\n\nThe PQ Mastering Equalizer was designed, developed and manufactured in Germany.<br /><br />'),(10905,85,0,1818,'SPL PQ Mastering Equalizer'),(10906,85,1,1818,'SPL PQ Mastering Equalizer'),(10907,76,0,1818,''),(10908,76,1,1818,''),(10909,75,0,1819,'<h2>SPL Qure Dual-channel, parametric, three-band EQ</h2><i><div><font class=\"Apple-style-span\" size=\"3\">Your privilege of access</font></div></i><br /><div><div><div><div><div><div><div><div>The Qure is ideally suited for demanding tonal shaping of individual instruments, voices and complex musical signals. All applications benefit from the unique tonal potential and the sophisticated filtering design that perfectly complements the fine details of the sound being processed.</div><div>The highly sophisticated circuitry of the Qure forms the basis for its outstanding tonal qualities: each filter is serially connected on separate boards with individual op-amps, resulting in excellent noise and distortion values, with a hard bypass available for each individual filter.</div></div></div></div><div><span class=\"Apple-style-span\" style=\"font-size: 24px; font-weight: bold; color: rgb(0, 0, 0);\">Qure Key Features</span></div></div></div></div></div><ul><li>Analog tool for M/S encoding</li><li>Active control of M/S mix ratio</li><li>Seamless integration of external processors</li><li>One-button insertion of outboard gear in the M/S or L/R path</li><li>Different VU-meter modes</li><li>Low cut filter for the Side signal</li><li>FLOAT function for better mono compatibility</li>\n</ul>'),(10910,75,1,1819,'<h2>SPL Qure Dual-channel, parametric, three-band EQ</h2><i><div><font class=\"Apple-style-span\" size=\"3\">Your privilege of access</font></div></i><br /><div><div><div><div><div><div><div><div>The Qure is ideally suited for demanding tonal shaping of individual instruments, voices and complex musical signals. All applications benefit from the unique tonal potential and the sophisticated filtering design that perfectly complements the fine details of the sound being processed.</div><div>The highly sophisticated circuitry of the Qure forms the basis for its outstanding tonal qualities: each filter is serially connected on separate boards with individual op-amps, resulting in excellent noise and distortion values, with a hard bypass available for each individual filter.</div></div></div></div><div><span class=\"Apple-style-span\" style=\"font-size: 24px; font-weight: bold; color: rgb(0, 0, 0);\">Qure Key Features</span></div></div></div></div></div><ul><li>Analog tool for M/S encoding</li><li>Active control of M/S mix ratio</li><li>Seamless integration of external processors</li><li>One-button insertion of outboard gear in the M/S or L/R path</li><li>Different VU-meter modes</li><li>Low cut filter for the Side signal</li><li>FLOAT function for better mono compatibility</li>\n</ul>'),(10911,85,0,1819,'SPL Qure Dual-channel, parametric, three-band EQ'),(10912,85,1,1819,'SPL Qure Dual-channel, parametric, three-band EQ'),(10913,76,0,1819,''),(10914,76,1,1819,''),(10915,75,0,1820,'<h2>SPL Reducer</h2>\n<span class=\"Apple-style-span\" style=\"font-size: medium; \"><i>\n<div style=\"display: inline !important; \">\n	Passive Power Soak For Guitar & Bass Amplifiers\n</div>\n</i></span><span class=\"Apple-style-span\" style=\"font-size: medium; \"><i>\n<div style=\"font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; display: inline !important; background-position: initial initial; background-repeat: initial initial; \">\n	Point To Point Handwired\n</div>\n</i></span><span class=\"Apple-style-span\" style=\"font-size: medium; \"><i>\n<div style=\"display: inline !important; \">\n	<br/>\n</div>\n</i></span><br/>\n<div>\n	<div>\n		<div>\n			The Reducer is as simple as the name implies, it reduces the power output of the guitar amp. This means that all sorts of amps, especially tube amps, can now be overdriven without the need of having to be too loud.\n		</div><br/>\n		<div>\n			Just like the other SPL power soak products Transducer and Cabulator, we developed the Reducer together with the amp specialists from Tonehunter in Cologne, Germany.\n		</div><br/>\n		<div>\n			It is placed between the guitar amp and the speaker. At this stage, it converts the amp\'s electric power into heat. Power reduction with resistors requires no additional power supply. The passive principle guarantees an accurate sound reproduction without any influence on the frequency response curve. So the Reducer is neutral, providing just a volume control.\n		</div><br/>\n		<div>\n			For the amp output, impedance can be set to 4, 8 or 16 Ohm. Reduction is stepwise in the first stages, but it can then be adjusted continuously.\n		</div>\n	</div>\n</div>\n<ul>\n</ul>'),(10916,75,1,1820,'<h2>SPL Reducer</h2>\n<span class=\"Apple-style-span\" style=\"font-size: medium; \"><i>\n<div style=\"display: inline !important; \">\n	Passive Power Soak For Guitar & Bass Amplifiers\n</div>\n</i></span><span class=\"Apple-style-span\" style=\"font-size: medium; \"><i>\n<div style=\"font-family: Arial, Helvetica, Verdana, Tahoma, sans-serif !important; margin-top: 0px; margin-right: 0px; margin-left: 0px; margin-bottom: 10px !important; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; background-image: none; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; box-shadow: none !important; display: inline !important; background-position: initial initial; background-repeat: initial initial; \">\n	Point To Point Handwired\n</div>\n</i></span><span class=\"Apple-style-span\" style=\"font-size: medium; \"><i>\n<div style=\"display: inline !important; \">\n	<br/>\n</div>\n</i></span><br/>\n<div>\n	<div>\n		<div>\n			The Reducer is as simple as the name implies, it reduces the power output of the guitar amp. This means that all sorts of amps, especially tube amps, can now be overdriven without the need of having to be too loud.\n		</div><br/>\n		<div>\n			Just like the other SPL power soak products Transducer and Cabulator, we developed the Reducer together with the amp specialists from Tonehunter in Cologne, Germany.\n		</div><br/>\n		<div>\n			It is placed between the guitar amp and the speaker. At this stage, it converts the amp\'s electric power into heat. Power reduction with resistors requires no additional power supply. The passive principle guarantees an accurate sound reproduction without any influence on the frequency response curve. So the Reducer is neutral, providing just a volume control.\n		</div><br/>\n		<div>\n			For the amp output, impedance can be set to 4, 8 or 16 Ohm. Reduction is stepwise in the first stages, but it can then be adjusted continuously.\n		</div>\n	</div>\n</div>\n<ul>\n</ul>'),(10917,85,0,1820,'SPL Reducer'),(10918,85,1,1820,'SPL Reducer'),(10919,76,0,1820,''),(10920,76,1,1820,''),(10921,75,0,1821,'<h2>SPL SMC Stereo & 5.1-Surround Monitor Controller<span style=\"font-size: 16px;\"><inline style=\"font-size: 12px;\"><inline style=\"font-size: 10px;\"><inline style=\"font-size: 24px;\"><inline style=\"font-size: 12px;\"></inline></inline></inline></inline></span><br /> </h2>\n<inline style=\"font-size: 12px;\"><inline style=\"font-family: Helvetica;\"><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"></span></span></inline></inline><inline style=\"font-size: 12px;\"><inline style=\"font-family: Helvetica;\"><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">Designed to provide only the necessary functions with excellent audio quality. </span></span></inline></inline><br />\n<div>\n	<div>\n		<div><div id=\"c1014\"><br />The SMC - Surround Monitor Controller is a one-point analog volume \ncontrol and switching matrix for system-independent 5.1 surround and \nstereo monitoring for essentially any audio application. <br /><p>The advantages of the SMC become especially apparent in combination \nwith modern audio and video production tools such as ProTools™, Nuendo™,\n Cubase™, Logic™, Deck™ etc.\n</p>\n<p>One of the SMC\'s biggest advantages is the possibility to manage \nseveral input sources, i. e. for comparing and monitoring SACD or DVD \nmaterial.</p></div></div>\n	</div>\n</div>\n<h3>SMC Key Features</h3>\n\n<div id=\"c5263\"><ul><li>Surround and stereo production</li><li>DVD-V, DVD-A, SACD and DTS authoring</li><li>Film and video postproduction</li><li>Video and game production</li><li>A/V and multimedia production</li><li>Audiophile home entertainment systems</li></ul></div>'),(10922,75,1,1821,'<h2>SPL SMC Stereo & 5.1-Surround Monitor Controller<span style=\"font-size: 16px;\"><inline style=\"font-size: 12px;\"><inline style=\"font-size: 10px;\"><inline style=\"font-size: 24px;\"><inline style=\"font-size: 12px;\"></inline></inline></inline></inline></span><br /> </h2>\n<inline style=\"font-size: 12px;\"><inline style=\"font-family: Helvetica;\"><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"></span></span></inline></inline><inline style=\"font-size: 12px;\"><inline style=\"font-family: Helvetica;\"><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">Designed to provide only the necessary functions with excellent audio quality. </span></span></inline></inline><br />\n<div>\n	<div>\n		<div><div id=\"c1014\"><br />The SMC - Surround Monitor Controller is a one-point analog volume \ncontrol and switching matrix for system-independent 5.1 surround and \nstereo monitoring for essentially any audio application. <br /><p>The advantages of the SMC become especially apparent in combination \nwith modern audio and video production tools such as ProTools™, Nuendo™,\n Cubase™, Logic™, Deck™ etc.\n</p>\n<p>One of the SMC\'s biggest advantages is the possibility to manage \nseveral input sources, i. e. for comparing and monitoring SACD or DVD \nmaterial.</p></div></div>\n	</div>\n</div>\n<h3>SMC Key Features</h3>\n\n<div id=\"c5263\"><ul><li>Surround and stereo production</li><li>DVD-V, DVD-A, SACD and DTS authoring</li><li>Film and video postproduction</li><li>Video and game production</li><li>A/V and multimedia production</li><li>Audiophile home entertainment systems</li></ul></div>'),(10923,85,0,1821,'SPL SMC Stereo & 5.1-Surround Monitor Controller'),(10924,85,1,1821,'SPL SMC Stereo & 5.1-Surround Monitor Controller'),(10925,76,0,1821,''),(10926,76,1,1821,''),(10927,75,0,1822,'<h1>SPL SMC 7.1 Surround Monitor Controller</h1><i>\nThe SPL SMC 7.1 builds upon all the features of the popular SMC 5.1 and adds overall level control and several monitoring features for a 7.1 system.</i><br /><br />\n\nThe SPL SMC 7.1 Surround Monitor Controller is an full-featured, professional analog studio monitor controller for 7.1 and stereo sources.<br /><br />\nEach of the two balanced 7.1 inputs and the two balanced stereo inputs that can be routed to the balanced 7.1 output. The L/R signals of the active input can optionally be routed to the alternative stereo output. With the high-quality headphone amplifier, you can listen to the L/R signal of the active input as well as to single channels of the 7.1 inputs.<br /><br />\nThe eight-ganged potentiometer controls the volume of all channels directly – no control circuits like VCAs are used.<br /><br />The SCM 7.1 also allows you to various solo options for mixing your channels. You can \"Solo in Place\" and listen to any of your 8 channels where they are, or you can \"Solo to Center\" and hear any of those channels through your center channel speaker for precise monitoring and mixing.<br /><br />\nThe SMC 7.1 is built up in high-quality analog technique, which ensures a linear frequency response up to 100 kHz as well as an outstanding dynamic range.<br /><br />\n<h3>SMC Key Features</h3>\n<div id=\"c5263\">\n	<ul>\n		<li>Two Balanced 7.1 Inputs</li>\n		<li>Two Balanced Stereo Inputs</li>\n		<li>Balanced 7.1 Output</li>\n		<li>Balanced Stereo Output with Sub Out</li>\n		<li>Extensive Routing Options</li>\n		<li>Solo in Place / Solo to Center</li>\n		<li>High-Quality Headphone Amplifier</li>\n		<li>Dedicated Analog Meter Output</li>\n		<li>Internal Power Supply</li>\n		<li>Made in Germany</li>\n	</ul>\n</div>'),(10928,75,1,1822,'<h1>SPL SMC 7.1 Surround Monitor Controller</h1><i>\nThe SPL SMC 7.1 builds upon all the features of the popular SMC 5.1 and adds overall level control and several monitoring features for a 7.1 system.</i><br /><br />\n\nThe SPL SMC 7.1 Surround Monitor Controller is an full-featured, professional analog studio monitor controller for 7.1 and stereo sources.<br /><br />\nEach of the two balanced 7.1 inputs and the two balanced stereo inputs that can be routed to the balanced 7.1 output. The L/R signals of the active input can optionally be routed to the alternative stereo output. With the high-quality headphone amplifier, you can listen to the L/R signal of the active input as well as to single channels of the 7.1 inputs.<br /><br />\nThe eight-ganged potentiometer controls the volume of all channels directly – no control circuits like VCAs are used.<br /><br />The SCM 7.1 also allows you to various solo options for mixing your channels. You can \"Solo in Place\" and listen to any of your 8 channels where they are, or you can \"Solo to Center\" and hear any of those channels through your center channel speaker for precise monitoring and mixing.<br /><br />\nThe SMC 7.1 is built up in high-quality analog technique, which ensures a linear frequency response up to 100 kHz as well as an outstanding dynamic range.<br /><br />\n<h3>SMC Key Features</h3>\n<div id=\"c5263\">\n	<ul>\n		<li>Two Balanced 7.1 Inputs</li>\n		<li>Two Balanced Stereo Inputs</li>\n		<li>Balanced 7.1 Output</li>\n		<li>Balanced Stereo Output with Sub Out</li>\n		<li>Extensive Routing Options</li>\n		<li>Solo in Place / Solo to Center</li>\n		<li>High-Quality Headphone Amplifier</li>\n		<li>Dedicated Analog Meter Output</li>\n		<li>Internal Power Supply</li>\n		<li>Made in Germany</li>\n	</ul>\n</div>'),(10929,85,0,1822,'SPL SMC 7.1 Surround Monitor Controller'),(10930,85,1,1822,'SPL SMC 7.1 Surround Monitor Controller'),(10931,76,0,1822,''),(10932,76,1,1822,''),(10933,75,0,1823,'<h2>SPL Stereo Vitalizer MK2-T</h2><i><div><font class=\"Apple-style-span\" size=\"3\">Your privilege of access</font></div></i><br /><div><div><div><div><div><div><div><div><div><div>Also and especially with this tube version of the patented Vitalizer® filter network you can effortlessly achieve an objective improvement while optimizing your sound.</div><div>Your ears are in control and you have the ability to make any production or recording sound better instantly: more detail, more transparency, more loudness and, if needed, also a compelling low-end foundation.</div><div>Regardless of whether you process a single channel or a sum of channels, the Vitalizer® takes your sound to a professional level.</div><div>The MK2-T fits into the range of Vitalizer products between the standard Stereo Vitalizer MK2 and the high-end mastering version, the Tube Vitalizer.<br /></div></div></div></div></div></div><div><span class=\"Apple-style-span\" style=\"font-size: 24px; font-weight: bold; color: rgb(0, 0, 0); \">Stereo Vitalizer MK2-T Key Features</span></div></div></div></div></div><ul><li></li><li>Easy and intuitive handling</li><li>Ideally suited for re-mastering stereo sources</li><li>Inserted via master or sub-group inserts</li><li>Excellent signal-to-noise figures</li><li>Soft and tight bass sound with bass compressor</li><li>Mid, high, and harmonic processing</li><li>Variable input level</li><li>Stereo Expander</li><li>Hard bypass relais (power fail safety)</li><li>Balanced operation</li><li>XLR and stereo Jack I/Os</li>\n</ul>'),(10934,75,1,1823,'<h2>SPL Stereo Vitalizer MK2-T</h2><i><div><font class=\"Apple-style-span\" size=\"3\">Your privilege of access</font></div></i><br /><div><div><div><div><div><div><div><div><div><div>Also and especially with this tube version of the patented Vitalizer® filter network you can effortlessly achieve an objective improvement while optimizing your sound.</div><div>Your ears are in control and you have the ability to make any production or recording sound better instantly: more detail, more transparency, more loudness and, if needed, also a compelling low-end foundation.</div><div>Regardless of whether you process a single channel or a sum of channels, the Vitalizer® takes your sound to a professional level.</div><div>The MK2-T fits into the range of Vitalizer products between the standard Stereo Vitalizer MK2 and the high-end mastering version, the Tube Vitalizer.<br /></div></div></div></div></div></div><div><span class=\"Apple-style-span\" style=\"font-size: 24px; font-weight: bold; color: rgb(0, 0, 0); \">Stereo Vitalizer MK2-T Key Features</span></div></div></div></div></div><ul><li></li><li>Easy and intuitive handling</li><li>Ideally suited for re-mastering stereo sources</li><li>Inserted via master or sub-group inserts</li><li>Excellent signal-to-noise figures</li><li>Soft and tight bass sound with bass compressor</li><li>Mid, high, and harmonic processing</li><li>Variable input level</li><li>Stereo Expander</li><li>Hard bypass relais (power fail safety)</li><li>Balanced operation</li><li>XLR and stereo Jack I/Os</li>\n</ul>'),(10935,85,0,1823,'SPL Stereo Vitalizer MK2-T'),(10936,85,1,1823,'SPL Stereo Vitalizer MK2-T'),(10937,76,0,1823,''),(10938,76,1,1823,''),(10939,75,0,1824,'The new model 2960 brought a facelift to one of our best-selling products. Now the new SPL design represents the common origin of our channel strips Frontliner, Channel One and Track One. \nHowever, technically we did not change anything to continue with tried and tested quality.\n\nThe Track One is a complete mono channel strip with a very attractive price/performance ratio. It is a perfect tool for the fast and safe recording of voices and instruments and especially popular in the German broadcasting industry.\nThe Track One meets highest demands in sound quality and reliability and covers an unlimited application range from studio over live to post production applications.'),(10940,75,1,1824,'The new model 2960 brought a facelift to one of our best-selling products. Now the new SPL design represents the common origin of our channel strips Frontliner, Channel One and Track One. \nHowever, technically we did not change anything to continue with tried and tested quality.\n\nThe Track One is a complete mono channel strip with a very attractive price/performance ratio. It is a perfect tool for the fast and safe recording of voices and instruments and especially popular in the German broadcasting industry.\nThe Track One meets highest demands in sound quality and reliability and covers an unlimited application range from studio over live to post production applications.'),(10941,85,0,1824,'SPL Track One Model 2960'),(10942,85,1,1824,'SPL Track One Model 2960'),(10943,76,0,1824,''),(10944,76,1,1824,''),(10945,75,0,1825,'<h2>SPL Track One AD with A/D Converter</h2>\n<span style=\"font-size: 16px; font-style: italic;\">Recording Channel</span><br /><br />\n<div>\n	<div>\n		<div><p>The model 2960 brought a facelift to one of our best-selling \nproducts. Now the new SPL design represents the common origin of our \nchannel strips Frontliner, Channel One and Track One. <br />However, technically we did not change anything to continue with tried and tested quality.\n</p>\n<p>The Track One is a complete mono channel strip with a very attractive\n price/performance ratio. It is a perfect tool for the fast and safe \nrecording of voices and instruments and especially popular in the German\n broadcasting industry.<br />The Track One meets highest demands in sound \nquality and reliability and covers an unlimited application range from \nstudio over live to post production applications.</p></div>\n	</div>\n</div>\n<h3>Track One AD Key Features</h3>\n\n<ul><li>Preamp stages optimized for all microphone types and instruments<br /> </li><li>SPL‘s De-Esser<br /> </li><li>Compressor/limiter<br /> </li><li>3-band EQ<br /> </li><li>Output stage with metering<br /> </li><li>Balanced XLR and 1/4 inch TRS connectors<br /> </li><li>Options: A/D converter and Lundahi input transformer </li><li>Made in Germany</li></ul>'),(10946,75,1,1825,'<h2>SPL Track One AD with A/D Converter</h2>\n<span style=\"font-size: 16px; font-style: italic;\">Recording Channel</span><br /><br />\n<div>\n	<div>\n		<div><p>The model 2960 brought a facelift to one of our best-selling \nproducts. Now the new SPL design represents the common origin of our \nchannel strips Frontliner, Channel One and Track One. <br />However, technically we did not change anything to continue with tried and tested quality.\n</p>\n<p>The Track One is a complete mono channel strip with a very attractive\n price/performance ratio. It is a perfect tool for the fast and safe \nrecording of voices and instruments and especially popular in the German\n broadcasting industry.<br />The Track One meets highest demands in sound \nquality and reliability and covers an unlimited application range from \nstudio over live to post production applications.</p></div>\n	</div>\n</div>\n<h3>Track One AD Key Features</h3>\n\n<ul><li>Preamp stages optimized for all microphone types and instruments<br /> </li><li>SPL‘s De-Esser<br /> </li><li>Compressor/limiter<br /> </li><li>3-band EQ<br /> </li><li>Output stage with metering<br /> </li><li>Balanced XLR and 1/4 inch TRS connectors<br /> </li><li>Options: A/D converter and Lundahi input transformer </li><li>Made in Germany</li></ul>'),(10947,85,0,1825,'SPL Track One AD with A/D Converter'),(10948,85,1,1825,'SPL Track One AD with A/D Converter'),(10949,76,0,1825,''),(10950,76,1,1825,''),(10951,75,0,1826,'<h2>SPL Transient Designer 4 </h2>\n<span style=\"font-size:16px; font-style:italic;\">\"</span><font class=\"Apple-style-span\" size=\"3\"><i>The Transient Designer has changed my working life.\" </i></font><span class=\"Apple-style-span\" style=\"font-size: medium; \"><i>Ryan Hewitt (Red Hot Chili Peppers/Stadium Arcadium, 4 Grammys)</i></span><br><br>\n<div>\n	The Transient Designer offers a completely new technology for level-independent shaping of the dynamic response of a sound: For the first time it is possible to control the attack and sustain of a signal in a very simple way!\n	<br/><br/>\n	Unlike other dynamic devices, the processing is not goverened by the signal level but rather by its dynamic characteristics, so all signals (loud and soft) are processed equally.\n</div>'),(10952,75,1,1826,'<h2>SPL Transient Designer 4 </h2>\n<span style=\"font-size:16px; font-style:italic;\">\"</span><font class=\"Apple-style-span\" size=\"3\"><i>The Transient Designer has changed my working life.\" </i></font><span class=\"Apple-style-span\" style=\"font-size: medium; \"><i>Ryan Hewitt (Red Hot Chili Peppers/Stadium Arcadium, 4 Grammys)</i></span><br><br>\n<div>\n	The Transient Designer offers a completely new technology for level-independent shaping of the dynamic response of a sound: For the first time it is possible to control the attack and sustain of a signal in a very simple way!\n	<br/><br/>\n	Unlike other dynamic devices, the processing is not goverened by the signal level but rather by its dynamic characteristics, so all signals (loud and soft) are processed equally.\n</div>'),(10953,85,0,1826,'SPL Transient Designer 4'),(10954,85,1,1826,'SPL Transient Designer 4'),(10955,76,0,1826,''),(10956,76,1,1826,''),(10957,75,0,1827,'<h2>SPL Tube Vitalizer</h2>\n<i>\n<div>\n	<font class=\"Apple-style-span\" size=\"3\">\n	<div>\n		The top-of-the-range model in the Vitalizer® family\n	</div>\n	</font>\n</div><br /><br />\nThe Tube Vitalizer is conceived in order to implement the Vitalizer technology in the most sophisticated way. Therefore, we have composed an efficient combination of tube, coil, and transistor circuitry. The advantages and characteristics of these components can now be configured and applied individually – whatever the material asks for, the Tube Vitalizer is perfectly prepared to give an answer in mixing, mastering and restoration. And compared to traditional equalizer designs, the Vitalizer offers virtuoso processings with maximal efficiency and ease of use – both in single channel and subgroup processing as well as in refining summing signals.</i>'),(10958,75,1,1827,'<h2>SPL Tube Vitalizer</h2>\n<i>\n<div>\n	<font class=\"Apple-style-span\" size=\"3\">\n	<div>\n		The top-of-the-range model in the Vitalizer® family\n	</div>\n	</font>\n</div><br /><br />\nThe Tube Vitalizer is conceived in order to implement the Vitalizer technology in the most sophisticated way. Therefore, we have composed an efficient combination of tube, coil, and transistor circuitry. The advantages and characteristics of these components can now be configured and applied individually – whatever the material asks for, the Tube Vitalizer is perfectly prepared to give an answer in mixing, mastering and restoration. And compared to traditional equalizer designs, the Vitalizer offers virtuoso processings with maximal efficiency and ease of use – both in single channel and subgroup processing as well as in refining summing signals.</i>'),(10959,85,0,1827,'SPL Tube Vitalizer'),(10960,85,1,1827,'SPL Tube Vitalizer'),(10961,76,0,1827,''),(10962,76,1,1827,''),(10963,75,0,1828,'<h2>SPL Volume 2 High-End Stereo Volume Controller</h2><br />\n		<div>\n			As a cost-effective alternative to SPL\'s full-featured Stereo and Surround Monitoring Controllers MTC 2381 and SMC 2489, the SPL volume controllers are dedicated solely to level control.\n		</div><br />\n		<div>\n			The Volume2 model is intended for stereo applications, while the Volume8 can control up to 8 channels. Both devices are designed with active circuitries to circumvent inevitable disadvantages of passive circuitries that result in impedance variation and therefore degraded linearity in frequency response.\n		</div><br />\n	\n<h3>SPL Volume 2 Key Features</h3>\n<ul>\n	<li>High quality balancing stages with extremely good common mode rejection minimize interferences and disturbances in the signal paths</li>\n	<li>The mute switch allows for very fast reaction times in cases where loud speakers or ears should be protected (for example, with computer crashes)</li>\n	<li>Users of analog summing without monitoring facilities can cost effectively improve their systems</li>\n</ul>'),(10964,75,1,1828,'<h2>SPL Volume 2 High-End Stereo Volume Controller</h2><br />\n		<div>\n			As a cost-effective alternative to SPL\'s full-featured Stereo and Surround Monitoring Controllers MTC 2381 and SMC 2489, the SPL volume controllers are dedicated solely to level control.\n		</div><br />\n		<div>\n			The Volume2 model is intended for stereo applications, while the Volume8 can control up to 8 channels. Both devices are designed with active circuitries to circumvent inevitable disadvantages of passive circuitries that result in impedance variation and therefore degraded linearity in frequency response.\n		</div><br />\n	\n<h3>SPL Volume 2 Key Features</h3>\n<ul>\n	<li>High quality balancing stages with extremely good common mode rejection minimize interferences and disturbances in the signal paths</li>\n	<li>The mute switch allows for very fast reaction times in cases where loud speakers or ears should be protected (for example, with computer crashes)</li>\n	<li>Users of analog summing without monitoring facilities can cost effectively improve their systems</li>\n</ul>'),(10965,85,0,1828,'SPL Volume 2 High-End Stereo Volume Controller'),(10966,85,1,1828,'SPL Volume 2 High-End Stereo Volume Controller'),(10967,76,0,1828,''),(10968,76,1,1828,''),(10969,75,0,1829,'<h2>SPL Volume 8 High-End Multichannel Volume Controller</h2>\n<span class=\"Apple-style-span\" style=\"font-size: medium; \"><i>\n<div style=\"display: inline !important; \">\n	We love good speakers.<br/>\n</div>\n</i></span><br/>\n\n			<div>\n				As a cost-effective alternative to our full-featured Stereo and Surround Monitoring Controllers MTC 2381 and SMC 2489, the SPL volume controllers are dedicated solely to level control.\n			</div><br>\n			<div>\n				The Volume2 model is intended for stereo applications, while the Volume8 can control up to eight channels. Both devices are designed with active circuitries to circumvent inevitable disadvantages of passive circuitries that result in impedance variation and therefore degraded linearity in frequency response.\n			</div><br>\n		\n<h3>SPL Volume 8 Key Features</h3>\n<ul>\n	<li>High quality balancing stages with extremely good common mode rejection (minimize interferences and disturbances in the signal paths)</li>\n	<li>The mute switch allows for very fast reaction times in cases where loud speakers or ears should be protected (for example, with computer crashes)</li>\n	<li>Users of analog summing without monitoring facilities can cost effectively improve their systems</li>\n</ul>'),(10970,75,1,1829,'<h2>SPL Volume 8 High-End Multichannel Volume Controller</h2>\n<span class=\"Apple-style-span\" style=\"font-size: medium; \"><i>\n<div style=\"display: inline !important; \">\n	We love good speakers.<br/>\n</div>\n</i></span><br/>\n\n			<div>\n				As a cost-effective alternative to our full-featured Stereo and Surround Monitoring Controllers MTC 2381 and SMC 2489, the SPL volume controllers are dedicated solely to level control.\n			</div><br>\n			<div>\n				The Volume2 model is intended for stereo applications, while the Volume8 can control up to eight channels. Both devices are designed with active circuitries to circumvent inevitable disadvantages of passive circuitries that result in impedance variation and therefore degraded linearity in frequency response.\n			</div><br>\n		\n<h3>SPL Volume 8 Key Features</h3>\n<ul>\n	<li>High quality balancing stages with extremely good common mode rejection (minimize interferences and disturbances in the signal paths)</li>\n	<li>The mute switch allows for very fast reaction times in cases where loud speakers or ears should be protected (for example, with computer crashes)</li>\n	<li>Users of analog summing without monitoring facilities can cost effectively improve their systems</li>\n</ul>'),(10971,85,0,1829,'SPL Volume 8 High-End Multichannel Volume Controller'),(10972,85,1,1829,'SPL Volume 8 High-End Multichannel Volume Controller'),(10973,76,0,1829,''),(10974,76,1,1829,''),(10975,75,0,1830,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> 611EQ E Series Module — 500-Series Equalizer</h1>\n<span style=\"font-size:16px; font-style:italic;\">SSL’s famous SL 4000 E console dynamics module for API 500-format power racks </span><br /><br />\nWhile the Solid State Logic E-Series EQ Module reproduces the sonic signature of a classic console from the 80\'s, its sound is still very much alive and in use today. The SSL 611EQ module is a direct descendant of the Solid State Logic SL 4000 E console channel strip, featured on countless recordings from the 1980s to the present. The 611EQ E Series EQ Module is actually two equalizers in one; each based on a channel strip equalizer found on different editions of the console produced between 1981 and 1989. Each EQ type has unique response curves and tonal character. The two aforementioned types of console EQ were differentiated by the color of the knobs on the low-frequency section of the EQ. These became known as “Brown” and “Black.” Both of these legendary EQs are built into the 611EQ E Series EQ Module so you can switch between these two different flavors of EQ loved by generations of professional producers. <br /><br />\n<h3>SSL 611DYN E-Series Dynamics module unique features:</h3>\n<ul>\n	<li>Immortal SSL 4000 E Series circuitry</li>\n	<li>\"Black-242\" and \"Brown-02\" twin EQ design</li>\n	<li>Based on classic 611E console channel strip</li>\n</ul>\n<br />\n<h3>SSL 611DYN E-Series Dynamics module key features:</h3>\n<ul>\n	<li>Versatile 4-band channel EQ</li>\n	<li>Bell curve option on HF and LF</li>\n	<li>Fully parametric LMF and HMF with “Q”</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 — SSL 611EQ E Series Equalizer module</h3>\nFormerly only available as an X-Logic module, the 611EQ module was designed to live in an API 500-series rack, such as the API lunchbox or equivalent power rack, and has a nominal input/output level of +4dBu.\n<br /><br />\nThe SSL E Series EQ module is a re-implementation of two of the classic SSL EQ circuits, dating back to the original E Series consoles. The module defaults to the original ‘Brown Knob’ circuit that was standard on all early production E Series consoles but can be switched to emulate the later ‘Black Knob’ circuit.<br /><br />\n<h3>OUTSIDE THE BOX — SSL 611EQ E Series Equalizer Module</h3>\nThe black face front panel of the SSL EQ611EQ has four frequency bands. The low-frequency band is a shelf EQ from 30Hz to 450Hz with ±15dB boost and cut. It also has a switchable bell curve. The low mid-frequency band ranges from 200Hz to 2.5kHz with adjustable Q and ±15dB boost/cut. The high mid-frequency band has the same controls with a frequency range of 600Hz to 7kHz. On the right side of the front panel between the LMF and HMF controls is the EQ In switch and “Black” switch, which changes the 611EQ’s operation from “Brown Knob EQ” to “Black Knob EQ” (see below).  And finally, the 611EQ module’s high-frequency shelf has switchable bell curve, ±15dB boost/cut, and ranges from 1.5kHz to 16kHz.   \n<br /><br />\n<h3>Brown Knob EQ</h3>\nWith the BLK button out, the two parametric mid-band sections feature SSL’s classic logarithmically symmetric design ensuring that the ±3dB up/down points retain the same musical interval from the center frequency regardless of frequency and amplitude settings. The two shelving sections are traditional 6dB/octave designs with an option for a fixed Q parametric response (by way of the BELL button). The ‘02’ EQ, to give it its correct name, was used on countless recordings and mixes in the early eighties.\n<br /><br />\n<h3>Black Knob EQ</h3>\nIn the mid-eighties a new ‘242’ EQ circuit was developed in conjunction with the legendary George Martin for the first SSL console to be installed in AIR studios. The Black Knob EQ, as it became known, featured enhanced cut and boost ranges (±18dB instead of ±15dB) together with a different control law for tighter control of low frequencies.\n<br /><br />\n<h3>SSL EQ history</h3>\nPrior to 1987 SSL used the color of the Low Frequency EQ knob caps to indicate which type of EQ was fitted. All consoles were custom built and could feature different combinations of EQ module. The following color codes apply:\n<br /><br />\n<strong>E-Series BROWN:</strong> The original SSL EQ fitted to all consoles prior to the summer of 1985. Despite the rumors these equalizers only came in one version. The EQ card was called the \'02\'.<br /><br />\n<strong>E Series ORANGE:</strong> The infamous EQP equalizer. This was a variation on the Brown EQ with controls simulating the curves of a valve type EQ. Very few were sold. This card was named the \'132\'.<br /><br />\n<strong>E-Series BLACK:</strong> The last version of the standard E series EQ. It evolved in the early 1980\'s from discussions with many top engineers and proved very popular. The EQ card was called the \'242\'.<br /><br />\n<strong>G-Series:</strong> With the arrival of the G Series console in 1987 the color-coding was abandoned and the classic SSL end cap color scheme used today was adopted. First introduced in 1987 the original G Series EQ introduced Q characteristics, which were proportional to gain settings and had a degree of over shoot when boosting and under shoot when cutting. <br /><br /><br /><br />\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. \n<br /><br />\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals.\n<br /><br />\nWith more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />\n<h3>It’s been a long time coming, and now thanks to SSL’s E Series EQ module, the hit-making SSL Black and Brown equalizers are now 500-series compliant. For more information, call or chat with an RSPE representative today. </h3>\n<br />\n<br />This product is also available as part of the RSPE Demo 4 Free & Rental Program, <span class=\"colors_productprice\" style=\"font-weight: bold; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/SSL_E_Series_EQ_Module_for_500_Series_Rack_RENT_p/ssl-500eq-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),